I was originally going to author a New Year’s Resolution blog in this space. After examining the massiveness of that cliché, I thought better of it. That, and one of my resolutions was to actually blog once a week.
So here I am, two weeks into the new year, writing my first blog. And it has nothing to do with resolutions. Instead, let’s talk film.
The Golden Globes are happening as I type this, and we know all about the Oscar nominations from earlier this week (I’m sure there’s a great story behind the name “Oscar,” but why not something cooler – like “D’Brickshaw” or something?).
I’m not going to pretend I’ve seen all the films out there, but it’s definitely a strong class in 2013. I believe Kathryn Bigelow, based on her previous work and current media buzz, got snubbed for a Best Director nomination. I was a proponent of Flight for a Best Picture nomination. And I certainly don’t think anything will beat Wreck-It Ralph for Best Animated Feature (though who knows — those numskulls at the Hollywood Foreign Press gave the award on the Golden Globes to Brave).
Also, I have to give fair warning. You’ll be able to cover a mountain of chips with the cheese I’m about to spew in your general direction. But I sincerely mean what I’m going to say. So grab a napkin and buckle up.
Now that we got the standard conversation out of the way, let’s talk about something miserable. See what I did there?
I was familiar with the basics of the story behind Les Miserables, but didn’t really get to experience it until seeing it on stage recently in San Francisco with my theater-obsessed lady friend.
Needless to say, the theater performance was incredible. But you never know how that will translate to the big screen. That being said, I’d like to present a case for Les Miserables as Best Picture:
*Spoiler Alert – if you haven’t watched the Golden Globes yet, that’s your own fault, so don’t yell at me when i tell you this very next thing!*
Les Mis won Best Picture (Comedy or Musical) at the Golden Globes this weekend. Therefore, it was not up against Argo (which won Best Picture for Dramas), Lincoln or Silver Linings Playbook. But it gives a glimmer of hope to people like me.
See, it’s not just a film. It’s a book-turned-performance-turned-film-turned-musical. And though the story is exceptionally dramatic, over the top, and depressing in most parts, it is one of the truest, purest stories of love and hope one will ever read, watch or witness.
Call me cheesy if you want, but I’m a sucker for stories that bring out emotions in people. And if you understand the narrative (it’s pretty self-explanatory, really), you would not leave that movie theater unaffected.
Don’t get me wrong, you don’t have to sob and weep at the precision of Anne Hathaway’s version of the epic song “I Dreamed A Dream.” You don’t have to shed a tear for Russell Crowe’s internally twisted Javert. You don’t have to grab a box of tissues to get through Eponine’s sacrifice and heartbreak.
Where this film differs for me from other contenders (Lincoln, Django Unchained and Argo are really the only three I can fairly make comparisons to, as they are the only other of the nine films nominated for the industry’s greatest award that I’ve seen in theaters), is in its well-rounded execution.
I was shocked into another world watching Daniel Day-Lewis, the leading candidate for Best Actor, portray Abraham Lincoln. I was left in awe of his performance and the overall technical perfection of the story and film.
And Argo was a jaw-clenching ride about a terse, political event that I also thought was extremely well put-together, and especially well-directed by Ben Affleck (one of the bigger snubs, in my opinion).
Yet where those films succeeded, so did Les Miserables. With one slight improvement.
I can praise all three films (likely, the three leading candidates for Best Picture if the Golden Globes are any indication – I assume Django, Silver Linings Playbook and Zero Dark Thirty will all get strong consideration as well) for the story, the acting, the directing, the cinematography, and everything in between.
But one thing that Les Mis excels at is creating emotion in a viewer. Not only was it one of the most untouchable stories of all time — which, according to the girlfriend, was made into a mediocre non-musical film years ago — but it required the exclusive use of music and singing to get said story across.
Watching and listening to the story of lost hope, self-discovery, love, war, hate, revenge, regret, doubt and incredible human kindness unfold on the big screen left me feeling, as my sister said at the end of the showing, like “my heart just got ripped out of my chest.”
As unnatural as this sounds, that’s a good feeling to have after seeing a work of fiction – no, a work of art – take place in front of you. I did feel like a hole had been punched right through me, but I was beaming from the happy ending of the film and the overall dedication of the actors and characters to making their lives livable in such a desperate time.
Those are the things I reward artists for. And if I understand correctly, that is what artists live to be rewarded for. Making a difference, no matter the size, in the audience’s collective minds and hearts.
While the other films I mentioned were not easy projects by any means, Les Mis gets my vote for its sheer power in telling the strongest, most legendary story of them all through musical theater.
Director Tom Hooper took on a monumental task, that had even the biggest Les Mis fans primed for a let down. Instead, what those theater nerds got was music that brought them to their knees, and a film that made tear glands burst.
You have to understand that for people like that — for people like my girlfriend — this film living up to the massive expectations is akin to the Dodgers going 162-0 and sweeping their way through the playoffs to a World Series title for me.
Perfection. Pure perfection. It was…no, IS, the Holy Grail of musical theater. And the fact that Hooper, Jackman, Hathaway, Crowe, and the rest of the cast did it justice at all is a feat worth celebrating.
And in this otherwise unimportant blog’s opinion, it’s worth celebrating with a shiny, gold Oscar on February 24.
Agree? Disagree? Just want to talk about your feelings? Hit Jeremy up on Twitter @Jamblinman. Thanks for reading!