I may be one of the rare folks who doesn't mind Crowe's casting at all. No, I am not a fan of Javert's Suicide in this version (and more more reasons than, well, not at all being fond of his interpretation... the missing slice, the last note...) and Stars threw itself at me from a completely different angle. A quietly contemplative prayer rather than a relentless vow.
But my favorite piece of Les Mis is and has always been Confrontation, which inevitably disappoints to some degree on stage, in spite of - or because of - my anticipation of it. The version in the film is the best I have ever seen. I've enjoyed it immensely and look forward to the DVD just so I can skip back and watch it over and over.
Similarly, I love Javert's Intervetion and "that scene at the barricades", other moments of near-conflict between the two leads that betray volumes about their character. And every one of those was so delightfully on point, with layers of reaction and meaning I've never been able to get out of the staged version. A good portion of that rests on Crowe's shoulders.
So yes, I think the film would have benefited immensely had he chosen to do more speak-singing in the recitative, and I'm sure we all know exactly what points those are! But in spite of it all I didn't find him a disaster.
As for Bring Him Home. It wasn't pretty. But when I want pretty, effortless, crystalline I will put on Alfie Boe or Drew Sarich. For the first time the song impressed itself on me as more than an eloquently phrased, well-intentioned prayer that seemed a bit out of character for Valjean other than displaying his supreme powers of amazing niceness.
In the film it was about realization. Letting go of the one thing he has learned to love and treasure, passing on the last full measure of himself to protect Cosette as she must go on without him. I saw Valjean, before my eyes, move through a series of changes, of new perspectives opening up right before his eyes. And it astonished me to see it, as I never had before, no matter how the notes might have grated on me. I wouldn't trade that in for a more beautiful, classic rendition... even if I had the choice.
What any of this has to do with the Box Office, er... ah...?
I don't really think there is such a thing as a Golden Globe "spike." It's a critics' award, albeit the highest profile of the bunch.
Oscars are the only awards that add any noticeable box office "spikes."
Golden Globes are fun, especially to watch a booze-filled party with catty comments, more relaxed speeches, better gowns (because they're not over-thought by comparison), etc.
I don't think I've ever heard anybody say, "Oh, I have to see that movie since it won the Golden Globe!" Not ever.
That said, Les Mis is performing much higher than expected, and while it continues (and will continue) to drop off, it's still reaching numbers they only hoped for. Good for them!
>>>For the first time the song impressed itself on me as more than an eloquently phrased, well-intentioned prayer that seemed a bit out of character for Valjean other than displaying his supreme powers of amazing niceness.
In the film it was about realization. Letting go of the one thing he has learned to love and treasure, passing on the last full measure of himself to protect Cosette as she must go on without him. I saw Valjean, before my eyes, move through a series of changes, of new perspectives opening up right before his eyes. And it astonished me to see it, as I never had before, no matter how the notes might have grated on me. I wouldn't trade that in for a more beautiful, classic rendition... even if I had the choice.<<<
I totally agree with these observations! It was indeed a transforming moment for Valjean. It started when he first read the Marius letter to Cosette and he became anxious about his daughter ( anxioius if the man-child is good enough for her). His decision to go to the barricades resulted in seeing the revolutionary fervor which drove the young rebels, Marius included, As he saw the initial fighting, the impending dark days signalled in Drink with Me, and the resignation expressed by Enjolras that they were alone - the dawning admiration for them from Valjean also led to the fear for Marius's safety ( because of what he meant to Cosette). As his eyes mirrored all this, he began his impassioned ( not soft and prayerful), plea to God - almost telling him to bestow his mercy - so Marius might live! He also realized when hearing Marius sing of his love for Cosette that his daughter and this man-child are truly in love -- and at that moment he bestowed his blessing to his daughter and her chosen one. Marius also became his son! So, the song moves from these realizations to his plea for mercy and compassion.
It was an excellent acting choice, complemented by the appropriate singing choice.
About $239 million worldwide, $124.5 million domestically. And there are still a bunch of countries where it hasn't opened yet. Box Office Mojo knows all.
Nikki Finke of Deadline Hollywood has updated the domestic figures - refined numbers based on Friday estimates (including the 4-day weekend) for Les Miserables.
@theaternut If you look further up people we saying that the movie was going to get a big boost from winning the Golden Globe, not spinning here just following up with the real numbers
@theaternut If you look further up people we saying that the movie was going to get a big boost from winning the Golden Globe, not spinning here just following up with the real numbers
Wow Metro.. you had to go a few pages back so you can bring up something negative. You are determined. I am looking at the real numbers. It is doing very well.
when it comes right down to it shouldn't we all be celebrating the fact the LES MIS is the biggest movie musical success in some time...and hopefully it will breed other musical movies down the road...we have to take these one at a time...and right now this is the one film that should make us all happy it was even done, let alone a success worldwide as well as state wide...i am!...
and if i haven't said this before...if there is an IMAX showing in your city...RUN DO NOT WALK TO SEE LEZ MIS in IMAX!...the visuals are better the sound is better the passion is more intense...it is an event movie of the old fashion type when they would hold the big movies in one theatre for weeks rather than spread smaller prints to outlying screens...
"@theaternut If you look further up people we saying that the movie was going to get a big boost from winning the Golden Globe, not spinning here just following up with the real numbers"
Except that since the film was released you've been looking at its position in the top ten as some sort of indicator that it's doing terrible, instead of the actual money it made.
With an $8m cume this weekend, Lez Miz has an incredibly small drop of only 19% since last weekend. It continues to hold incredibly well.
Now if only the success of the film would knock some sense into ol' Cammack's noggin and he'll restore the brilliant original production around the world and chuck the non-equity style 25th ann. uncelebration lackluster production currently shouting its way across the country, complete with projected movie slide shows and blue super-speaker.
Fat chance. It kills me to think that now during the musical's most widespread appeal, the number of those being deprived of seeing what the lucky British can still see on London's West End, albeit with crappy new orchestrations.
The original production is magic and the copy-cat new thing is just loud and tacky.
I actually think that after the movie wears out its theatrical run.. it would be great for the property to just be shelved for at least 5 years so that later on some new talent with some imagination could re discover it.
I agree. There was a raw energy and 'bite' to the original stage production that I miss in the concert productions. Though I enjoyed the film, nothing can match the power of the grungy synth-heavy band in 'Look Down', nor the visceral impact of Javert's suicide or the sewer scene. I think it is extraordinary there is no credit in the publicity anywhere to the brilliant work of Trevor Nunn and John Caird. Maybe they agreed a buyout. Somehow I doubt it.
Release date is February 28, 2013, some 10 1/2 years after a successful limited run of the stage musical, with Colm himself reprising his Valjean role then. Will they recognize him as the Bishop this time?
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joined:5/11/06
Posted: 1/18/13 at 11:51pm