Les Misérables (1958) User Reviews

The best of the fuller versions of Les Miserables.

[theowinthrop · 8/10 · 19 March 2005]

In the middle 1950s two film versions of Hugo's best remembered novels appeared and disappeared very quickly in movie houses. This French version of "Les Miserables" was one. The other was a French/Italian version of "Notre-Dame De Paris/The Hunchback of Notre-Dame". That one starred Anthony Quinn as Quasimodo and Gina Lollabrigida as Esmarelda. Both films were actually quite good, and were the best straight versions of the novels to try to get most of the stories onto the screen. However, both were too long for most audiences, especially this version of Les Miserables. This ran over three hours. As pointed out in the other review that I wrote about the 1935 version of Les Miserables, that film version is the best normal screen length film version. But the performance of Jean Gabin as Jean Valjean in this film is superior to the performance of Fredric March in the same role. I would also note that the performance of Bourvil as Thenardier is the best I've seen (even better than Ian Holm's in the 1978 version). Thenardier is an even slimier villain than Javert is, but Javert's single minded pursuit of Valjean in the novel makes the antics of Thenardier look secondary, and they are usually dismissed in the filmed versions (though not in the musical version). Check out the scene where Thenardier and his goons kidnap Valjean for ransom, and the latter demonstrates how tough he is effectively thwarting the plan. It does not appear in the 1935 version.

The best version? No. A good version? Yes.

[TheLittleSongbird · 8/10 · 29 November 2013]

To me, the best versions of Les Miserables- a literary classic, and "the great French novel" for a reason- are the ones from 1935, 1978 and especially 1934. Apart from some draggy pacing, staid directing and the very unexciting barricade scenes, this film was still very good and as an adaptation is better than the 1952, 2000 and especially 1998 adaptations. The film looks very detailed and beautiful if at times too clean, and the photography is very skillful and mostly fluid(if clumsy at times in the scenes with the barricade). The music is haunting and dynamic and occasionally playful, while the script is very literate and maintains the brusque nature of Hugo's prose and the story is faithful in spirit to the book with some parts expanded on like with Valjean and Javert- though things were changed to accommodate the age difference between the actors- and Valjean and the bishop, which none of the other adaptations or even the book for that matter did. The storytelling is still poignant and the message of the book is there and it resonates. Of the cast the standouts are Jean Gabin, Bernard Blier and Bourvil. But that is not to dispute Daniele Delorme as a touching Fantine and while Béatrice Altariba achieves some pathos if not being entirely successful at overcoming Cosette's blandness. Gabin is a noble and understated Valjean with a lot of charisma and emotion, his change from immorality and redemption is portrayed very convincingly. Blier's Javert is cold-blooded, obsessive, strong-principled but there is vulnerability and a conflicted side he brings to Javert as well, which stops him from becoming too much of a one-dimensional antagonist. Bourvi's Thernadier is very slimy and funny, one of the best in the role actually, he manages not to be too sadistic or buffoonish, for a comic-villain role that Thernadier is those are a danger and Bourvil doesn't fall into that trap. In conclusion, a very good film and adaptation but from personal perspective it's not a first choice. 7.5/10 Bethany Cox

Good film for those who do not like to read

[esteban1747 · 7/10 · 28 June 2004]

This version of the famous novel of Victor Hugo I found very suitable in general, with good acting and a narration, which give a real idea of the book. As I said several times several films never coincide with their original written versions, but this time the director Jean-Paul Le Chanois made a good effort in having a material as much similar to the book. Jean Gabin, for me the best all-time French actor, plays a good role as Jean Valjean seconded efficiently by Bernard Blier as Javert and several other French and Italian actors/actresses. I am sure that not all should agree with the opinion given here by me, but it depends how you feel about Hugo wrote. Misery is shown not only materially but spiritually as a sign of decaying society.

Movie gains applause for fidelity to book

[ailurophile · 9/10 · 30 October 1999]

Being a diehard Les Miserables fan, I first learned the musical and then read the book. The musical, though wonderful, was nothing in comparison to the book; there was just so much material in the book that it couldn't all be put in the musical. In this movie adaptation, however, much effort is made in accuracy to not only the plot of Victor Hugo's novel, but the atmosphere and characters. Scenes are filmed as near to where they actually took place in the book as possible, and characters reflect the Hugo's original intentions. The plot is concise enough to be understandable, but full enough to give the viewer a true sense of Hugo's message. Overall, it is a wonderful adaptation and an excellent film.

Valjean,Cosette,Javert ,Thénardier,Marius,Gavroche,Eponine et les Autres..

[dbdumonteil · 25 December 2006]

Jean-Paul Le Chanois,as anyone past infancy knows ,at least in France ,was the "Bête Noire" of the Nouvelle Vague .More than any other director,Godard and his clique were ruthless when they used to speak of him.Unlike Carné ,Duvivier,Clouzot and Grémillon- other victims of the Young Turks who were better than their persecutors anyway- ,he was never restored to favor even by the contemporary critics.Jean Tulard writes in the "Dictionnaire des Réalisateurs" ::" He represents the mediocrity of the fifties cinema (...)He made the worst of all "les Miserables" versions(..) " Objections to Le Chanois's version remained: the pictures are too clean,the characters (particularly Danielle Delorme's Fantine) seem well-fed .Bourvil is miscast as Thenardier:he is too gentle ,too nice to portray him successfully.Cosette is forgettable as a girlie,she is totally bland as Marius's love.How can a director be wrong with the famous scene of the doll,which every French schoolboy and every schoolgirl in my country know by heart? Such is the case here.Waterloo battle and the scenes on the barricades are not really exciting .(But Hossein's slow motions in the 1982 version starring Lino Ventura were not really an improvement on it.

On the plus side,Gabin is a good Valjean -he does not equal Harry Baur in the Raymond Bernard version though- and Bernard Blier is the best Javert I've ever seen.The Valjean/Javert relationship would inspire lots and lots of screenplays,"the fugitive" for instance.Also worthwhile is Silvia Montfort's portrayal of Thenardier's daughter:she easily outclasses Beatrice Altariba's Cosette.

People complain because there are scenes in the novel that were not filmed.Let's not forget that it's a mammoth novel:only a miniseries could do Hugo justice.And anyway it's better than the Liam Neeson version and its happy end.

NB:When the movie was released in France it was divided into two parts (called "epoques" (=eras)) which was the word they used at the time and the audience was invited to come back and thus pay twice to see the whole.

Best film version of Les Miserables I have ever seen.

[RobertUnderwood · 10/10 · 11 April 2003]

I have seen numerous film adaptations of Les Miserables. This 1957 French version (directed by Jean-Paul Le Chanois) is the best one I have ever seen. I watched the version that was produced by The Bridgestone Group in 1992 with English audio (ISBN# 1-56371-044-7). It aligns closely with the plot of the novel, and the cinematography is outstanding.

Good but overlong rendition well based on Victor Hugo novel with fine interpretations from Jean Gavin and Bernard Blier

[ma-cortes · 7/10 · 12 October 2020]

Classic French rendition with atmospheric production design, evocative cinematography in Technicolor Techniscope and awesome cast giving nice acting throughout. Set in 19th Century during Revolution of the Thirties , throwing over King Louis XVIII and taking over power Louis Felipe Orleans in 1830 and subsequent revolutionary fights for the French Republic . After facing poverty and a long time in prison for stealing bread for his starving relatives , convict Jean Valjean : Jean Gavin is freed . Later on , paroled Jean robs precious objects, and is detained but is reedemed for the kindness a bishop. After that , he carries out a prosperous life and is eventually appointed as a Mayor . But Police Inspector Javert : Bernard Blier finds out his true identity as he recognizes him and wants to bring him down . Along the way Valjean cares for an unfortunate prostitute named Fantine and adopts her daughter Cosette : Beatrice Altarriba taking her to París as his own child , and she subsequently falling for a student called Marius : Exposito, who has revolutionary ideas and joins the Revolution led by obstinate leader Enjoiras : Serge Reggiani . The pursuit consumes both men's lives and soon Valjean finds himself in the midst of the student revolution of June 1832 bursting after General Lamarque's death. The legend comes to life .

This known story Is nicely detailed , well paced , with a lot of incidents fitting to Victor Hugo's novel. As the plot follows faithfully the ordinary canon , as the ex-criminal relentlessly chased by the stubborn Javert , playing a cat and mouse game. Main and support cast deliver top-drawer performances . Jean Gavin is extraordinary as an ex-convicted who was imprisioned of a minor crime and spends the rest of his life mercilessly chased. While Bernard Blier is magnificent as the unrelenting and implacable policeman who pursues Valjean here and there . The ordinary comedian Bourvil here plays the extremely nasty and ambicious Thenardier . Beatriz Altarriba and Exposito perform the two lovers Cosette and Marius who are usually cared by Jean Valjean.

Other versions are the following ones : the classic Hollywood rendition Les Miserables 1935 by Richard Boleslawski with Fredric March, Charles Laughton , Rochelle Hudson, Sir Cedric Hardwicke. Les Miserables 1952 by Lewis Milestone with Michael Rennie , Robert Newton, Debra Paget. Italian version Les Miserables 1952 by Riccardo Freda with Gino Cervi, Valentine Cortese . Les Miserables 1982 by Robert Hossein with Lino Ventura, Jean Carmet, Michael Bouquet . Les Miserables 1995 by Claude Lelouch with Jean Paul Belmondo , Alexandra Martínez, Annie Girardot , Rufus, Jean Marais , Philippe Leotard . Les Miserables 2008 by Billie August with Liam Neeson, Geoffrey Rush , Uma Thurman, Claire Danes, Hans Matheson , Peter Vaughn . The lavish musical 2012 Les Miserables by Tom Hooper with Hugh Jackman, Russell Crowe, Amanda Seyfried , Anne Hathaway, Sacha Baron Cohen. And TV series Les Miserables 1978 by Glenn Jordan with Richard Jordan, Anthony Perkins , John Gielgud , Cryl Cusack, Flora Robson . And Les Miserables TV series 2018 with Dominic West, David Oyelowe, David Bradley, Olivia Colman , Lynn Collins , among others.

A Wide-Screen, Full-Length, Color Epic Version

[timcon1964 · 9/10 · 21 December 2020]

This film, generally faithful to Hugo's novel, was the first full-length, wide-screen, color (Technirama) theatrical epic version of Hugo's story. No subsequent screen presentation of Les Miserables has displaced the 1958 film as a full-length theatre epic.

Through the story of Jean Valjean, Hugo sought to demonstrate that every soul contains a "divine element . . . which evil can never entirely extinguish." Valjean, released from prison after serving 19 years for stealing a loaf of bread, is inclined to hate human law, and is enmeshed in a struggle between hatred and goodness. His character is largely shaped by the Bishop of Digne, who befriends him when no one else does, and saves him from another prison sentence after Valjean steals the bishop's silverware.

An oddity in this film is that, when he first sees Valjean, Javert is the young son of a prison official. Presumably, the producers worried about the 12-year age difference between Jean Gabin (Jean Valjean) and Bernard Blier (Javert). In fact, this departure from Victor Hugo's novel is confusing and unnecessary. When they encounter each other in Montreuil, Javert is about 40 years old, and Valjean is about 55. In other words, the age difference between Gabin and Blier was almost exactly that between Valjean and Javert.

Remorseful after he robs a young boy, Valjean decides to turn his life around. He assumes a new identity ("M. Madeleine"), but he is pursued by police inspector Javert. The conflict between these two men is the central theme of the novel. Javert is not cruel. But, born in prison to a fortune teller mother and a convict father, he is ashamed of his origins, and compensates for them through an exaggerated respect for authority and hatred of rebellion. He is devoted to the literal letter of the law (in today's terms, a "textualist," or "strict constructionist"), whereas Valjean seeks to abide by the spirit of the law. Troubled by the fate of Fantine, a young woman unjustly fired from his factory, he promises to assist her and her daughter Cosette, who is with the Thenardier family (a situation explained in a flashback). Later, Valjean provides assistance to this family, but M. Thenardier responds by attempting to rob Valjean.

Applying the letter of the law to himself, Javert, having denounced "Madeleine" to authorities as the real Valjean, demands that Valjean dismiss him, because an innocent man (Champmathieu) has been mistaken for Valjean, and is about to be sentenced. Valjean feels compelled to sacrifice his successful new life in order to save this innocent man. (In the subsequent trial, Gabin plays both Valjean and Champmathieu). Valjean soon escapes from jail, rescues Cosette from the Thenardiers, and flees to Paris, where he and Cosette live in a convent. After she graduates from its school, Cosette meets Marius and they fall in love.

Marius is then living next door to the Thenardier family. Perhaps the various Les Miserables films differ most in their treatment of the Thenardiers' daughter Eponine. Hugo may have created her as a foil to Cosette (who was a very different person), or to demonstrate that good can emerge from depraved circumstances. Eponine has scarcely any food or clothes, is periodically pursued by the police, beaten by her father, and (perhaps to avoid him) occasionally sleeps in ditches. On the other hand, she travels around Paris soliciting money for her father, she is educated, is fascinated by books, adjusts her appearance in a mirror, attends theatrical shows, sings love songs, worries about Marius' hair and clothes, and, even as she is dying, fears that he did not pick up a coin she dropped. The 1958 film, like some others, emphasizes her unrequited love of Marius; but neglects the rest of her story. Marius does not return her love, or even sense it, but Eponine adopts a surprisingly protective attitude toward him. The 1958 film largely overlooks this part of the story. It fails to reveal that it is Eponine who guides Marius to Cosette's house. And it omits Eponine's admonition to Marius, as she is guiding him, to pretend that he is not with her, because "It won't do for a fine young man like you to be seen with a woman like me." Knowing she has no chance of romance with Marius, she not only takes him to Cosette's house, but repeatedly acts to protect Cosette, even to the point of risking her own life.

In view of their childhood antagonism, a conversation that grown-up Cosette and Eponine might have had if they recognized each other would be interesting. In the 1958 film (unlike the novel) they do meet. Valjean and Cosette provide a big meal for Eponine in their home, and arrange to take food to the Thenardier family. Cosette even gives Eponine a new dress. But the young women never recognize each other. In the film (as in the novel), when Marius shows up in her garden, Cosette never asks, "How did you find me?" That question also could have produced an interesting conversation. And, after he has survived the barricade battle, he never tells Cosette how Eponine saved his life there. In each of these situations, Hugo could have given more depth to Cosette's personality.

When Valjean plans to move, Cosette writes a note for Marius with news about the move and her new address, and hands it to Eponine (then disguised as a boy) to deliver to Marius. In Hugo's improbable narrative, Eponine, driven by jealousy, plans to separate Marius from Cosette and lure him to the barricade so they can die there together. So Eponine withholds Cosette's note from him, and yells to him to join his friends at the barricade. Thus, in one paragraph, Hugo makes it appear that Eponine's actions send Marius to the barricade. But the real problem, not explained in this film, is that Marius is financially unable to marry Cosette, having for years chosen not to work, and having failed to obtain money from his grandfather. Marius is responsible for his own misfortune; and now he must fulfill his "sacred" oath to die if Cosette moves away. He probably would have gone to the barricade even if he had received Cosette's note. Hugo's description of Eponine's handling of Cosette's note provides a mystery. A jealous person would read the note. Eponine doesn't. A vengeful person would destroy it. She doesn't. To separate Marius and Cosette, she should certainly dispose of it. She doesn't do that either. Jealousy doesn't begin to explain Eponine's handling of Cosette's note. Obviously, she still has the option of delivering it to Marius.

In the 1958 film, Eponine takes the note from its hiding place, reads it, crumbles it angrily, hides it under her blouse, and tells Marius that Cosette has gone to London. Thinking he has lost Cosette, Marius no longer fears death. As he heads for the barricade, Eponine tells him, "Let me come with you. We'll have a laugh." Apparently oblivious to what might happen, she accompanies Marius to the barricade. When a soldier aims at Marius, Eponine grabs his rifle and points it at herself. Mortally wounded, she gives Cosette's note to Marius, telling him, "I can't see you unhappy." She asks him to kiss her after she dies. When she appears to die, Marius gives her a long kiss on her lips. Then she revives and says, "I think I was a little in love with you," and dies.

After reading Marius' note to Cosette, Valjean first considers concealing it, hoping that Marius will die and Cosette will remain with Valjean. But Valjean's conscience compels him to go to the barricade to save Marius. At the barricade, Valjean assumes responsibility for killing Javert, but then frees him. Later, Javert says he cannot understand Valjean's action. Valjean says, "I pity you." Valjean carries Marius through the sewer and takes him home. Then Javert goes to the river. We do not hear his final thoughts. A little boy walks away from him, looking back apprehensively. A derelict old man, apparently dozing or drunk, jumps up and hurries away. Javert cuffs his wrists and falls into the river.

Like the novel's Valjean, Jean Gabin is rather unemotional, and the emotional moments he experiences often involve internal struggles. Gabin always appears clean shaven with hair neatly combed. As with Hugo's Javert, Bernard Blier always seems "Impassive" and "perfectly calm." Daniele Delorme, portraying Fantine after she has lost her hair and her teeth and been reduced to prostitution, provides powerful emotion. Bourvil, noted for comic roles, was a poor choice for Thenardier, whom Hugo describes as resembling "vulture and shyster," a man steeped "in an intensifying viciousness." There was no humor in Hugo's Thenardier. Giani Esposito displays very little emotion as Marius, often with a vacant stare thinking about Cosette. Even in romantic scenes he seems rather stiff. The script limited Beatrice Altariba's performance as Cosette. On the other hand, the script gave Silvia Monfort wide latitude to develop Eponine's character. Monfort, most famous for her stage performances, is very compelling as a sultry-voiced, red-haired, and barefooted Eponine, and is perhaps the most highly regarded actress ever cast in this role. 35-year-old Serge Reggiani seems well suited to the role of insurgent leader Enjolras, although Hugo's Enjolras is only 22 (and appears even younger). Jean Topart provides voice-over commentary.

The 1958 film was very successful in France, but was not screened in the U.S. until 1989. It was filmed in studios in former East Germany and France; and some scenes (e.g., at the Luxembourg Garden) were filmed on location. East German soldiers served as extras in the Waterloo and barricade scenes.

I got through it

[bob998 · 5/10 · 12 March 2020]

The worst of the four versions I have seen. Gabin is dull, uninspired--and look at the director, Le Chanois, no more than a journeyman when an artist is required for one of the great classic novels. Bourvil is excellent as the supreme hypocrite Thenardier, while Delorme has some touching moments as the unlucky Fantine. You can pass this one up, watch Fredric March and Charles Laughton instead; Laughton gives another of his superb performances as Javert.

The best movie adaptation so far of this great story

[jean-claude primeau · 11 November 2002]

I have seen a number of film and TV adaptations of Les Miserables: this is by far the best. It has the required grandeur and outstanding performances by Jean Gabin (unbeatable as Jean Valjean), Bourvil (a very sly Thenardier) and Bernard Blier (a great Javert). Silvia Montfort is a striking Eponine. Quite long but doesn't feel it, it has enough scope to do justice to the story.

My Least Favourite 'Les Mis' Adaptation

[lowefreddy · 3/10 · 1 September 2020]

There are so many fantastic adaptations of this book out there. This is not one of them. For me, the best ones are those from 1935 (starring Fredric March and Charles Laughton) and 1998 (starring Liam Neeson and Geoffrey Rush).

The majority of the English adaptations have the confidence to condense and take creative license with the story - in order to make it more appropriate for the film format - whereas the French adaptations stubbornly put all 1200 pages onscreen. This results in ponderously boring films of 4 hours duration. Whichever you prefer depends on personal preference, but I would recommend giving this one a miss.

Here is my ranking of all the adaptations I've seen: 1958<1982<1934<1978<2018<2012<1952<1935<1998

admirable work

[Kirpianuscus · 26 November 2016]

the best version of a book like Les Miserable is an impossible mission. because this is the fate of a great novel. this adaptation has the gift to be correct. and memorable. and impressive. and each of this are more than precious virtues. because it is Les Miserable of Jean Gabin, Bourvil and Bernarb Blivier. because the atmosphere, the music and the respect for novel are admirable. because the spirit of one of the French literature masterpiece is preserved and presented in inspired manner. and this does the film more useful for the readers of the book of Victor Hugo because Jean Gabin gives a magnificent Jean Valjean. not only at the level of image but as wise exploration of the gestures, fundamental change and generosity. and Bourvil is Thenardier more than you imagine. a film who use the lines of text as impeccable clothes. so, not ignore it !

Memories

[eabakkum · 30 July 2015]

Recently I bought the film Les miserables on DVD, because in my youth it had made a deep impression. The French release is rather expensive, but fortunately there is also a cheap Chinese version, with subtitles that can be switched off. This requires that you understand French. Joke to enliven this review: acupuncture fees in China are so cheap it is called pin money. Perhaps the outstanding quality of the film is illustrated best by the fact, that even today I recognized many of the scenes. And believe me, I am old, I can remember when everything was fields. I start doing jigsaw puzzles again. The film excels in its plot, in the gifted actor Jean Gabin, in the scenery and in the music. The narrative is so characteristic of the nineteenth century, with a clear division between good and bad. It is true that Jean Valjean (Jean Gabin) has a criminal past, but actually this derailment is caused by a crooked society. And when Valjean is converted by a priest, he remains an angel for the rest of his life. What kind of fun does a priest have? Nun. In addition all love is pure. When the adopted daughter of Valjean meets a young man, it is love at first sight. In addition the political situation is fascinating. We see how street battles put aside the remnants of the royal rule. So there is plenty of romance, and this is of coarse what made Les miserables so appealing to the adolescent that I was. And I suppose that the film may still be attractive to people in developing countries like China. For, as Confusius said: war does not determine who is right, war determines who is left. On the other hand, the contemporary postmodern Westerner may take offense at the lack of nuance and psychological depth. Not withstanding this flaw, the film remains highly recommendable. Don't forget to leave comments. I love it.