The transition from one language to another, whether from French to English or stage to screen, requires the translator or adaptor to decide on some basic principles to guide their process. Translation and adaptation are similar processes that often aren’t approached in similar ways.
My favourite movie musical is probably Chicago. I don’t have any strong affinity or aversion to any of the actors in the film’s cast, except for Adrian Scarborough, who appears briefly as a back-alley dentist.Ģ.
I love movie musicals, but I prefer movie musicals to be good movies rather than adhere to the source material, however much I love it. I think Phillip Quast’s Javert is one of the greatest musical performances in history, and I think he’s the greatest musical actor of all time. The Dream Cast in Concert on VHS was a staple of my childhood, and my parents regularly played the Original London Cast recording in the car. I’ve seen it once on the West End, but the top half of the stage was cut off by the upper deck of seats from where I was seated, so I couldn’t see anything happening on top of the barricade. Les Misérables is my favourite musical of all time. As a brief prologue, I’ll air my baggage. What follows are, instead, a non-exhaustive series of thoughts on a film I was excited to see when it came out in cinemas, and which has only disappointed me more and more upon subsequent viewings.ġ. I don’t think Les Mis is coherent enough as a film to be pinned down and vivisected in an essay. I’d go so far as to say there are even some good scenes in the film, though not many. But it’s an interesting movie to watch, if only as a cautionary tale of how a reasonably talented director can lead an excellent cast into a quagmire of poorly-executed ideas, both good and bad, through a singular absence of artistic vision. Tom Hooper’s Les Misérables is not a good movie.
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