"Les Miserables" is a persuasive story of "you love the world". Of course, Lallila is mixed with buildings and historical stories in the middle (the old lady only read it with brute force), but on the whole it is always "good deeds" The two lines of "big love and little love" are intertwined with the light and dark of evil deeds, highlighting the balance between "humanity and order". One is divided into two, two in one, which is very structurally complete.
Jean Valjean and Fantine are just the most ordinary people, because after a "small misstep", the people they met have different attitudes toward their faults, and they have got two completely opposite fates.
The former was fortunate enough to encounter silverware given by priests to get a new life, reborn as a good person who is full of love for the world and useful to society.
And the latter... Suppose the tavern couple are not so greedy, the foreman is not so cruel and ruthless, suppose there is a pair of priest-like hands holding her up when she sells her hair and sells her teeth, Fatine will not step into the abyss step by step. Degenerate more and more.
Fortunately, I met Jean at the end of his life. Fantine could leave this world with comfort and hope instead of endless resentment and hatred. The wicked people in this world are spawned by ubiquitous malice. If everyone is like a priest, it is hard to say that everyone with a dark history will become Jean Valjean (after all, there are villains like the tavern couple), at least there will be no Fantine tragedy.
Not only because she felt responsible for dismissing Fantine, but also because she saw another possibility of her own destiny in her encounters, Jean was so persistent about "fulfilling the promise to Fantine", which made Cosette the most complete and happiest in the book. character of.
Her beauty, intelligence, purity, and kindness are the hope of this "miserable world". Jean's initial crime was to "save her sister and child to steal bread", and Fantine's motive for getting deep in the mud was also to "save my poor child", and their sacrifices were for the next generation. Throughout the generations in the book, the innocent and miserable are like Fantine, the cunning and unscrupulous like the tavern couple, and the cold and tough like Javert, there is no "love" place in their hearts. Even if Jean Valjean has it, it is also great love. It is the driving force of compassion and responsibility intertwined with atonement and gratitude until he finds the Costette. Although abandoned and abused, he is young and innocent. As long as he is properly protected, he can still hope to be happy in the future. ——It is the most natural human emotion that has been forgotten for a long time.
His affection for Cosette's father and daughter is a little love.
This kind of ordinary little love that has no trace in the parent generation is the main thread of the child generation. The love between Marius and Cosette, Eponine's unrequited love to Marius, the friendship between revolutionary youth. Compared with big love, these little loves have anxiety and jealousy that limit quarrels and suspicions. And it is these little loves that change the world in the end. Marius took her thoughts of Cosette to death. Eponine got rid of her selfish parents and went to the front to protect her lover. Jean joined the battle to protect her daughter's lover...Always embraced the lofty revolutionary love Enjolras was the leader, but participated. Revolutionary people are more out of love, as Yinsang said, "everyone has something to desperately want to protect."
When these little loves come together, the blood shed in this war is not just violent, hatred and murderous, but to fight against the indifference and cruelty of this world, and for the hope of the next generation.
And this hope is not easy to come by. Enjolras is dead, Gavroche is dead, Eponine is dead, Marius is scarred all his life. But Jean saved Cosette, not only her life and her life, but also her happiness, her love, her innocence and her honor. She is exactly what Jean and Fatine envisioned, the new world Enjorlas struggled with: Forgetting the abuse and oppression she had suffered, she was full of love and beauty. It is Hugo, the France that his contemporaries aspire to.
The great love of respect for God is a kind of willingness to do good, and the little love of licking the calf urges the warmth in the human heart, and finally it becomes what we now call "humane care". Corresponding to it is Javert's principle of "bad law is also law".
Javert is not a bad person. During the revolution, he also felt that the students wanted to persuade them to be innocent. When he went to Cosette, he was worried that Jean was not a beloved, and he would be disadvantageous to the children. He bit Jean to death, not for personal vengeance, but "the law is what it is, and the law enforcers should be like it". He does not listen to the reason or believe the excuse. Regardless of the hardship, regardless of whether the motive is excusable or not, breaking the law is breaking the law, and what the law says is to be punished.
Because of the environment in which I grew up, I liked and admired Javert's stubbornness and perseverance when I was reading: this is definitely a man who "may not be surrendered, and rich and wealthy cannot be licentious".
If the law enforcers in the world were like him, the world would be peaceful-I thought so at the time, simple and rude but it makes sense. Naturally, in recent years, I have faced a lot of people and things in society, and I have thought deeply, only to understand that the so-called "legal principles are nothing more than human sentiments" is not all inquiries. How to balance between "humanity" and "legal system" is a difficult and delicate issue. For example, the main controversy of the "legalization of illegal immigration" currently discussed by the US imperialism is focused on this. Of course, it is wrong to enter the border illegally and become a black household. Punishment should not be encouraged; however, it is inhumane to drive people back across the board. , Does not leave a way for people to survive.
At the moment, Father, this world is needed, Javert, this world is also needed. So Jean Valjean just hid it with fear, but didn't hate it-what Javert did was unsatisfactory, but it was absolutely correct from a legal point of view.
In the novel, Javert, the guardian of the rules, is shaken by Jean and sinks into the bottom of the Seine. That is the requirement of Hugo's era. "Dramatic laws are illegal." Believing in the goodness of human nature and the instinct of pursuing happiness with human beings, I beg the incumbents not to stick to the stereotypes, call the opposition to bravely resist, and let the old world go with the torrent of history. , To create a free and equal tomorrow where everyone loves and helps each other.
The adaptation of the musical follows the structure and spirit of the original on the first two levels. The chorus at the beginning is the sorrow and sorrow of the pro-generation/old world. In the scene of the uprising, singing with people sing to achieve the change of time and history. At the end, people sing is used to inspire hope. When Fantine and Jean Valjean passed away, they received the last comfort from each other. They were accompanied by a beautiful and safe Costette, but what Fantine saw was the young Costette she had imagined, and Jean was accompanied by a real adult. Cosette has fulfilled the promise of protection and redemption.
However, Jean and Javert's consistent clue was handled rather improperly. After the original "Les Miserables" came out, the most criticism in France was the "religious meaning" in it. It was the "Bright Era" in France at that time, yearning for rational democracy and equality, and communism was born. Although as mentioned above, Hugo ultimately used Xiao Ai to overthrow the "Les Miserables", but the plot of the priest is enough to be criticized by leftist intellectuals. The musical not only magnified the evil of people (the scene where Fantine was ousted, her co-workers were portrayed too coldly), but also magnified religious themes, calling out the name of God at every turn, and there was also a lyric that Javert boasted "instead of God to punish You", before throwing into the river, you raised your head and asked the sky, which greatly weakened the opposition between this character and Jean. The two fell in love and killed each other... Well, it is a symbol of the pursuit of competition for decades: it should have been the people's opinion of a better life. The conflict between desire and the existing system, in the musical, seems to become a problem between believers and unbelievers, Javert is unreasonable.
As for the "little love" part, Marius and Cosette fell in love at first sight, and Cosette asked Jean about the truth, but only one or two lyrics, which did not fully reflect the pity and admiration of this character, leading to this "Athena of Saint Seiya" The image of the goddess is empty and boring, especially when compared with the hard-failed Eponine, like a white lotus that takes up all the benefits.
In addition to the freedom of scenes, the series of plots and Yan Yi's performance are the advantages of film adaptation. But this film seems to have forgotten one thing: Compared with the Broadway venue and orchestra organization, the film is a studio soundtrack, you can use the great symphony orchestra and cantata, this layer of freedom in music arrangement is not reflected in this film at all ( Perhaps it is the intention to retain the Broadway features?). The two choruses at the beginning and the end of the musical "Les Miserables" should be full of "epic" temperament. The people sing at the end uses snare drums and trumpets, and the corresponding opening is a chorus of Slimers. Both should be the same in intensity. In order to embody the image of "overthrow". On the Broadway stage, the vocals are limited, and the percussion and steel pipe instruments cannot be excessive. After moving to the screen, it is obvious that you can re-arrange the orchestration, and then use a hundred people chorus to render the spirit like a beijing, but instead of changing the opening chorus to round singing...
In addition, the method of "real singing and real shooting" is used to make The actor brings the situation into the song, and the audience can simultaneously see the real expression of the actor while singing. In order to maximize the effect of this “innovation”, the close-up of the whole film is constant, except for a few location scenes, the camera almost shuttles through the upper body of each body. The scene in the pub made people almost dizzy.
And when it comes to using facial expressions to add points to singing, only Anne who just starves herself to nothing. Because Fantine in the musical has a loud voice, she always sings with resentment rather than anger, and she has the energy to retaliate against the society. Anne is helpless and pitiful in every way, fully embodies the tragic definition of "destroying the good to others".
Eddie obviously has good vocal training. The advantage is that he can make a thick voice with a small body that is blown down by the wind and a delicate and thin (receptive) face. You can switch freely between revolutions. The disadvantage is that this kind of training caused him to shake his head as soon as he lifted his resonance, giving people a clear impression of "singing", as if he was not watching a movie but watching a musical that was made into a video (of the two It shouldn't be the same thing to force it between times). Only in the scene of empty chairs, the camera is facing his side, those head shaking and the sadness in the lyrics are wonderfully combined.
As for the actors who played Eponine and Enjolras, who were originally Broadway actors, they were too distracted on the performance level when they sang simultaneously. Eponine sings a little fall of rain in a weaker voice in order to meet the needs of the plot-it can be loud on stage, but in the movie scenes, it is weird for a woman who is seriously injured and dying to sing with her lungs screaming. But it can still be seen that Samantha was a little indifferent when singing this passage. As for Aaron, his voice is too scholarly and not provocative at all. If it is a dubbing, at least Aaron can make more exciting facial expressions to complement the softness of his voice, but because he is singing synchronously, his expression is of course an embarrassing "I'm in control" when he controls the voice. When singing with Marius, both the voice and Yan Yi were overshadowed by Eddie, and the charm of the so-called "leader" disappeared.
For Ammanda, it's not that the two sides are incomplete, but the two sides are indifferent. The musical method used to make up for the lack of role of Cosette is to set her as a high note. She is the only character in the play that needs to sing with a beautiful voice to reflect her "goddess" attributes. If you just listen to the tune, then young Sarah Brightman has to sing-as bright as the moonlight, as soft as the first snow, flying above the suffering of the world. Ammanda sang the high notes not to mention the light and ethereal, it is almost a minute to worry about her breaking or losing her breath... The trio of Cosette, Marius and Eponine is particularly obvious, the high notes are almost completely inaudible, so this character becomes even more absent. Presence. At the top of the high notes, Ammanda's facial muscles were tense, and her eyes were almost "scared" and "struggling", so her expression was always anxious throughout the movie. As a result, the result is "Obviously taking advantage of the benefits, but always a look of inadequacy."
Of course, the most serious problem with ORZ is the two protagonists of the generations.
Uncle Wolf has always been able to sing without hindrance, and singing and dancing is not a problem. I don't know what's going on this time, it seems that I can't open my voice. After listening to the first two paragraphs, the OS in my heart is "This Jean Valjean is a real nymph"... To put it harder to say, in the drama of Uncle Wolf, especially in the high-pitched part, the "eunuch voice" is sung, saying What about the good baritone? Does Jean Valjean mean that when he said to Cosette, "I am both your father and your mother"? Moreover, Uncle Wolf sang a wrong expression in one place. After receiving Marius’ letter, Jean was troubled and entangled at first, "He will take away the only light and comfort in my life." Right now, he hates that stinky boy, but when he thinks of "he He might die," he immediately put aside his personal affair and decided to save people, which is the same as he told Gavroche to stay away from the battlefield to protect the next generation. But when I played for Uncle Wolf, when it came to the phrase "he might die", somehow it gave people a feeling of "wishfulness", and even caused the audience to snicker...
As for Uncle Luo playing Javert, I knew it after hearing about casting. It would be a tragedy. After I was mentally prepared, I didn't have a big blow to me by Uncle Wolf. Uncle Luo's singing with a big white voice, seven emotions, and his magnetic hormonal voice, is a fatal blow to the character of Javert. Let out all the emotions of anger, dissatisfaction and anxiety, and use it with all kinds of small expressions with frowning and bowing. Is this still Javert with a blank face and a stone-hearted heart? What’s even more cheating is that the movie still walks upstairs opposite Notre-Dame de Paris on an exclusive basis, and then runs to the side of the Seine River, and is accompanied by a horse that "punishes you on behalf of God", "You tell me the stars" and so on. The lyrics, what kind of girly heart this Javert hides under the appearance of the uncle, let me take it! ! ! Sister didn't want to cute him and Jean Valjean's Xipi! ! !
The last compliment of the movie is the death of Gavroche. Both the English version and the French version of the musical are dealt with in the way of the revolutionary young general, which is too inciting. In the movie, Gavroche was clearly still a child, clearly scared, but sang a song and walked towards the muzzle... Sister, tears came out.
PS: The feeling of watching this movie in France is incomparable elsewhere. After all, this story is about the blood and tears their ancestors paid to fight for equality and freedom, and the Republic that these ancestors yearn for is still on the road, and there are many more. Problems need to be discussed and many struggles need to be continued...Anyway, the audience’s surging brain waves can be subtly felt at the scene~~~
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