The Thenardiers

5 March 2013

I thought then that only Alice when she was in Wonderland can drown in her own tears. Les Miserables proved to me that I am not only capable of producing tears; I can die of choking from too much of them. I will not attribute all of it to the film. It must be the signal that triggered the outburst of my repressed sadness.

There was more reason for me to cry last night when mom was in anguish. I didn’t. I slept like a baby, I didn’t even pray.

My perspective of the world was brighter today (compared to days of last week). I was able to fully appreciate the non-sepia hue of the surroundings, and remind myself of the marvel of the first tree I see each day. Its branches were cut off recently, it had no leaves but it has recovered and is again sprouting green bouquets. I found tranquil in the layering of stones; how they were spread through a stretch of soil. I can sing and sing not from desperation but sing, heralding the world with cheer. I sense the breeze when it blows and know that it is a caress of care and hope.

I also found out that I was right. June and Paul were sheltering me from work. They do not want to overburden me. They are very considerate. I hope I was reciprocating their consideration. I can only wonder at that; I would not ask them directly.

June had a cameo in Kapuso Mo Jessica Soho aired yesterday. Paul recounted to me the scenes. From his narrative, it came to me that even current affairs programs (supposedly balanced, realistic and unbiased) romanticize matters much like a tabloid which presents only those which have a sensational appeal. News suddenly became scripted drama when originally it had an aseptic air.

Les Miserables did not adhere de facto to the novel. It surprised me that my favorite characters in the film were Eponine, Javert, Gavroche, the Thenadier couple and Enjolras. They were not very remarkable for me in the novel except Javert whose prominence comes next to Jean Valjean’s. I also liked Cosette better than Eponine in the novel.

In the film, Amanda Seyfried looks like a Victorian painting lady who came alive and her voice was crystalline, as if she was suited to sing arias. Eponine, though a character support for Cosette, was splendid, she contrasts Cosette not only in countenance but even with their sound! Eponine was earthy and battered but giving. Cosette was a sheltered bourgeoise though when they lived together when they were younger it was the other way around. Eponine’s voice was warm and full; Cosette’s was high pitched and airy. I find Eponine’s character in the film endearing.

Russel Crowe’s voice was also a revelation to me. I liked the sound of his voice better than Hugh Jackman’s. It’s not that Jean Valjean’s voice didn’t sound good, I only prefer Javert’s voice better. Make-up for Jean Valjean is commendable. In the first part, I almost wasn’t able to identify 24601 as Hugh Jackman. It was inconsistent though that they gave particular attention to M. Madeleine’s appearance, changing how he looked as he grew older without applying strikingly observable physical changes on Javert as well. Eponine made me cry more than Fantine. Samantha Bark’s rendition of On My Own was moving and her death song was a poignant scene. She has a very tiny waist (Please give room for not being relevant with adjacent sentences, I have to emphasize this observation).

The film utilized similar sounding tracks with a change in lyrics or beat as part of its dramatic theme. The cinematography for the first part was not at par with those in latter parts, it appeared washed out and manufactured. Maybe it’s because of the copy I received. It must’ve appeared better in the movie house.