southdavid
Joined May 2000
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I can't believe it's been twelve years since this adaptation of "Les Misérables" was released in the cinema. I like musicals and "Les Mis" is one of my favourites and I do think that his adaptation is strong - though I wonder how much credit should for to Hooper and how much to Schonberg and Boublil.
Jean Valjean (Hugh Jackman) is paroled criminal, given a second chance at life by the kind acts of a benevolent Bishop. He flees and beings a new life with a new identity. Years later, Valjean is a factory owner, though is startled when Javert (Russell Crowe) who ran the prison is made chief of police in his town. Valjean adopts Cosette (Isabelle Allen / Amanda Seyfried) the daughter of Fantine (Anne Hathaway) who used to work for him. Years later again, and living in Paris, Cosette falls for Marius (Eddie Redmayne). But revolution is in the air and Marius is a key member of the group plotting for violent uprising.
Steering away from the adaptation for the moment, the songs in "Les Misérables" are amongst some of the most classic songs from musicals of all time. It's a sprawling adaptation of Victor Hugo's novel, full of the heart and tragedy of the time.
Visually the adaptation is strong, expanding on the stage sets into lavish recreations. I think most of the singing is really good, even if the "sing through" aspects of the show. Russell Crowe received a lot of criticism around the films release and whilst he is a touch flat, compared to people I've seen play the role live, he doesn't disgrace himself.
It's a really good adaptation of a really good show. One of the best there is.
Jean Valjean (Hugh Jackman) is paroled criminal, given a second chance at life by the kind acts of a benevolent Bishop. He flees and beings a new life with a new identity. Years later, Valjean is a factory owner, though is startled when Javert (Russell Crowe) who ran the prison is made chief of police in his town. Valjean adopts Cosette (Isabelle Allen / Amanda Seyfried) the daughter of Fantine (Anne Hathaway) who used to work for him. Years later again, and living in Paris, Cosette falls for Marius (Eddie Redmayne). But revolution is in the air and Marius is a key member of the group plotting for violent uprising.
Steering away from the adaptation for the moment, the songs in "Les Misérables" are amongst some of the most classic songs from musicals of all time. It's a sprawling adaptation of Victor Hugo's novel, full of the heart and tragedy of the time.
Visually the adaptation is strong, expanding on the stage sets into lavish recreations. I think most of the singing is really good, even if the "sing through" aspects of the show. Russell Crowe received a lot of criticism around the films release and whilst he is a touch flat, compared to people I've seen play the role live, he doesn't disgrace himself.
It's a really good adaptation of a really good show. One of the best there is.
"Black Mirror's" last hurrah with Channel 4 was this Christmas special episode from 2014 and it's one of my favourite narrative structure devices - a portmanteau episode. That said the episode wasn't quite as good on the second viewing, as it was on the first a decade ago.
Two men, Joe (Rafe Spall) and Matt (Jon Hamm) are together in an isolated cabin, where they've been working without much interaction for five years. Matt decides it's time they became friends so begins to cook a Christmas dinner for them. He tells Joe two stories about his life to explain who he is, one in which he was a dating coach helping Harry (Rasmus Hardiker) talk to Jennifer (Natalia Tena) at a Christmas Party and then about his time training "cookies" - digital clones of people to act as personal assistants to the real people. Joe finally shares a story about his past when he was "blocked" by his pregnant girlfriend. Eye implants mean that blocked people cannot see or hear each other appearing only as static silhouettes. The block continues on to his child and years pass with Joe becoming increasingly obsessed.
A particularly dark trilogy of stories here, just in time for Christmas. All three of which have horrible implications but probably couldn't, without major rethinking, have been complete episodes themselves. All three are then tied together by a clever ending to the surrounding story.
One feature of the episode is the complicated relationship to good and bad that almost every character has. This is evident with the main two characters certainly, but for example, whist Harry is initially perhaps naively using the "skills" of a life coach to help him with his confidence, we do eventually learn that he's both aware of the rest of the "watches" and has "watched" himself in the past.
As I said above, it does perhaps lose some of its power on a rewatch, when you know what the twist is, but it's still strong stuff.
Two men, Joe (Rafe Spall) and Matt (Jon Hamm) are together in an isolated cabin, where they've been working without much interaction for five years. Matt decides it's time they became friends so begins to cook a Christmas dinner for them. He tells Joe two stories about his life to explain who he is, one in which he was a dating coach helping Harry (Rasmus Hardiker) talk to Jennifer (Natalia Tena) at a Christmas Party and then about his time training "cookies" - digital clones of people to act as personal assistants to the real people. Joe finally shares a story about his past when he was "blocked" by his pregnant girlfriend. Eye implants mean that blocked people cannot see or hear each other appearing only as static silhouettes. The block continues on to his child and years pass with Joe becoming increasingly obsessed.
A particularly dark trilogy of stories here, just in time for Christmas. All three of which have horrible implications but probably couldn't, without major rethinking, have been complete episodes themselves. All three are then tied together by a clever ending to the surrounding story.
One feature of the episode is the complicated relationship to good and bad that almost every character has. This is evident with the main two characters certainly, but for example, whist Harry is initially perhaps naively using the "skills" of a life coach to help him with his confidence, we do eventually learn that he's both aware of the rest of the "watches" and has "watched" himself in the past.
As I said above, it does perhaps lose some of its power on a rewatch, when you know what the twist is, but it's still strong stuff.
Seemingly treated more as a second season, rather than a spin-off, the BBC's adaptation of Hilary Mantel's third book, regarding the life of Thomas Cromwell arrived in late 2024, some nine years after the initial series. As this is classification is of a second and final series, by my own contrived rules, I'm now allowed to write a review for the series as a whole. It was majestic.
Whilst King Henry VIII's (Damian Lewis) favour turns away from Cardinal Wolsey (Jonathan Pryce) it turns towards Thomas Cromwell (Mark Rylance), a common born solicitor in Wolsey's court. Cromwell is rewarded with titles and influence as his services to the King continue. Years later, when the Kings opinion on Cromwell begins to wane, particularly regarding his marriage to Anne of Cleves (Dana Herfurth), disgruntled noblemen, offended by Cromwell's rise to power, conspire against him.
Both seasons of Wolf Hall are a veritably who's who of British Acting. So much so it's ridiculous to start picking people out as, particularly from the first run, so much of the cast are now household names. You can't not give all the credit in the world to the two leads though, particularly the man in the running for the worlds greatest living actor, Mark Rylance. It's a performance as complex as the story surrounding him. Neither the villain nor the hero, Thomas Cromwell is a man trying to do his best, but one who revels in his power over his "betters" that proves his undoing.
That realism is also present in the production. Where in lieu of fabricating massive ornate throne room, instead everything takes place in real - and often small - rooms. With the lighting stemming from natural sources.
Whilst not as flashy as something like "The Tudors" the fireworks are all in the performances and the subtle telling of (admittedly perhaps questionably) history.
Whilst King Henry VIII's (Damian Lewis) favour turns away from Cardinal Wolsey (Jonathan Pryce) it turns towards Thomas Cromwell (Mark Rylance), a common born solicitor in Wolsey's court. Cromwell is rewarded with titles and influence as his services to the King continue. Years later, when the Kings opinion on Cromwell begins to wane, particularly regarding his marriage to Anne of Cleves (Dana Herfurth), disgruntled noblemen, offended by Cromwell's rise to power, conspire against him.
Both seasons of Wolf Hall are a veritably who's who of British Acting. So much so it's ridiculous to start picking people out as, particularly from the first run, so much of the cast are now household names. You can't not give all the credit in the world to the two leads though, particularly the man in the running for the worlds greatest living actor, Mark Rylance. It's a performance as complex as the story surrounding him. Neither the villain nor the hero, Thomas Cromwell is a man trying to do his best, but one who revels in his power over his "betters" that proves his undoing.
That realism is also present in the production. Where in lieu of fabricating massive ornate throne room, instead everything takes place in real - and often small - rooms. With the lighting stemming from natural sources.
Whilst not as flashy as something like "The Tudors" the fireworks are all in the performances and the subtle telling of (admittedly perhaps questionably) history.