| re: Revisiting the Les Miz film 8 years later; only a my 2nd viewing | |
| Last Edit: Delvino 07:49 pm EST 02/06/22 | |
| Posted by: Delvino 07:41 pm EST 02/06/22 | |
| In reply to: re: Revisiting the Les Miz film 8 years later; only a my 2nd viewing - Unhookthestars 02:17 pm EST 02/06/22 | |
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| It's decidedly late in the game to blame Hathaway -- which as you say, I didn't do -- but it's worth noting what several here point out: the song works just fine when the emotion is used in collaboration with one of the show's 3 signature melodies, not to defeat it. I saw the show early at the Barbican before it was anything close to event theater. The tickets were purchased for me by someone living in London, and full disclosure: I was only intrigued because of LuPone appearing with the RSC. But it was of course a knockout night, and one thing I remember is the way LuPone employed that instrument of hers in service of the song's pathos. If anything, the moment is Fantine's last stand against a cruel universe, a declaration of the tradeoffs she's had to make, realizing -- only at the end -- what they cost her. But Hathaway starts the number with her epiphanies realized, overwhelmed. To me, that's contrary to what musical theater offers: a chance for characters to sing what they can't say. Melody helps shape the incremental revelations; it's the means to an end, not an obstacle. Hooper seems to have less respect for that, or simply is more enthralled with presenting this woman's degradation than illustrating the fight still in her. As a result, her subsequent deathbed scene almost feels redundant, so emotionally redolent of the already-expressed defeat. Again, it's a director's medium, film, I don't hold the gifted singing actor responsible. |
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