TrueJoshNight Truly Dreadful Film

TinsHeadline Touches You

Freaktana A Major Disappointment

Glucedee It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

Red_Identity More than anything, as far as entertainment goes, 2012 will be the year I discovered Les Miserables. Anne Hathaway impressed me in Rachel Getting Married, so I found out about Les Mis through hearing she would be in it. So I gathered more and more interest for it as the months went. I then read the novel to prepare myself for the film adaptation of 2012. By the time I saw the film, I was in love with the music, and so this was the first real musical version I saw besides the new film. Yes, I saw it on Youtube, but what a beautiful, magical event. I feel like it's so much a part of me now. It's such an emotional experience that nothing I say can describe what it is to watch it for the first time.

scourgexlvii I had mixed feelings about this rendition, but after much thought, I think my opinion is rather favorable. Alfie Boe was definitely a strong point, and is definitely a rival to Colm Wilkinson in fitting the roll. Norm Lewis is also very good, though when compared to the 10th anniversary version, I'd have to place him below Philip Quast in his solo songs (Stars and Javert's Suicide), but otherwise, he is much better, especially in The Confrontation, and he did incredibly well in Javert's Intervention.Jenny Galloway really is the only person I've ever seen do Mme. Thenardier as well as she does, so I'm glad they brought her back. Matt Lucas does very well as Thenardier, though I prefer Alun Armstrong for Dog eat Dog, since he seems much more slimy and sociopathic. Also, though Matt brings a better personality to the role, Alun more looks the part.I have never really liked the Marius-Cosette-Eponine characters, in any of the times I've seen them in the musical or in the book, though I think this does better for Eponine, as this is the first time I've actually felt anything for her other than contempt. Not much to say about Cosette. She's as boring as ever, and for that I blame Victor Hugo, for making her character just so boring. Katie Hall did well in the role, but for me, it's still not enough. Nick Jonas was pretty awful in the role. I'm not going to say anything like "I hate Nick Jonas" "He's a terrible singer" or anything like that, since I just don't really care enough about him to see what else he's done, and see is he is any better, but I do think the role was wrong for him. He doesn't harmonize with any parts he is traditionally supposed to, and he is about as stiff as cardboard, but that also may be the character of Marius in general.On to L'Amis de ABC: I don't understand the reason everyone seems to love Ramin Karimloo as Enjolras. To me, his voice didn't seem to evoke the idealism, passion and god-like strength of personality that defines his character. His voice seemed much more human and more romantic than that. In the 10th anniversary version, when ever he started his part, it felt like a call to arms, whereas here, he doesn't have nearly the charisma for that. Grantaire here was alright, though he's not all that memorable. The rest of L'Amis are decent too, but non-distinct. I don't really count Gavroche as one of L'Amis, though I know other people sometimes do, and I will include him in this paragraph: I really liked the portrayal of Gavroche in this one; The only thing that would have made it better would be Ten Little Bullets. I don't understand why they never use that song. It's not a very good song, but it is much better for the story.But the thing that I think really sold this for me was the story. The story of Les Miserables is really incredible, and there's a thing to be said about having such a multi-faceted story work in a musical, like this. The changes they make from the 10th anniversary version are for the better, be they adding songs (the Robbery/Javert's Intervention) or fixing up lines (ie making Marius the one who asks who the "swells who run" the slums are, rather than Enjolras, since Enjolras is supposed to be leading the revolution). Most of my mixed feelings were in comparing it to the 10th anniversary version, but in a vacuum, it's well worth the 8 I gave it.

Mr_PCM Les Miserables is, quite simply, the finest musical ever made, and this special anniversary performance encapsulates exactly why.It had been many years since I saw 'Les Mis' on stage in London, and other than listening to it on CD semi-regularly, I hadn't had much experience of the show until receiving the 25th anniversary concert on Blu-Ray. Prior to then, 'Phantom' was by a mile my favourite musical, with no others close. Les Miserables blows them all out of the water.The story is simple enough. A paroled man tries to rebuild his life with adopted daughter Cosette, against the backdrop of student rebellions in France. Meanwhile Marius, one of the students, and Cosette fall in love. Yet the plot is little more than something to drape the music around, and for that it serves its purpose admirably, giving depth, context and emotion to the magnificent music. Much has been written about the plot's simplicity, which needs little more than a couple of captions and video clips to drive it on, and the similarly simple staging also needs little analysis. Both serve to focus all attention on the music, adding to the raw power of the show.The music ranges from the comedic (Master of the House) to the tragic (On My Own) to the operatic (Bring Him Home) and the simply spine-tingling (One Day More). No other musical has the power to raise hairs and bring goosebumps throughout, and at the same time bring entire audiences to tears – look out during the standing ovation (one of many) towards the end for a lady with mascara streaming down her face from tears, demonstrating the emotional power of the music. In any other musical, ask fans to name their favourite song, and they will usually all pick from the same few. But with Les Miserables, fans would be hard-pressed to limit their choices to a top 10, with 'I Dreamed a Dream', 'Stars', 'Do You Hear The People Sing', 'One Day More', 'On My Own', 'Bring Him Home' and 'Empty Chairs' not even half the regular list of favourites! The casting is near-perfect. Having seen much of the original cast in the 10th anniversary production way back in my school days, and all but worn out the CD of the original cast recording, I never thought anybody could surpass Colm Wilkinson's definitive performance as the hero Valjean. Yet Alfie Boe does that superbly. His vocal range and emotion invested into the music equals that of his legendary predecessor, but he is also able to bring a power and resonance that gives operatic scale and strength to his performance. His dramatic renditions of solos such as 'What Have I Done?' and 'Who Am I?' are spine-chilling, thanks to the strength with which he is able to hit and hold the big notes, while his 'Bring Him Home' is quite simply awesome. Yet he is not alone. Norm Lewis's Javert is virtually his equal in emotional range, and Ramin Karimloo as Enjolras and Katie Hall as Cosette are also excellent. Matt Lucas, in a slightly leftfield casting choice, is surprisingly entertaining as the roguish Thernadier. While never claiming to be a first-rate singer, Lucas makes up for this by enjoying what obviously is a long leash given to him to put his own spin on the character, really hamming up the comical villainy and providing some genuine hilarity amongst all the weepies. Special mention must be made of the performance of Samantha Barks as the feisty Eponine. While Frances Ruffelle was excellent as the original, Samantha Barks sets a new benchmark, bringing a genuine heart-wrenching pitiable quality, leading audiences to virtually want to beat Marius over the head for not seeing her true feelings, and her haunting solo in one of the show's signature songs – On My Own – becomes a real tear-jerker.Which brings us to Marius. The casting of Nick Jonas, of Jonas Brothers fame, is little more than a casting publicity stunt, and one which almost backfires catastrophically. Quite simply, Jonas is leagues out of his depth, and his voice has not the power nor range to do justice to the role, and he comes across as a typical boy band singer, and a barely adequate one at that. His voice seems small and tinny next to the emotion of Barks or the raw power of Boe. Even his facial expressions come straight from Backstreet Boys 101! He is clearly there as a blatant stunt to draw in younger fans who would buy this just on seeing his name in the cast, a move which comes across as cynical and could cost the performance a star on its own. To be fair to Jonas however, by the time Marius's signature number of 'Empty Chairs at Empty Tables' arrives, he seems to have grown into the part somewhat and sings it reasonably well. Yet when Michael Ball comes onstage for the encore with the rest of the original cast to belt out 'One Day More', you cannot help but feel 'now that is how it should be done!' But even Jonas' potentially disastrous performance cannot prevent this spectacular production of the world's longest running musical from achieving full marks. The music is out of this world, the singing is almost universally phenomenal and the setting of the O2 is suitably grand. It is impossible to fully articulate the raw power of the emotions stirred by the spectacular songs of Les Miserables, but I defy anybody not to be moved to near tears, left breathless and feel a chill throughout the show, and if you are not moved, then you are either lying or dead inside, particularly given the extra treat of seeing the original cast reunite for 'One Day More' and the four Valjeans singing 'Bring Him Home' – a wonderful bonus.Many musicals encompass a range of emotions, but none run the whole gamut with quite the same power as Les Miserables. Awe-inspiring. Perfect.

tonycarr Santa very kindly brought the DVD round and it is spectacular. This is much longer than the tenth anniversary concert (TAC), with much more of the secondary action being included. As a result, this performance is much fuller and more rounded. The production values are superb, and easily surpass TAC. This is nearer the actual show itself. I especially enjoyed the use of the over stage camera angles. As to the performances themselves I am one of those who think that Colm Wilkinson is Valjean and Philip Quast is Javert. Alfie Boe and Norm Lewis came very close to changing my mind. Boe is terrific but his voice, while technically superb, just lacks that little bit of raw power that CW has and he lacks the physical presence. Valjean is supposed to be a big man and when he tells Javert that he is the stronger man by far Boe doesn't look it. Lewis brings a commanding aspect to the role. It's a bit unfair to compare Matt Lucas with Alun Armstrong since Lucas gets a lot more to do in this role and does it very well, alternating from the cuddly comic to the downright malevolent. Perhaps I can't stop seeing Brian Lane or Mr Southouse but Alun doesn't come across as evil. The rest of the cast are uniformly excellent, especially Enjolras. Except one! I have never heard of Nick Jonas and I have no idea how he got the part but he is the one weak link in whole performance. His voice and presence are weak and unsubstantial, and he looks as though he has to go and have shaving lessons after the show. I actually felt really sorry for him when Michael Ball comes out and shows him how do it properly. The appearance of the original cast at the end is a wonderful touch and CW shows that he can still do Bring Him Home wonderfully. The only other criticism is that the DVD is just that, a DVD in a case. A booklet or sleeve notes would have been nice! All in all a wonderful performance which just makes you wish you had been there.Jane in Australia: Dog eats Dog is in there but Little People has been cut. No great loss as far as I am concerned since it doesn't have any effect on the main story