While we wait (a slightly shorter amount of time than usual) for the next Oscar season, let's take a look at another nominee from the Best Picture race of 1935...
Les Misérables
Director:
Richard Boleslawski
Screenplay:
W.P. Lipscomb
(based on the novel by Victor Hugo)
Starring:
Fredric March, Charles Laughton, Cedric Hardwicke, Rochelle Hudson, Frances Drake, John Beal
Academy Awards:
4 nominations
0 wins
Not to be confused with the Hugh Jackman-Russell Crowe musical version (also nominated for Best Picture) or, for that matter, any other adaptation of Victor Hugo's classic novel, this one stars Fredric March as the 19th century French peasant Jean Valjean, who is sent to the galleys for stealing bread. While there, he encounters a humourless by-the-books guard named Javert (Laughton). Upon release, Valjean struggles to re-enter society until a kindly bishop (Hardwicke) gives him a break. Several years later, living as Monsieur Madeleine, Valjean owns a factory and has become so well-loved among his peers that he is offered the mayorship of his adopted town. But Javert, now a police inspector, is suspicious of the new mayor and may uncover his secret past as a convict.
For modern tastes, this adaptation of Les Misérables is quite stagey and contrived at times, which is perhaps something you'd expect from a musical, but alas, this version has no songs. The most egregious artificial moments, however, occur fairly early on in the film with the latter half achieving a somewhat more realistic tone. Still, it was made in the 1930s, so... well, cheese was the name of the game.
Despite all the artifice in the story's execution, Victor Hugo's source material, having clearly stood the test of time, is obviously gripping enough to keep the film entertaining, even at its most cheesy. Oddly, though, Eponine's death (sorry, spoiler alert) is mostly glossed over, a missed opportunity for a melodramatic moment, one that the famous musical adaptation would later accomplish perfectly. This film also inexplicably changed Valjean's prison number to 2906, instead of the novel's 24601, which is much catchier, though its catchiness may again be due to the Broadway musical's legacy.
But enough of these unfair comparisons to the evocative power of music. This picture is indeed very watchable, thanks in large part to some genuinely compelling performances. Fredric March as Jean Valjean is often touching, though in the first section of the film, his character seems to be perpetually confused in a rather overwrought fashion. In fact, as Valjean the pauper, March seems to have chosen to embrace the stereotype, then later, as Valjean the respected member of society, the portrayal becomes more naturalistic.
Opposite March is Charles Laughton, typecast as the stoic prig (indeed, this was the same year he played Captain Bligh in Mutiny on the Bounty), and he is exceptionally powerful as Valjean's ruthless nemesis Javert. In a standout role is Frances Drake (pictured above, with March), who makes the most of her relatively small but showy part as the jealous Eponine, despite her eyebrows being drawn all the way to her ears.
Les MisérablesDirector:
Richard Boleslawski
Screenplay:
W.P. Lipscomb
(based on the novel by Victor Hugo)
Starring:
Fredric March, Charles Laughton, Cedric Hardwicke, Rochelle Hudson, Frances Drake, John Beal
Academy Awards:
4 nominations
0 wins
Not to be confused with the Hugh Jackman-Russell Crowe musical version (also nominated for Best Picture) or, for that matter, any other adaptation of Victor Hugo's classic novel, this one stars Fredric March as the 19th century French peasant Jean Valjean, who is sent to the galleys for stealing bread. While there, he encounters a humourless by-the-books guard named Javert (Laughton). Upon release, Valjean struggles to re-enter society until a kindly bishop (Hardwicke) gives him a break. Several years later, living as Monsieur Madeleine, Valjean owns a factory and has become so well-loved among his peers that he is offered the mayorship of his adopted town. But Javert, now a police inspector, is suspicious of the new mayor and may uncover his secret past as a convict.
For modern tastes, this adaptation of Les Misérables is quite stagey and contrived at times, which is perhaps something you'd expect from a musical, but alas, this version has no songs. The most egregious artificial moments, however, occur fairly early on in the film with the latter half achieving a somewhat more realistic tone. Still, it was made in the 1930s, so... well, cheese was the name of the game.
Despite all the artifice in the story's execution, Victor Hugo's source material, having clearly stood the test of time, is obviously gripping enough to keep the film entertaining, even at its most cheesy. Oddly, though, Eponine's death (sorry, spoiler alert) is mostly glossed over, a missed opportunity for a melodramatic moment, one that the famous musical adaptation would later accomplish perfectly. This film also inexplicably changed Valjean's prison number to 2906, instead of the novel's 24601, which is much catchier, though its catchiness may again be due to the Broadway musical's legacy.
But enough of these unfair comparisons to the evocative power of music. This picture is indeed very watchable, thanks in large part to some genuinely compelling performances. Fredric March as Jean Valjean is often touching, though in the first section of the film, his character seems to be perpetually confused in a rather overwrought fashion. In fact, as Valjean the pauper, March seems to have chosen to embrace the stereotype, then later, as Valjean the respected member of society, the portrayal becomes more naturalistic.Opposite March is Charles Laughton, typecast as the stoic prig (indeed, this was the same year he played Captain Bligh in Mutiny on the Bounty), and he is exceptionally powerful as Valjean's ruthless nemesis Javert. In a standout role is Frances Drake (pictured above, with March), who makes the most of her relatively small but showy part as the jealous Eponine, despite her eyebrows being drawn all the way to her ears.
The film didn't win any Oscars from its four nominations. Along with Best Picture, it was cited for Cinematography and Film Editing, which are both well deserved since the film is beautifully cinematic. You'd think the director should have gotten recognised for that, too, but Richard Boleslawski sadly missed out. His deputy, Eric Stacey, however, did get a nod in the now defunct Best Assistant Direction category.
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