During a close-up of Hugh Jackman at the prologue’s climax, I could have comfortably curled up inside one of the actor’s nostrils.Then Jackman whinnies his climactic high C and the camera spirals up into the clouds, borne on the wings of Claude-Michel Schönberg’s rollicking score.And it was the X-Men actor that impressed Anne the most.
During One Day More, when he sings “My place is here, I fight with you,” the line runs you through like a Rada-polished bayonet. Modern cinemagoers have no more common ground with Marius’s rather glamorised plight than they do with, say, Iron Man or the Incredible Hulk, and yet I found myself sobbing along with the rest of the auditorium.
This reaction has been pooh-poohed by some American critics, who made the mistake of trying to engage with the film as drama.
Hooper’s masterstroke was to make his cast sing live on set, rather than lip-sync to prerecorded studio tracks.
This is not quite the innovation it has been sold as (live singing in musicals was standard practice in Hollywood until the mid-1930s), but in a film where almost all of the dialogue is set to music, it gives those words a raw, dramatic vitality, and the odd bum note is a price worth paying.
Jackman is Jean Valjean, a chain gang slave who skips parole to reinvent himself as mayor of Montreuil.
He is thereby caught up in the tragic story of Fantine (Anne Hathaway), a seamstress who falls on hard times, and her angelic daughter Cosette (Isabelle Allen).
Amanda told us: ‘I would have probably done anything [for the Les Mis part] but I find it hard to get my head around losing weight for a role. I knew that she [Anne Hathaway] can do that, and I aspire to that.
I didn’t have to go to the depths of hell for my character so I was able to stay light the whole time.’ ANNE HATHWAY UP FOR GOLDEN GLOBE Clearly Anne made a strong impression of Amanda!
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