#301
Posted: 1/18/13 at 11:51pm
double post. sorry.
Updated On: 1/18/13 at 11:51 PM
Les Mis set to be highest grossing movie musical of all time. — Page 13
#302
Posted: 1/19/13 at 11:00am
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...?
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...?
#303
Posted: 1/19/13 at 2:15pm
Glad to read your post Rabe. Very interesting to also read opinions regarding the singing outside of this small musical theater world.
#304
Posted: 1/19/13 at 5:12pm
Falling to #6 on Friday is not boding well for a Golden Globe spike...
#305
Posted: 1/19/13 at 6:07pm
Actually it is doing very well. #6. Released December 25? That is VERY good. Keep trying to spin metro.
#306
Posted: 1/19/13 at 6:14pm
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!
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!
"Jaws is the Citizen Kane of movies."
blocked: logan2, Diamonds3, Hamilton22
blocked: logan2, Diamonds3, Hamilton22
#307
Posted: 1/19/13 at 7:15pm
>>>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.
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.
#308
Posted: 1/19/13 at 7:16pm
How much has the movie made so far?
#309
Posted: 1/19/13 at 8:33pm
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.
Box Office Mojo knows all.
#310
Posted: 1/19/13 at 9:22pm
Nikki Finke of Deadline Hollywood has updated the domestic figures - refined numbers based on Friday estimates (including the 4-day weekend) for Les Miserables.
http://www.deadline.com/2013/01/first-box-office-arnold-flops-mama-tops/
>>8. Les Miserables (Universal) Week 4 [Runs 2,579] PG13
Friday $2.0M, 3-Day Weekend $7.3M, 4-Day Holiday $9.1M, Cume $131.6M<<<
http://www.deadline.com/2013/01/first-box-office-arnold-flops-mama-tops/
>>8. Les Miserables (Universal) Week 4 [Runs 2,579] PG13
Friday $2.0M, 3-Day Weekend $7.3M, 4-Day Holiday $9.1M, Cume $131.6M<<<
#311
Posted: 1/19/13 at 11:17pm
LoL @ Jo for continually referring to Marius as a man-child....WTF is up with that?
#312
Posted: 1/19/13 at 11:33pm
In the song Bring Him Home, Valjean refers to him as "only a boy" - LOL
In Valjean's eyes, maybe Marius was just a young man who had fallen for his young girl - but in the book, Marius was 22 when they first meet.
In a sense, not yet a full grown man but ready to die for his ideals?
In Valjean's eyes, maybe Marius was just a young man who had fallen for his young girl - but in the book, Marius was 22 when they first meet.
In a sense, not yet a full grown man but ready to die for his ideals?
Updated On: 1/20/13 at 11:33 PM
#313
Posted: 1/20/13 at 7:08am
@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
#314
Posted: 1/20/13 at 7:08am
@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
#315
Posted: 1/20/13 at 11:47am
How do they predict the weekend totals so far in advance? Are audiences really that predictable?
#316
Posted: 1/20/13 at 11:54am
Thanks jo...i get that.
#317
Posted: 1/20/13 at 11:58am
Thanks for the Box Office Mojo link! :)
#318
Posted: 1/20/13 at 12:23pm
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.
Updated On: 1/20/13 at 12:23 PM
#319
Posted: 1/20/13 at 12:35pm
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...
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...
#320
Posted: 1/20/13 at 12:57pm
"@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.
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.
#321
Posted: 1/21/13 at 11:12pm
Bingo
HUSSY POWER!
------ HUSSY POWER!
#322
Posted: 1/22/13 at 2:22am
Updated estimates from BoxOfficeMojo ( as of Jan 21, 2013)
http://boxofficemojo.com/movies/?id=lesmiserables2012.htm
Total Lifetime Grosses
Domestic: $131,804,000 (46.7%)
Foreign: $150,500,000 (53.3%)
Worldwide: $282,304,000
http://boxofficemojo.com/movies/?id=lesmiserables2012.htm
Total Lifetime Grosses
Domestic: $131,804,000 (46.7%)
Foreign: $150,500,000 (53.3%)
Worldwide: $282,304,000
Updated On: 1/22/13 at 02:22 AM
#323
Posted: 1/22/13 at 3:09am
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.
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.
Recreation of original John Cameron orchestration to "On My Own" by yours truly. Click player below to hear.
#324
Posted: 1/22/13 at 1:16pm
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.
#325
Posted: 1/22/13 at 5:36pm
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.
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