The two volumes are part of “Les Grands Classiques de la Littérature en Bande Dessineé” (The Greatest Classics of Literature in Comic Book format) by French newspaper “Le Monde”.
Adaptation by Daniel Bardet.
Drawings by Bernard Capo.
'Plus points'
The adaptation
The adaptation is very good!
Considering the entire comic book is 92 pages long, the plot points are there and are well detailed. Some lines are even word-to-word inserts from the book, such as the beginning.
The sceneries
The backgrounds are extremely faithful to the novel! There are scenes where you can see they paid attention to Hugo’s long descriptions of streets and rooms.
The panels are full of minute things to look out for if you are a book fan.
The characters
I enjoyed the way they kept some traits, both physical and psychological, of the main characters, such as Jean Valjean’s hatred for Marius or Bossuet’s appearance!
I can’t say all aesthetic choices are to be considered a success, though…
More on it later.
The covers
Paolo Martinello created two beautiful comic book covers, choosing to depict pivotal scenes from the volumes.
This point too has a downside, as you’ll soon discover.
The bonus pages
Some pages were added in both volumes with insights on Victor Hugo, his works (including more information on “Les Misérables”). They put some extracts from the Brick, too!
'Minus points'
It’s in French
Being a product for a French newspaper, it's obviously written in French.
So, if you are not well versed in the language, it will become rather tricky if not impossible to get everything.
I could only find an Italian version of this comic, I can’t find other translations.
The style of the drawings
Of course, this point is subjective, but I’m not a big fan of the style used for the panels. It’s a bit old-school, in my opinion.
It wouldn’t be that big a problem, if it weren’t for a small detail…
The cover is clickbait
Don’t judge a book by its cover!
As I said before, the covers were made by a different artist, and the difference is striking!
And there’s more: other variants of the same volumes have different covers! Even in those cases, they were not made in the main artist’s style.
(I’m not entirely sure, but it seems to be the case in the Italian version as well).
This creates a problem, as you can’t always make sure the style is the same, especially in comic books that are sold with a newspaper.
Do I recommend it?
If you have a good level of French (or Italian) and you like the artstyle, I say you should give it a try.
It’s an abridged version, but still a good adaptation.
Bonus Info (SPOILERS!!)
The barricade is, as always, significantly cut
With only 92 pages, it was bound to happen.
I was surprised to find a character like Mabeuf included in the story, with more than a couple panels showing his death and the aftermath.
But, aside from that moment, the other scenes at the barricade are more or less what you see in the musical version.
Speaking of characters at the barricade…
Some members of ‘Les Amis de l’ABC’ have been cut, thus not appearing at the barricade.
The most notable one being Jean Prouvaire.
Moreover, the aesthetic choices for Les Amis & Marius are also… Well, a choice.
They all look way older than their age!
I mean, people used to look older in the past, but a quick search through portraits of that time period in the Louvre website helps with getting a better idea on how a man in their 20s used to look.
And, as much as I love 19th Century sideburns, the way they’re drawn here…
Let me just show you.
THIS IS ENJOLRAS:
(You know, the guy who is supposed to look younger than his age. And quite androgynous. And resemble a Greek statue. That guy.)
You get what I mean.
And so we arrive at the end of this review. I can say I quite enjoyed preparing it, and I hope you enjoyed it as well!
That Les Mis Review I Promised (dear lord this got long fast)
So, as many of y'all know, Les Mis is more or less my life. I pride myself on being very, very knowledgeable about the show, the movies, and the book itself. However, this was the first time I'd ever seen it performed live (the two anniversary concerts, of course, don't count), and I'm pleased to tell you that it exceeded every expectation and dream.
First, I'd like to talk about the theater itself (I saw it at the Queen's, obviously) and the set. I was immediately struck by how small the theater was, especially from our seats (we were in the Dress Circle, row D). As the show began, I realized that the size was a good thing, as it made everything so much more intimate and centered every bit of focus on the stage. In a way, it reminded me of the Music Box Theater on Broadway (where Pippin is currently playing).
Anyway, the set was perfection. It walked a fine line between opulent and sparse, depending on what each scene needed. Examples? The entire prologue used maybe two tables and five chairs, max, showing that the newly-freed Valjean wasn't welcome in even the humblest circles. But the set for the Paris slums was complex, almost maze-like, showing the extent of the poverty. The barricades, of course, were just as phenomenal as I'd hoped, and the wedding scene, with the banquet tables and background mirrors, provided a wonderful contrast to the barricade scenes and Valjean's departure. The scene changes were done beautifully as well--I remember especially Eponine running upstage and hiding her hair under her hat as the two parts of the barricades came together, missing her just in time, and Little Cosette coming in on the opposite end of the turntable from the recently dead Fantine.
And speaking of the turntable--I've heard many people express the opinion that it's trite, overdone, too complex, etc. and I have to tell you that it is none of these things. In fact, I would say that it makes it all the more artful, especially in the work scene during the prologue, the scene in which Vajean meets Cosette (and they have an adorable little duet that I'd never heard before) and, of course, during the barricades. I know the US tour did alright without it, but nothing--nothing--can compare to the moment that the barricade turns and you see Enjolras lying upside-down, flag still in hand, over the bodies of Gavroche and the National Guard.
Now then, being a Les Mis aficionado, I've listened to the CSR (Complete Symphonic Recording) a number of times (which I don't recommend unless you want to hear a country star sing Valjean--there are some things you simply can't unhear). And although that recording is very, very comprehensive, there are some things I simply had never heard, including the extra verse in Lovely Ladies and the crowd bits during the Runaway Cart scene. In addition, there were lots of things that I had heard but not understood until I saw them take place on stage (for example, did you know that, at the end of One Day More, Javert in his worker disguise joins the marching formation? Because I did not know this, and I loved it). And also, the One Day More marching formation is WAY, way cooler when spread out, because it looks more realistic and less over done and I really don't care what you say it's ICONIC and amazing when you've been dreaming about it for forever and you actually see it happen for the first time ever ok it's just great bUT YOU HAVE TO DO IT RIGHT. That's my little mini-rant on that.
Now for the part you actually care about: the actors. I saw Simon Shorten as the understudy for Valjean--and, trust me, the man did not disappoint. In the very beginning, he blended so seamlessly with the other convicts, as if to show that Valjean's story--at least, the first part--was by no means uncommon. He had this sort of gentleness about him, even when he was getting into bar fights and running into the police. The hesitance to accept the bishop's hospitality (showing his papers as an immediate defense, very book accurate) and the sheer shame on his face when he is brought back to face the bishop really stood out to me. During his Soliloquy, he's not as violent or angry as many other Valjeans, but rather full of regret, truly wishing for "another way to go," and hoping that this chance to turn his life around is actually real. In truth, Simon's Valjean seems to have this kind of inner light, especially when he is forced to make the hard decisions--as if he knows what the right choice is, and he knows that he is going to make it, but he makes a last-ditch effort to convince himself not to before doing it. His interactions with Javert are wonderful as well, as if he has zero patience for Javert and his narrow worldview--he brushes him off in the aftermath of the cart, he gives such attitude in "24601" (no, really, it's like he's saying "up yours" by ripping off his cravat and showing the brand), he ignores him at first during the Confrontation/Fantine's death, and when they meet at the barricade and Javert accuses him of being a killer and then a thief, Valjean basically says "I think you know by now that's not how I work." His actions towards Cosette are perfect as well; you can really tell that she is the absolute center of his universe. Basically, Simon Shorten's Valjean is a sweet cuddly bear who just wants to do good but will not take crap from anyone, especially you, Javert.
And, speaking of Javert, DAVID THAXTON KILLED IT, LADIES AND GENTLEMEN. HE LITERALLY DID AND WAS EVERYTHING I LOOK FOR IN A JAVERT OH MY GOD like, I've seen bootlegs of his Enjolras and WOW did he revolutionize the role, but THIS. WAS. AMAZING.
I suppose I'd better be coherent now. See, Thaxton started his Javert as being extremely, insanely rigid--in manner, in movement, in tempo (such staccato), everything. But as the show went on and Valjean continued to elude him, Javert's perfect world order started to slip. Instead of being devoted to his precious law, Javert became devoted to vengeance, to capturing Valjean and preserving the flawed life view that he feverishly, and in vain, tries to hold onto. The madness slowly starts to creep in, until the final confrontation in the sewers, where Javert shows such passion (and such gorgeous legato notes, like that "waaaaarned you," oh my god) that you know, you just know that he's completely lost it. At at the end of his suicide? See, most Javerts I've known/seen in bootlegs, etc. seem to fall forward or place one foot out or something. But Thaxton's Javert? He jumps. He prepares for it, he crouches down, and he springs forward and plummets into the Seine, where he seems to violently embrace the water and his death. It was terrifying. It was magnificent. It was perfection.
And, speaking of perfection, CARRIE HOPE FLETCHER. Her Eponine was...oh my god, I can barely find the words. I've been hearing fabulous things about her Eponine for over a year now, and they did not do her justice in the slightest. Her Eponine is tough, unfazeable--when Montparnasse comes at her with a knife, she just laughs at him. When being faced down by her father and his gang, she snarls right back. But she shows a playful side around Marius, one that is obviously hard for her to maintain but is the only way to get his attention. Every time he touches her, she is elated; at one point, she puts her hand on her shoulder as if to preserve where he has just touched her. She also goes out of her way to not disappoint him, especially in regards to Cosette, but also when he sees her at the barricade and scolds her; her face just falls. Her "that shows you like me quite a lot" turns into a question, and her "little you know" just sounds so angry and hopeless, but she's so emotionally dependent on him that she can't be mad at him. Eponine's Errand and On My Own are both beautifully introspective; it's as if she is saying "yes, I know, I'm ridiculous, but that just how it it," and in her last three "I love him"s, she seems to say "I had to say it, I just had to, it's wrong and I hate it and I can't help it but god help me I love him." Now, I don't normally cry during On My Own; in fact, I usually wait for it to be over. But when Carrie did it, I was so riveted and so emotionally invested that I was sobbing by the last note. And her death--her death was perfect. Too often have I heard Eponines who sounded like they were perfectly fine and just decided to call it quits at the end. But Carrie was twitching and gasping and sounding like she was doing everything she could to hold on; when Marius sees her wound, she closes her jacket over it again, determined to have this one perfect moment. And then, after the last "and rain"--she grins, and uses her last amount of strength to kiss him--and fails, falling to the ground, dead. I don't know if that's just Carrie's interpretation or if all Eponines do that nowadays, but let me tell you, I was not prepared for that at all. I don't think A Little Fall of Rain has ever made me cry so hard.
Of course, it doesn't help that Rob Houchen was just as perfectly matched for Marius as Carrie was for Eponine. I've heard great things about him as well, and I was so pleased to find them all to be true. The first thing evident about Rob's Marius is that he has a heart of absolute gold--in the way he treats the poor, in his interactions with Eponine, in his eagerness to help Valjean before he even sees Cosette, and in his defense of Cosette with Montparnasse grabs her. You can also see that he is very studious and serious, which is why his friends seem surprised when he comes in after seeing Cosette. He (Marius, not Rob) is very young and though he means well, gives every indication that he has no clue what he's doing, both with Cosette and in the revolution; his impulsive decision to join and fight is therefore unsurprising. When confronted with Eponine's impending death, he looks so lost and angry, as if he'd fight away her death if someone would just show him how, and he takes her death very hard, kissing her and crying over her and withdrawing into himself afterwards. His Empty Chairs shows that he has had to fully mature in a very short period due to horrible circumstances, and the effect shows, even on his wedding day. Rob Houchen's Marius wears his heart on his sleeve, and that, to me, is what makes him perfect.
Now, like most Les Mis lovers out there, I am absolutely grieving over the loss of Anton Zetterholm as Enjolras (and to the rest of you, no, he didn't die, he just went back to Sweden which is basically the same thing). Luckily, his replacement, Michael Colbourne, is the real deal. Like Marius, he is clearly very very young, but he speaks with such assurance and sincerity that you can't help but believe him. He is gentler than many Enjolrati and calmer, but in that calmness is a ferocity, a passion that burns barely below the surface. He will not stand for talk of anything other than revolution and success, and makes sure everyone knows it. His interactions with Grantaire (played by the, quite honestly, smoking Christian Edwards) are perfect as well (and as most of you know, this can make or break an Enjolras for me). He is so disdainful of Grantaire's antics and drinking; Grantaire, for his part, absolutely goes out of his way to disturb Enjolras--messing with his plans and slapping him on the back and being a general nuisance. Enjolras just gives him the raised eyebrows and goes back to talk of Revolutionary Things. Michael's DYHTPS was amazing as well; every note shone with absolute conviction in himself, his men, and his cause. Small wonder they all followed him, I would too. Later, when they're building the barricade and he's directing everything, he takes Grantaire's bottle away and tries to talk to him, but he refuses to join the fight. When one of his men is shot in the arm, Enjolras is at the barricade and by his side in an instant (which really isn't the best thing to do when you're leading an insurrection, but, you know, it's sweet). During his verse in Drink With Me--and this is something I've never known to have happen before--Grantaire speaks directly to the others, ending with Enjolras in "is your life just one more lie." He then breaks off in a sob; when Enjolras tries to calm him down, he snarls "don't touch me!" and throws his bottle down at Enjolras' feet. Even after all this, he refuses to fight until Gavroche dies, and they realize that everything is hopeless; he is the first one to Marius' side when he's wounded, and then, per tradition, follows Enjolras up the barricade and is the last to die. Enjolras' body is then seen as previously described, and, yeah, it's heartbreaking. These two were absolutely wonderful, and Michael truly does the role justice.
This post is getting super long, so I'm gonna consolidate. Celinde Schoenmaker's Fantine carries an innocence and dignity about her throughout the entire show, making it all the more heartbreaking (although she got a little pop-y in her high notes which was distracting at times). The little boy who played Gavroche wasn't as smart-aleky as he could have been, but his death scene was absolutely, spot-on brilliant. Emilie Fleming's Cosette was pretty but nothing special; I wish I could see her again to determine if it was her or just the role, as it takes a lot to make musical Cosette interesting. Wendy Ferguson's Madame Thenardier was incredible; she walked the line between despicable and hilarious with ease and stole the stage each time she walked on (god I wish I could've caught her at the stage door). Tom Edden's Thenardier was hilarious, but too hilarious--there was none of the despicability, the sheer rottenness of character that really makes a good Thenardier a great one. And the ensemble worked in such incredible sync and was so strong that I could easily write a few paragraphs on them alone. But to save myself (and you) the trouble, suffice to say that they did not only carry the show, they propelled it.
All in all, my first time seeing Les Mis live was absolutely everything I've ever dreamed it would be, and I cannot be more thankful for the opportunity. I hope that the show continues to inspire the people of London--and of the world--for many, many more years to come.
ahhhhhhhhhhhhhhhh first ramin karmloo (sp?) was amazing i think istening to him sing could cure the world
javert was incredible and im yesssss javert he's literally the best character i love him so much
i liked fantine but for some reason after they cut her hair she reminded me of lauren lopez??? idk why but yeah she was good
thenardiers were alright, i liked it but they weren't my fav characters ever soooo yeah
hmmm... eponine was p good, i think better in the second act (actually i liked her for the most part expect during one day more)
i actually liked marius in this???? idk it's definitely bc of post-movie stuff as i've never liked him before. cosette was alright idk she doesn't do much in the musical
now the barricade boys.... enjolras was amazing yessss kyle scatliffe yessssss westwood representtttt wooooo he was great. i liked all the guys (i couldnt tell the difference oops) but grantaire was great wow yes pls his and gavroche's relationship was super cute???? like him dying was actually sad and it normally doesn't affect me? same with eponine tbh but it's because there were actually people crying during it (well the actors) and it was kinda sad sooo yeahhhhhh ahhhhhhhh. (and the two were close like the entire time and im still !! over it like when eponine died gavroche stated crying and hugged grantaire and after the drink with me thing they were off to the side crying/hugging and ahhhh)
the finale tho <33333333 ive always loved it. ALSO STARS AND THE RUNAWAY CART AND THE CONFRONTATION YESSSSSSS
if anything i prefer the thing that they did at papermill where they turned the barricade rather than the cart but it was still really goooood ahhhhhhhh
les misérables - november 18th [evening performance]
Okay, first of all I'd like to say that I enjoyed the show a lot as a whole. The ensemble [especially the female ensemble] was absolutely brilliant and I don't know if it was my seat or if the lighting/direction changed a bit but the big scenes like Look Down and At the end of the day were beautifully performed and they made it seem like there were hundreds of people on stage [which is really impressive and really hard]. The whole group was powerful and had a great energy and have I mentioned the fact that the female ensemble was actually perfect? And of course the settings and lighting were brilliant as usual [and the reason why I don't think anyone will ever be able to top the original production]
but okay
let's do this in a more logical way, shall we? I'll talk about each performer and then add some notes on scenes that particularly hit me :3
Valjean: I can't say I liked Chris Holland's performance. His acting was okay/good, he was wonderful with little Cosette and his interaction with the Thenardier was brilliant. Actually, acting-wise, except for a couple moments that were too over the top, he was very good. The problem is his voice does A Thing when he goes for the high notes and it's awful and really really distracting. His "flight" was actually painful and the more 'subtle' high notes seemed to be sung by a different person and when his voice went up and down it was just really really weird and ugh. no. I feel awful saying this but I think he was the worst performer that night in my opinion.
Javert: Another not-particularly-great one. I was excited to see someone other than Tam because while I do like his Javert I'm a bit tired of it, and I had heard good things about James Gant so I was very happy when they announced him at the beginning of the show? He had great moments [especially during the robbery, that whole scene was absolutely brilliant] but overall he was trying too hard, I think. He had a lot of unnatural/over the top moments [he made me crack up during his final scene and, well, that's never god] and I'm not a big fan of his voice [mostly because I like my Javerts to have loooow voices] but that's not really his fault. That said, before he made me laugh he had a brilliant suicide. What an odd thing to say. But yes he seemed completely out of it and had crazy-eyes and at the beginning [when he said "I am the law(r) and the law(r) is not mocked] he tried to button his coat back up and go back to his 'normal self' and he was generally desperate and confused and it was very very good [and by good I mean completely heart-breaking]. So yeah. I didn't dislike him but I didn't love him either.
Fantine: Na was a very sweet Fantine. Maybe a bit too sweet. She was amazing vocally and I think she got the character pretty well for the first bit. Her voice was really soft and sad and sweet and oh my goodness so many 's's and she seemed heart-broken rather than angry during IDAD, which makes sense. She actually made me tear up, which doesn't happen all that often. My only problem with her performance was that she continued playing it safe during lovely ladies. Well, her voice sounded angry and was a lot more desperate and she was moving awkwardly which was all great but at the same time I was expecting her to go mad by the time she found Valjean and instead she just looked angry and slightly ill [which made it look like her death came out of nowhere]. Her 'Come to me' was pretty great, though [though I hate the fact that they cut it. She dies in like two seconds. Does anyone know when they cut the song, btw?], she wasn't really coughing or anything but she looked pretty ill and the way she reached for Valjean's hand was absolutely heart-breaking. Overall, a good Fantine, just not a brick!Fantine, if that makes sense.
Cosette: Okay, I was actually pleasantly surprised by Samantha Dorsey? She has improved a lot since the last time I saw her [more than a year ago]. She was very sweet when talking to Valjean during in my life and seemed genuinely in love with Rob's Marius [but then again, who wouldn't be?] and you could actually see her taking care of Marius during Every Day and she looked very happy and sweet during the wedding and completely broken with Valjean's death and yes yes all good things. She still has the Sarah Brightman eyes, though. Which I suppose isn't really her fault but I feel like someone really should warn her about that. Her AHFOL was a bit boring [and it's one of my favourite songs!] and her eyes were particularly huge and distracting during that and ODM. Also, while I don't think her voice is actually bad, I'm not a big fan of it and I'd like to see someone new in the role... But again, improvement yay :D
Éponine: Carrie Carrie Carrie. My problem with Carrie is the same problem I have with Na. They played it too safe. Which was actually really disappointing to realise because OH MY GOD her first scene [while Gavroche is singing] is brilliant! She was strong and badass and Parnasse did the "I have a knife" thing and she just laughed at him and walked away and that was so so so brilliant oh my god so wonderful bless you Carrie. But after that she just became a normal girl who happened to be poor and in love with a boy who didn't love her back, rather than a broken, abused, starved girl in the XIX century France who happened to be obsessed with a student because he was nice to her. Does that make sense? Her movements were all too fluid and pretty and she looked a bit too happy [and not in a "I'm smiling because I'm half-mad" kind of way, which would have been brilliant] and when she was sad she was just... sad. Not depressed. Not angry. Not anything, really. and. ugh. So much potential!
Her voice is absolutely beautiful, though, and her OMO was amazing [I'm glad to inform you all that she has toned down The Hat Thing] as was her ALFOR [though I'm not a huge fan of the song in general]. But yeah... I was expecting her to be at least a bit more brick-like.
Marius: baby ray of sunshine Rob actual real life Marius I have nothing to say about him because he's actually perfect oh my god what a cutie what a voice he was so in love and bubbly and happy and then so broken and scarred during ECAET [and it took him so long to 'go back' to Cosette in Every Day poor sweetheart] and so loyal to Valjean and oh my god his interaction with Thenardier during the wedding was actually perfect yes yes baby I think I freaked him out because at stage door I told him he was the first Marius I actually loved [after Michael Ball]. Yes. Baby. Good.
Enjolras: Anton was good. He was excellent in Look Down and his voice is great so I can't really complain. He didn't do anything wrong either [except he started singing half a second after Gavroche told them Lamarque had died ugh] but... I don't know. I wouldn't follow him to the barricades, that's all. But I don't know why exactly? I think I might need to see him again. Oh and he was great with R but more on that later.
Thenardier: Carl was... Stage!Thenardier. Not particularly scary. Not particularly interesting. Not particularly bad. Just kind of there for comic relief. His voice was great, though and he didn't actually bother me so yay?
M. Thenardier: Nicky was amazing during the first act oh my god poor little baby Cosette argh wow great! She fell and tripped a couple of times during the wedding scene, though, and I'm pretty sure that's just direction. They ask them to be funny. ugh. But yeah... it's annoying. That said she actually was amusing so I guess it could have been worse.
Grantaire: OH MY GOD RHIDIAN IS ACTUALLY PERFECT
I can't actually write a proper review about him because I get too emotional. He's the best Grantaire I've ever seen. And he's only second cover?? ugh I hate the world. But yes he was funny and loud right at the beginning and desperate for anyone's attention, walking around, singing, making a mess [never looking Enjolras in the eye] but then as soon as Enjolras glanced at him he sat down and stayed quiet and proceeded to spend the rest of the scene staring at him from afar ohmygod
Also, while Enjolras was singing his bit in DYHTPS he looked absolutely devastated and kind of looked down and shook his head because he knew it would never work and oh my god he was so powerless and depressed and ugh and then while everyone was cheering he just stood behind reading a pamphlet and looking increasingly more depressed but then Enjolras looked at him again and he immediately started cheering with the other.
He was looking at Enjolras literally all the time except when he knew he was doing something Enjolras wouldn't approve of and asjfgkdsjfhk his drink with me oh my god he sat next to a student and kissed his face and started singing all happily but then people realised he was actually talking about death and kind of pushed him away so he stood up and walked to Enjolras and delivered his last lines directly to his face while E tried to make him sit and calm down and when he finally did he basically beggged Enjolras not to go back to the barricade and ajsfgksjgvud and when he did he tried to follow him but he was too drunk to actually make it to the top in time so he sees Enjolras dead and then falls over and OH MY GOD there was actually a lot more but jsagfkjgvjk anyway, he's perfect.
Honestly I disliked the Nostalgia Critic's Les Mis review because instead of focusing on why each reviewer developed their opinion on the film, it felt like it was too caught up in it's many many bits.
I just posted my second video! It's a review of Les Miserables, so please watch it and subscribe/reblog if you enjoyed it as it would help me out a lot. thank you! xxx
Directed by Tom Hooper, Les Mis. is set in 19th century France and follows the life of Jean Valjean (Jackman), including when he agrees to take care of a girl named Cosette (Seyfried). The film is moving, well acted and will probably have you weeping at some point or another.
As someone who had never watched the stage performance, I went into the cinema having no idea of the storyline. I actually had no idea about anything except that they sung everything. To be honest, I was a bit concerned I'd find the singing annoying, which I completely wrong about. The singing is fantastic and considering 90% of it is sung live, the actors did an amazing job. Anna Hathaway's 'I dreamed a dream' had almost the whole screen crying, including me.
The storyline itself is good too. I was completely immersed in the whole thing and I left the cinema angry, emotional and physically shaking. Hugh Jackman played his character incredibly well and Helena Bonham Carter and Sacha Baron Cohen were hilarious. The only casting I wasn't happy with was Amanda Seyfried. I don't feel she was right for the part of Cosette and I found it difficult to detach myself from that idea.
The film was very long. Nearly three hours worth of singing took its toll and I got bored around the middle. If the film was 45 minutes shorter, I think I would have enjoyed it a lot more.
Les Miserables is worth a watch. Its one of those films which everyone should be able to say they've seen at least once. Just a tiny warning, if you're upset this film will not cheer you up. You will cry.
