Universal Pictures
160 min., dir. by Tom Hooper, with Hugh Jackman, Anne Hathaway, and Russell Crowe

There are few stories better known than that of Les Misérables. If you never saw it on stage, you’ve seen some iteration of the classic tale — even if you didn’t realize it was the source. Adhering to the classic stage presentation of an operatic style musical with only two lines of spoken dialogue, Les Misérables doesn’t house elaborate dance routines along with its music — an assumption unsuspecting minds might believe is an irremovable feature of the genre. With the ability to impress any type of viewer in one form or another, it’s the Les Misérables fan base that will shower this ambitious retelling with the highest praise.

Encompassing the lives of many unfortunate souls spanning decades in 1800s France, Les Misérables wraps its massive tale around the turbulent battle between two men, Jean Valjean (Hugh Jackman) and Police Inspector Javert (Russell Crowe). Breaking his parole after serving an inordinate amount of time imprisoned for the act of stealing bread, Valjean receives aide from an unlikely source that even confounds his own troubled mind. Understanding he’s finally been given a chance at redemption, Valjean recreates himself as a new man; popping up years later as Monsier Madeleine, the town mayor of Montreuil-sur-Mer. Under insurmountable circumstances, Valjean comes in direct contact with Javert who, under his own doubts, buys into the fact that Madeleine is not Valjean. Quickly, the truth becomes obvious as Javert continues his chase of Valjean across France. Changing his name yet again, Valjean’s need to help those he fears his actions have destroyed puts him closer and closer to meeting Javert again. Valjean understands he needs to pay for his mistakes still, but the world’s of Valjean and Javert effect each other in ways the men don’t fully understand.

Though Les Misérables started as a novel by the renowned Victor Hugo and has had its staunch dramatic versions before, it’s the music and style of the Broadway production that has stayed with so many over the years. The most daring and ambitious take of this production is that the vocals were all recorded live. Unlike most musical films that see their actors lip-syncing to their previously recorded studio performances, director Tom Hooper had his actors sing live on the spot. Each cast member was provided with an earpiece that would pump in the main piano lines, and actors would have to hit their marks while belting out the tunes. Granted, if you’re a stage performer in the role of Valjean, you’d be signing and hitting your marks onstage, all the same. In the film world, however, you’re at times surrounded by a more dangerous environment and subject to camera cuts. The cast of Les Misérables may have all shot long takes, performing through sections that cut away from them, but you’re still using multiple takes for each scene. Attempting to perfectly match the intensity and tone of your singing voice across takes is much different and leagues more difficult than maintaining your traditional speaking voice or accent across a shooting period.

Even if you can’t or never connected to the story of Les Misérables, the music can be infectious. Many people are familiar with the somewhat inconsequential tune “Master of the House,” but there is much more offered here. The expansive visuals and large-scale presentation add new depths to the thrice reprised “Look Down,” a song whose reprisal takes on a different meaning each time it pops up. It’s a recognizable feature in previous mediums, but it takes on new meaning for me as a viewer this time. I’m personally not as easily affected by the song structure of the romantically tragic ballads, but they will strike a chord with the Les Misérables faithful.

Casting an array of proven stage/musical singers, no one bats an eye at seeing the likes of Hugh Jackman and Anne Hathaway at top billing. Thinking about everyone involved in the film, you can point to a history of musical productions they’ve been a part of, even if it was just once. Still, a lot of people have already asked me if Russell Crowe is able to sing. Yes, I can’t point to a stage or film production Crowe has been a part of where I remember him singing, but people seem to easily forget that Crowe fronts a rock band (30 Odd Foot of Grunts). He has a voice and it comes naturally, though my one complaint is that his delivery is a little more on the rock side than what should be described as traditionally more operatic.

The entire cast performs at great heights through their singing characters, and yet again, Anne Hathaway takes the cake. Most of the film didn’t affect me emotionally, but when they cut off her hair she makes this face — albeit a little exaggerated — that just tore at my heart and welled up my eyes. The only complaint I have about the cast is Sacha Baron Cohen and Helena Bonham Carter.  Both Cohen and Carter turn in fine performances, but they ultimately were cast in the same exact roles they had in Sweeney Todd, which doesn’t allow them to really shine in new ways.

The music of Les Misérables helps the lengthy film move at a decent pace. The entire film starts to drag a little as the impending revolution becomes a real threat, but the tempo of the music makes time move at a different rate than your typical drama. Audiences with no knowledge of the story or no interest in musicals will find parts of Les Misérables that will impress them, but fans of the show will be pleased and moved to tears by the final product. So if you are a known crier and stout supporter of Les Misérables, don’t sit down without having your tissues at the ready.

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Matthew Schuchman is the founder and film critic of Movie Reviews From Gene Shalit’s Moustache and a contributor to Den of Geek.