Film Review
Victor Hugo's novel
Les Misérables, regarded
by many as the most important literary work from France, has provided the source for numerous
film, television and theatrical adaptations.
Arguably the greatest, most ambitious
of these was Raymond Bernard 1933 film, a monumental work which conveys not just the scale
of Hugo's epic novel, but also its intimacy and unfaltering humanity. The
spectacular barricade scene in the last third of the film is one of many examples where
Bernard skilfully combines his formidable technical and artistic skills. That sequence
includes one of the most effective battle scenes of any film from this era of cinema,
yet the sense of tragedy it carries is overwhelming. The death of Gavroche feels
like a knife blow to the heart.
That Bernard was influenced by German expressionism is evident not just in the stark,
angular studio sets, but also in the widespread use of shadow and oblique camera angles
to add a sense of disorientating, inhuman menace (techniques later adopted by film noir
directors). In terms of technical sophistication and production values, this film
was way ahead of its time and it still feels surprisingly modern, particularly the last
third of the film, which used extensive location filming to great effect.
The original version of this film ran to just over five hours, although it was most widely
distributed in various cut-down versions. Currently, the film is available in a
near-complete form (running to around four and half hours) and a cruelly truncated, two
and half hour version.
This film boasts probably the best cast list of any film
adaptation of Hugo's novel, with some of the biggest names in French cinema in the early
1930s. Harry Baur is the definitive Jean Valjean - not only does he have the physical
presence, dominating any scene he appears in, but he conveys with extraordinary subtlety
the inner turmoil of a man who has his faith in humanity tested time and again.
There's a touching vulnerability to this Valjean, which hits home in the film's most poignant
sequence at the very end of the film. It is not hard to see why some consider Harry
Baur to be one of the greatest actors of all time.
Whilst Harry Baur's performance
is the thing that most holds our attention, it is worth mentioning the significant contributions
from his fellow cast members. Charles Vanel makes a pretty sinister Javert, an effective
metaphor for the system that ruthlessly persecutes men and women for committing minor
sins with the compassion and sensibility of a cold piece of machinery (in some scenes,
Javert stands in the background, stiff and upright, not unlike a guillotine).
As the film's principal bad guys, the notorious Thenardier duo, Charles Dullin and Marguerite
Moreno manage both to entertain and provoke sympathy - at first they appear to be there
for comic relief, but they end up being as tragically drawn as most of the other secondary
characters, sad victims of an unfortunate period in history. Josseline Gaël
is enchanting as the grown-up Cosette, although it is the scenes with the young Cosette
(played by Gaby Triquet) that are more memorable.
As the ill-fated Fantine, Florelle
is spellbinding, even if her performance is more theatrical than cinematic. From
Valjean to Cosette, from Marius to Eponine - every character in this film is richly drawn
and beautifully acted.
If you had to watch just one film version of Victor Hugo's
Les Misérables, a version that is imaginatively
photographed, exciting, uplifting, yet charged with pathos and humanity, it would have
to be this faultless adaptation by Raymond Bernard, a superlative example of 1930s
Frrench cinema.
© James Travers 2005
The above content is owned by filmsdefrance.com and must not be copied.
Next Raymond Bernard film:
Tartarin de Tarascon (1934)
Film Synopsis
Jean Valjean leaves jail, having served a 15-year sentence for stealing a loaf of bread,
a hard and bitter man. The kindness of a bishop sets him on a new course, however,
and eight years later he has become Monsieur Madeleine, a respected mayor and industrialist.
His past suddenly catches up with him when he is recognised as the former convict and
is nearly arrested for breaking parole by Inspector Javert. Valjean flees
again, in order to keep his promise to one of his factory workers, Fantine, to adopt her
young daughter, Cosette, who is currently in the care of the innkeeper Thenardier.
Years later, Cosette has fallen in love with Marius, a student of law who has joined a
group of radicals intent on supporting a republican uprising. Still hunted by Javert,
Valjean risks his own life to bring Marius and Cosette together…
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.