As this takes shape, I'm finding it a little depressing. I'm trying to keep my mind as parachutic as possible because I'm not the sort of person who typically bristles when casting isn't in line with his own ideas (not that I have any particular ones in this case, mind). I naively try to maintain faith, though, and, really, aside from feeling that Hugh Jackman's got a very limited bag o' tricks, this is a cast of talented people.
But they're all suuuuuuuuuuch screaming Hollywood-safe choices, and I'm afraid the rest of the production will bear that pattern out. The news of the casting has been more, "Oh, wow, they got him/her," than, "OMG, they got HIM/HER?! [squee]" The choices have been big, but they haven't been bold. Like the suggestion above of casting Ben Walker -- great, inspired choice, and not because he's not a movie star... but because there's a little danger there.
Of course they won't revolutionize the material la "Cabaret" LES MIZ is 100% a brand, after all. But with this director and cast, I can already imagine the angles, the lighting, the mise-en-scne. "Oh, there's the Thnardiers' tastefully rotten teeth!" "Oh, there's Russell Crowe's super-cereal Javert face!" "Oh, there's Anne Hathaway, who's still... just a teensy bit glamorous as a prostitute dying of TB."
And in my head, that looks pretty boring. It doesn't help that the show itself has been stagnating in the exact same form for 25 years. But if there's zero exploration of the material, it begs the question, "Why make a movie at all?" (Aside from money, of course.) And the lack of an answer to that question brought us the total artistic failures of the films of POTO and THE PRODUCERS.
Sorry to be such a Bradley Bummer about the whole thing.
I love movies as much as I love theater, and it's so very rare that real romance between them happens.
Fingers are crossed.
CHURCH DOOR TOUCAN GAY MARKETING PUPPIES MUSICAL THEATER STAPLES PERIOD OIL BITCHY SNARK HOLES