SporkGoddess: Where did you hear that Russell Crowe improvised the pinning of the medal on Gavroche's body? I looked back through the last five pages of the thread and didn't see any other mention of it. It's a really interesting fun fact.
After a long time of searching and wondering if I was crazy, I found where it was mentioned. Although apparently he didn't improvise, just suggested it to Hooper (who approved).
I read an interview in which it was revealed that it was Russell Crowe's idea; Hooper liked it so much he kept it in. On my first viewing, I thought that touch took away from the image of Javert as a villain, but then realized Crowe was humanizing him, even after singing that the "schoolboys" will "wet themselves in blood." These are all complicated individuals, from Valjean on down, so adding shades of gray only added to their humanity.
It was on page 9 of this thread.
Jimmy, what are you doing here in the middle of the night? It's almost 9 PM!
So, I enjoyed the movie... but I have to get something off my chest. Sorry if this has already been discussed...
If the musical director of the Les Mis film was willing to lower the keys of “Master of the House” for Sacha/Helena, and both “Stars” and “Javert’s Soliloquy” for Russell Crowe…
…why the F*CK did he not see fit to lowering the key of “Bring Him Home” for Hugh Jackman?! It still bugs me that they allowed him to sing it in the original key, which has a tough tessitura for soft, sustained singing. Hugh strained and strained throughout and I felt like we, the audience, were robbed of what could have been an absolutely beautiful moment of serene prayer…and all we got was an otherwise good singer’s weakness (high, soft, sustained pitches) put on display.
What makes the whole situation even more maddening is that “Valjean’s Soliloquy” (a song with a similarly high/sustained tessitura in the stage version) was lowered a few steps for Jackman. The only explanation I can think of is that Jackman had too much pride not to lower the key.
Seriously, I thought Jackman did a great job in a role that a VAST majority of Hollywood leading men couldn’t sing nearly as well as he… but “Bring Him Home” was such a disappointment…ugh!
About the orchestrations, I see that some people on this board only like what came first, but I loved the film orchestrations.
A few moments stood out for me, for example the part in One day more, after Marius' line "I did not live until today", there is this wonderful melody. Whenever I hear the original version now, it is a disappointment, because it sounds "empty" for some reason.
Also, halfway "I dreamed a dream" there are some very emotional and uplifting new touches in the music.
I also loved that they kept the first part of Valjean on the mountain at the beginning instrumental, very effective. The "freedom is mine" melody.
I have to agree that the orchestrations are stellar. Now if only the would release a soundtrack sans vocals. That would be a treat. I love listening to the instrumental montage that accompanies the end credits.
have put off seeing it until yesterday due to schedule and kind of dreading it would disappoint me.
Background...Have seen the stage play 14 Times from Colm Wilkinson to 7 other JVJ's. It is My Favorite Show having grown up seeing theater for 35 Years in NYC.
Overall- I am glad they made it. I think it is good because people will get a glimpse of why the Lovers of it are so crazy about it. I really enjoyed the Massive style and Close up Shots. Visually it was awesome.
I thnk the performances were strong but really was turned off by Jackman and Crowes "versions" of some beloved tunes, Was Really Disappointed by this(as I thought I would be). Poor choice of tone and tempo. I wish they could have dubbed in Randal Keith's Voice for Jackman.
SPOILER ALERT
I was really touched emotionally by Javert putting the Medal on Gavroche after his death(showing his humanity that he was "just too much by the Book" in life) and The ending with Jackman rising out of his body walking to the Bishop.
I'll give it a B+ and will look forward to seeing it again on the Big Screen but will watch the 10th anniversary concert if i need a Les Mis "Fix" in the future.
Re an actor just wanting to be liked and having his character doing things not in keeping with the character -- I've seen it differently with Crowe's choices and just wrote about it somewhere else. Here's how I'm seeing it:
Javert makes his plea to the stars for constancy and for the straight and narrow, hoping for no grays. As he encounters the grays, in Valjean and even in himself (w/ the medal), he can't deal with it, as his entire value system is upended.
He's left unable to act because he does see an opposing option that he himself took (letting Valjean go).
So, the medal pinning makes sense to me (as one of the moments in which he sees something that is probably shocking enough to break through his wall of ordered self-righteousness and leaves him wondering -- which means a niggling 'doubt').
And then his need to kill himself (this guy who was so sure of himself and "never doubted") when he can't reconcile the dueling value systems, most of all now in himself too (when he chose not to turn Valjean in).
The medal was a step in that direction, when he starts a break from his certainty. That part got to me, because I felt that this was when things began to 'get to' Javert. And it makes the suicide less 'sudden.'
The medal pinning is not "a shade of gray," which might have given Javert some semblance of humanity, it's a major lovely act of compassion. A schmaltz setpiece that doesn't belong. And it can't be explained by his having a hidden soft spot for children. The little regard Javert has shown for the welfare of children is abundantly evident from his failure to consider Cosette's welfare in his treatment of both Fantine and Valjean. Unless the act suggests that he only liked little boys.... which is too revolting to contemplate.