I thought it was well done as well. fact that the sound and video weren't synched right was annoying. However, I know that that's not how it will be when I see the movie on Monday night so I am not worried about that.
It can be confusing because they reversed the lyric "I run a business of repute/I am the mayor of this town," so the rhyme doesn't really work.
I've always been bothered by Jackman's singing and I couldn't really tell you why. It's not that it's unpleasant, just a bit off. I suppose, to me, it always sounded a bit "put on" if that makes sense. Like he wasn't singing in his natural singing voice, but more in the voice that he thinks he should sound like. Perhaps his heavy vibrato contributes to that. This clip is no different. I will say, however, that this is the most convincing acting I've ever seen him do.
Loved the clip. If the rest of the movie is of this caliber or even half this caliber, I will be pleased. Now no more clips! I want to be surprised by the rest of the movie!
I still take issue with the editing; there are very few shots in the clip that last more than 2 seconds. It appears to have been edited by a 10 year old boy with ADHD who forgot to take his meds.
Seriously! Were these musical numbers edited with a butcher knife?! They are WAY too choppy. I'll get whiplash if this is how the entire 2 hour and 40 minute film is...
Jackman's voice sounding put-on or slightly unnatural makes sense- allegedly, he first learned to sing not by taking lessons, but by listening to recordings and imitating the voices of famous singers.
It's not just "allegedly", darquek. Jackman discussed at length how he learned to sing by imitation when he was interviewed on INSIDE THE ACTOR'S STUDIO.
I normally love his singing, but I think his repeated "One more day!" in that song sounds out of his range and too weak to carry the number.
But I suppose one problem with releasing the film scene-by-scene is that we'll all pick it to death before it opens.
I don't have a problem with Jackman's singing in this clip. He was the right choice for the critical role of Jean. He is both immediately likable, has great presence, is believable as both a hardened criminal and loving father, and he can sing and sing well.
He may have learned how to sing using faulty techniques employed by amateurs with zero talent, but he's a talented guy who made it work, and has created for himself (and us) a career rich in his craft.
I forced myself to watch this clip. I'm glad I did.
Instead of writing a dissertation to entertain y'all, I will just add my first, immediate impression.
Pros:
Overall: Amazingly well executed, well directed, effectively handled and adapted for the screen. Performances are also well thought-out, and creatively adapted for the screen.
Cons:
The orchestra sounds like a disembodied ghost hovering over the actor's heads. I hope it's just this clip's mixing and it has more presence in its cinema release, like it's an actual part of what is going on in front of us. Music in musicals isn't an excuse to sing. It's an integral part of the proceedings. When the factory bitch interjects with her suggestions about Fantine to the Foreman, so should those gossipy John Cameron woodwinds. They should be mixed to be at one with the singer and the underlying message or theme of the moment. It shouldn't suddenly surge in volume when nobody's singing or only to punctuate a point or emphasize a shot. The story and even the character is IN the music!
I liked it. I'd love it if they'd fix the mixing problem.
The Orchestrations:
It's true to the original John Cameron orchestration. It's true to the original John Cameron orchestration. It's true to the original John Cameron orchestration. It's true to the original John Cameron orchestration. It's true to the original John Cameron orchestration. It's true to the original John Cameron orchestration. It's true to the original John Cameron orchestration. It's true to the original John Cameron orchestration.
Which means it flowed well, is cohesive, has character and balls, and isn't a reedy piece of sh*t, cliched mess.
It is mixed in with snippets of the new crap orchestration. And I just LOVE how those moments jump out at you and sound like they belong in another show and are reedy and sound cartoonishly bright and then John Cameron's work comes in and smothers those snippets with awesomeness.
I can't express more love for the added bit between Valjean and Javert. Just great.
I have to say, any clips that feature the chorus/ensemble have been the best so far. hoping the rest of the film lives up to it and I'll just cover my ears any time Seyfried sings.
"I've always been bothered by Jackman's singing and I couldn't really tell you why. It's not that it's unpleasant, just a bit off. I suppose, to me, it always sounded a bit "put on" if that makes sense. Like he wasn't singing in his natural singing voice, but more in the voice that he thinks he should sound like. Perhaps his heavy vibrato contributes to that. This clip is no different."
You hit the nail on it's head there. It's like he is trying to sound like what he thinks is theatrical singing. Like it's a parody on that.
It doesn't feel real. I've seen many stage Valjeans giving a much more film-like performance.
I liked it, although the northern english accent still bothers me. A dialect/accent denotes a specific place or area so im curious why they made that choice for factory workers. The musical is set in France, and even though they are speaking in english, unless all the women moved to France,it seems odd. If they were using Anerican accents would they use somethng like a broad southern twang for the women??
I get that alot of people wouldnt even notice, but its still an odd choice.
I went to an advanced screening by AMC and having had the time to process the film, my thoughts, and this may include SPOILERS (even though I know most people know what to expect in the film.)
Overall, it is a flawed film, but a very bold take to the material. I felt that there was a lack of establishing a number of the musical numbers. For example, Empty Chairs at Empty Tables. Eddie Redmayne slays this moment (and Marius in general and really elevates the character beyond lovesick schoolboy), but the scene just cuts to him sitting at a table in the tavern and he sings the song. The song could have been more grounded by showing him walking up and taking in the destruction, seeing blood, really recalling the memory of what his friends were trying to do and that's what makes the song start. There are other numbers where this is an issue.
The cast really goes for it and even though there are weak links, it's still a strong ensemble. Anne Hathaway should walk away with the Oscar. This rendition of I Dreamed a Dream was simply stunning and in a single take. It is a different take than shown in the first released trailer, and the image of her despair is forever ingrained. She alone is worth seeing. Hugh Jackman really relishes in portraying Valjean and the emotional availability he brings to it I didn't think he had him. I had no idea Eddie Redmayne could sing like that and his Marius was vital and exciting. I bought him as a true believer in the cause and torn in trying to support his friends or find Cosette. I thought Sasha Baron Cohen and Helena Bonham Carter was damn near perfection as the Thenardiers. Master of the House was hilarious and their relationship was shown in a different light that I found refreshing.
Amanda Seyfried and Russell Crowe were weak in the singing, as most have found out. HOWEVER, they still found moments to overcome vocals with acting. Crowe in particular after the barricade has been overrun had a moment when standing over the body of Gavroche that, given recent tragic events, was utterly heartbreaking.
Tech wise, it looks great, though the camera right up at the actors' faces is indeed jarring at times or disappointing at times because almost all of the numbers were shot this way. This repetition of style only makes the viewer hunger for variety or a more creative way to present the numbers.
This is more or less a stream-of-consciousness review, but I'm quite excited for another viewing.
When I saw the clip for the first time, I thought to myself, "where's the rage?"
In the stage version, the section at the beginning that is sung by the poor, had this climactic build up that began in faceless shadow and menacing figures cloaked in layers. As the song continued, these figures would abruptly, almost threateningly lunge forward a step or two. As the last verse was sung and those "brass stabs" blare from the pit, there is a sudden change of light and they are lit from the front now. You can see their faces and they are not just miserable, they are pissed off! It reaches an intensity that sends chills as you see their rage grow and grow, until they take one final lunge and declare "it's gonna be hell to pay!"...at the end of the day.
In adapting this moment on stage for the film, I had hoped that they at least take some of those winning elements that made the stage rendition so powerful that also work on film and incorporate them with the elements needing heavier adaptation. That way, the chances that it won't be a total piece of crap will be ensured, should it turn out to be a total piece of crap in the heavier adapted bits.
But Hooper has not settled (thank God) and he has taken that aggressive stage rendition and inverted it for film.
Even the orchestrations have been adapted, beautifully, to blend with his vision.
So now, the poor don't lunge forward and assert their fury at the crumbling, corrupt state of the city and their thankless existence in yet another thankless day. They are embittered, paralyzed, and stunned by it all. Hooper has left in the haunting images of shadowy, faceless, hooded figures, only now they wander about aimlessly.
That final thrusting moment on stage is just as effectively translated to film but its intensity comes from the poor's inability to do much more than grasp at the shut iron gates that hold them back and keeps them down.
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joined:1/1/08
Posted: 12/20/12 at 12:28pm