Les Miserables

As a movie standing on its own I'd say its watchable but beyond that I am not able to muster any positive feelings.

As a great fan of the book (and the musical that came years after this movie version) I am horrified by the major changes that were made to the story. To completely cut out the characters of Eponine and Enjorlas, and a little less so, the Thenardiers alone is something horrible.

Also, it seemed to focus more on Marius and Cosette's relationship than Valjean.

Overall, I would not recommend it to anyone who is a fan of the book or the Les Miserables fandom in general. If you really want to watch a movie version I would suggest the 1934 one.

However if you have no previous experience with Les Mis then you may enjoy it more than I did.

Michael Rennie and Robert Newton have a go at playing the classic roles of Jean Valjean and Inspector Javert in another version of Les Miserables. The story was far better told on Broadway and in the 1935 film with Fredric March and Charles Laughton.

Not the fault of the actors, Michael Rennie is the restrained voice of civilized humanity in Jean Valjean, proof that a man can overcome a bad start in life and make a contribution to mankind's betterment. Holding the opposite view of course is Robert Newton as the ruthless Inspector Javert who in fact did have a bad upbringing, the child of a convict, but refuses to believe that anyone else can. His negative view of mankind doesn't bring anyone any love in their lives. This I've always felt is the key to Javert be he played by Charles Laughton or Robert Newton.

What I didn't like and was not in the March/Laughton version was the idea that the Valjean character had more than a fatherly interest in Cosette, the child of the doomed Fantine who Valjean adopts. Those are the major female roles in Les Miserables and are played here by Debra Paget and Sylvia Sidney respectively and well. I don't think it was necessary at all to have Paget's young suitor, revolutionary student Cameron Mitchell make that accusation.

It's not a bad film, but after March and Laughton this one seems like a local stock company production.

This version of Victor Hugo's classic novel was not as good as the 1935 version. Obviously, the two leading actors can not compare to Fredric March and Charles Laughton, but let me tell you, Michael Rennie and Robert Newton both gave excellent performances! Joseph Wiseman was excellent in a small role, as were James Robertson Justice, Edmund Gwenn, Cameron Mitchell, Debra Paget, and Sylvia Sidney! Once again, this version was not as good as the 1935 version, but all the actors did their very best, and I believe the result was a movie worth watching, and I highly recommend it! The excellent acting definitely lifted it up to almost the 1935 version!

Once you have seen the Black and White film "Les Miserables" with Michael Rennie as Jean Valjean and Robert Newton as Etienne Javert all others fall short by comparison. It's true, there are several versions, both American and French, but each lack the total depth of the 1952 film. Some are too long, (the French Version is three hours) some are mismatched actors, like the one with Anthony Perkins and Ian Holm, and some have forgotten the spirit of the book itself. This particular version which includes actor Edmund Gwenn is, in my opinion superb! This film encompasses the essence of Victor Hugos book. Like a fine wine which has aged well, this vintage is a true masterpiece. Enjoy. ****

Watchable version of the oft-filmed Victor Hugo tale: made by the same studio (Fox), it emerges as a wholly inferior remake of the superb 1935 version – which I reviewed earlier this month. Despite Milestone’s involvement, this one displays more surface gloss than genuine style – with the script itself being much more prosaic. Still, there’s an intermittent evidence of talent throughout – for instance, in the rather effective final shot which frames the mirror image of the protagonists between the all-important candlesticks; also worth noting is the score by Alex North which, particularly at the climax, feels like a dry run for his Oscar-nominated work on SPARTACUS (1960).

Michael Rennie and Robert Newton are fine actors, but their performances here are no match for Fredric March and Charles Laughton in the earlier film; though Newton is remarkably restrained, his role has been somewhat diminished to accommodate the sappy romance involving Debra Paget and Cameron Mitchell! Besides, it’s compromised by the loss of two small but important scenes from the 1935 version which, in this case, robs the character of essential depth: a) when Javert is humiliated by his peers for his lowly background, and b) when he blackmails newly-appointed Mayor Jean Valjean, a former convict, in his office; unbelievably, it substitutes the first by having Javert’s own father serve a prison sentence on the galley to which he’s himself assigned!

Other conceptual flaws include: Edmund Gwenn’s pivotal role of the Bishop, which comes off as whimsical alongside Cedric Hardwicke’s haunting turn in the earlier film; Valjean is depicted as an illiterate who receives schooling from the intellectual played by Joseph Wiseman (his Method approach feels out of place in a 19th century French setting!); Javert’s conscience-stricken demise here is, disconcertingly, brought about by his brief conversation with James Robertson Justice (as Valjean’s right-hand man); missing from the narrative, though, is the poignant character of Eponine (whose role gave a plausible melancholia to the romantic angle in the 1935 film).

Ultimately, I wouldn’t call the 1952 LES MISERABLES unnecessary, considering that it’s made with undeniable professionalism and the fact that countless other film versions have followed it; perhaps, the late eminent critic Leslie Halliwell summed it best in his claim that it’s “lacking the spark of inspiration”.