Valor Found among Les Miserables
Is moral reform merely a deluded fantasy as Inspector Javert (Geoffrey Rush) believes? Do our actions forge an irreversible path towards a predetermined destination or are we capable of retracing our path, mending our ways and turning over a new leaf?
As the film opens, we are introduced to Valjean (Liam Neeson), a convict who has served 19 years of hard labor in a quarry for stealing. Dressed in rags and ready to faint from weakness, a gracious man of the cloth allows him to stay the night and feeds him. But despite this act of kindness, Valjean still finds this to be an opportunity to steal. And though he is caught, the man of the cloth lets Valjean go. "I've ransomed you from fear and hatred and I give you back to God," he says, urging him to become a new man. A decade passes by, and when we see Valjean again, he has transformed himself into a well-respected businessman, a beloved citizen and the Mayor of the economically prosperous town of Vigo. His new-found status, however, will be shattered when the town receives it's newest member of the police force, Inspector Javert.
Javert was a guard during Valjean's time in the quarry, and vaguely recognizes him. His own brand of scruples compels him to denounce the Mayor as a convict, even though he lacks proof. But in his heart, he believes that putting a former convict in a position of authority undermines the public trust. Wait until he meets DC's Marion Barry. But we see many examples of Valjean's turnaround. The most poignant centers around factory worker Fantine (Uma Thurman) who gets fired for having a child out of wedlock. Needing money for her daughter's medicine, she turns to prostitution. After being ruthlessly tormented by pedestrians and arrested by Javert, Valjean intercedes and begins to take care of her. Thurman's performance is especially sympathetic and strong. Valjean eventually flees to Paris, taking refuge in a convent that he helped to establish. Valjean also raises Fantine's daughter, Cossette (later played by Claire Danes). Years pass by, and now having grown up, the virginal Cossette falls in love with a fiery radical under the watch of police, which once again brings Javert to Valjean's doorstep. Valjean just wants be left alone, but throughout the film, Javert unyieldingly pursues his personal vendetta.
What struck me as odd, however, was the lack of passion displayed by the Inspector. His conviction was unquestionable and he presented his points clearly and crisply, but Javert always seemed to speak in a monotone. The cinematography was also somewhat uneven. There were great shots of the lush landscape and a breathtaking shot of a parade that would mark the beginning of the revolution, but the smaller street sets where the fighting took place looked nothing more than sets on a stage. As a period piece, it did only marginally well to transport me to a different place and time. Several other shots seemed too dimly lit, and the movie's ending seemed somewhat abrupt.
But the heart of this story is about sin and redemption, law and justice. Neeson and Rush emote the right stuff. Neeson is good at conveying the difficulty of sacrifice in light of his new-found moral obligation. Rush delivers a strong performance as the cynical officer that must follow the law to the letter at the expense of his own humanity. The motivations of Valjean and Javert are clearly presented, and we know that Javert will never cease pursuit even though Valjean has had several opportunities to end the chase. We understand and are sympathetic to Valjean's plight. All contribute commanding performances and confidently steer the movie to its conclusion. Les Miserables deserves to be looked at, if not for its finely crafted presentation, at least for its finely tuned performances.
Grade: B
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