DELUXE EDITION the motion picture soundtrack
FEATURING
HUG UGH H JAC JACKM KMAN AN EDDIE REDMAYNE
RUSS USSEL ELLL CR CROWE WITH
ANN AN NE HA HATH THA AWAY
HELENA BONHAM CARTER
AND
AMAN AM AND DA SEY SEYFR FRIE IED D
SACHA BARON COHEN
F I G H T
D R E A M
H O P E uniVersaL pictures
musicaL numBers 1 2 3 4 5 6 7 8 9 bu bl bm bn bo bp bq br bs bt cu cl cm cn co cp cq cr cs ct du dl dm dn do dp dq dr ds dt eu el em
LOOK DOWN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hugh Jackman / Russell Crowe / Convicts THE BISHOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Colm Wilkinson VALJE AN’S SO LILO QUY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hugh Jackman AT THE END OF THE DAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hugh Jackman / Anne Hathaway / Factory Girls / Cast THE DO CKS (Lovely Ladies) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anne Hathaway / Cast I DREA MED A D REAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anne Hathaway FANTIN E’S ARR EST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anne Hathaway / Hugh Jackman / Russell Crowe WHO A M I? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hugh Jackman FANTIN E’S DEATH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anne Hathaway / Hugh Jackman THE CO NFRON TATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hugh Jackman / Russell Crowe CASTL E ON A CLOUD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Isabelle Allen MAST ER OF T HE HO USE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sacha Baron Cohen / Helena Bonham Carter / Cast THE BA RGAIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Isabelle Allen / Hugh Jackman / Helena Bonham Carter / Sacha Baron Cohen SUDDEN LY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hugh Jackman THE CO NVENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hugh Jackman / Cast STARS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Russell Crowe PARIS / L OOK D OWN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Daniel Hlestone / Aaron Tveit / Eddie Redmayne / Stdents / Cast THE RO BBERY . . . . . . . . . . . . . . . Sacha Baron Cohen / Helena Bonham Carter / Hugh Jackman / Samantha Barks / Russell Crowe / Cast ABC CA FÉ / RED AN D BLACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eddie Redmayne / Aaron Tveit / Students IN MY LIFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amanda Seyfried / Eddie Redmayne / Samantha Barks /Hugh Jackman A HEA RT FUL L OF L OVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eddie Redmayne / Amanda Seyfried / Samantha Barks ON MY OWN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Samantha Barks ONE M ORE DAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cast DO YOU HE AR THE P EOPLE S ING? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aaron Tveit / Eddie Redmayne / Students / Cast BUIL DING TH E BARR ICADE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aaron Tveit / Eddie Redmayne / Russell Crowe / Students / Cast JAVERT AT TH E BARRI CADE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rssell Crowe / Aaron Tveit / Daniel Hlestone / Stdents THE FI RST ATTACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eddie Redmayne / Hadley Fraser / Students LITT LE FALL OF RA IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eddie Redmayne / Samantha Barks DRINK WITH M E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aaron Tveit E/ddie Redmayne / Daniel Hlestone / Stdents BRIN G HIM HOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hugh Jackman THE DEATH OF GAVROCHE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aaron Tveit / Daniel Hlestone / Stdents THE FI NAL BAT TLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aaron Tveit / Hadley Fraser / Students THE SE WERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sacha Baron Cohen / Hugh Jackman JAVERT ’S SUICI DE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Russell Crowe TURNI NG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cast EMPT Y CHAI RS AT EMP TY TABL ES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eddie Redmayne A HEART FULL OF LOVE �� . . . . . . . . . . . . . . . . . . . . . . . . . . . Amanda Seyfried / Hugh Jackman / Eddie Redmayne / Patrick Godfrey VALJEAN’S CONFESSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hugh Jackman / Eddie Redmayne SUDDENLY �� . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eddie Redmayne / Amanda Seyfried THE WE DDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sacha Baron Cohen / Helena Bonham Carter / Eddie Redmayne / Cast BEGGA RS AT THE FEAST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sacha Baron Cohen / Helena Bonham Carter EPILO GUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cast
PRESENTS IN ASSOCIATION WITH
reLatiVitY media A WorkinG titLe FiLms/cameron mackintosh PRODUCTION
DIRECTED BY BASED ON BouBLiL AND
Les Misérables movie artwork © Universal Studios 2012. Licensed by Universal Studios Licensing LLC. All Rights Reserved. CD packaging designed by Dewynters ൿ 2012 Cameron Mackintosh Limited nder exclsive license to Polydor Records, a
L O V E
division of universal Msic Operaons Limited.Ꭿ 2012 Polydor Ltd (UK). The copyright in this sound recording is owned by Cameron M ackintosh Limited nder exclsive license to Polydor Records, a division of universal Msic Operaons Limited. All rights of the manfactrer and of the owner of the work prodced reserved. unathorised copying, hiring, lending, pblic performance and broadcasng of the recorded work prohibited. Made in the Eu. BIEM/SDRM. LC00309. 3733339.
tom hooper schÖnBerG’s STAGE MUSICAL
‘mesmeRiC, ComPeLLinG,
‘this isn’t just the most
aWe-insPiRinG, CoLossaL...
ambitious bRitish FiLm eVeR,
as biG-sCReen sPeCtaCLe, this is uniQue’ Peter Bradshaw, The Guardian
it’s Quite PossibLY the best’
Chris Tookey, Daily Mail
Les Misérables is the moon pictre adaptaon of the beloved global stage sensaon seen by more than 60 million people
in 42 contries and in 21 langages arond the globe and sll breaking box-oce records everywhere in its 27th year. Helmed by The King’s Speech’s Academy Award®-winning director, Tom Hooper, the Working Title/Cameron Mackintosh prodcon stars Hugh Jackman, Oscar® winner Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Aaron Tveit, Samantha Barks, with Helena Bonham Carter and Sacha Baron Cohen.
Winner 4 BaFtas Winner 3 GoLden GLoBes 8 oscar nominations Sunday Express
‘The Best Film o the Year’ New York Post
‘It’s a dream…
This is going to go down in history’ Nicola Christie, Independent
‘Rousing, stirring,
emotional, beautiully made, great performances all round.
I started o thinking that Les Misérables was really not for me and ended up with a lump in my throat and a desire to leap to my feet and start applauding’ Allan Hunter, Daily Express
Heat
‘Besides being a east or the eyes and ears,
Les Misérables overows with hmor, heartbreak,
rosing acon and ravishing romance.
It’s perectly marvellous’ Peter Travers, Rolling Stone
Hello
‘BR AVO.
THE BEST OF THE BEST’ Chris Evans, BBC Radio 2
‘Heart-Soaring, Crowd-delighting.
If this doesn’t get you going, your heart must be pumping cold porridge’ Robbie Collin, Daily Telegraph
‘Superbly directed, brilliantly acted and sung
with nprecedented emoonal depth.
This is MagnifcENt, SpectacuLarly cinematic. This isn’t jst the most ambios Brish lm of all me, It’s qite possibly the best. If necessary, beg for a cket. Seeing a movie this terric is a trly thrilling experience.
Truly Revolutionary and Stunning’ Chris Tookey, Daily Mail
‘The most joyous,
epic experience you’ll have in a cinema’
Newsweek
Red
cast incLudes Jean Valjean................ ................. ......... HUGH JACKMAN Javert ....................................................RUSSELL CROWE Fanne ................ ................. ............... ANNE HATHAWAY Cosee .............................................AMANDA SEYFRIED Thénardier ...................................SACHA BARON COHEN Madame Thénardier............. HELENA BONHAM CARTER Marius ................................................EDDIE REDMAYNE Enjolras ......................................................AARON TVEIT Eponine ................ .................. .......... SAMANTHA BARKS Gavroche .....................................DANIEL HUTTLESTONE Bishop ................. ................. .............. COLM WILKINSON Gillenormand ............... .................. ... PATRICK GODFREY Fauchelevent ................ .................. .......... STEPHEN TATE Foreman ...............................................MICHAEL JIBSON Factory Woman 1 .................. ............ KATE FLEETWOOD Factory Woman 2 ................... HANNAH WADDINGHAM Bamatabois................. ................. ........... BERTIE CARVEL Pimp ................ ................. ................. ...... DANIEL EVANS Toothman .................................ADRIAN SCARBOROUGH Whore 1 ............................................FRANCES RUFFELLE Whore 2................ .................. ............... LYNNE WILMOT Whore 3................ .................. ...... CHARLOTTE SPENCER Head Whore .................. ................. ....... JULIA WORSLEY Babet ................................................................IAN PIRIE Brujon ................. ................. ................. ... ADAM PEARCE Claqesos .............................................JULIAN BLEACH Montparnasse .....................................MARC PICKERING Yong Cosee ................ ................. ....... ISABELLE ALLEN Combeferre ................ ................. ..... KILLIAN DONNELLY Courfeyrac ..........................................................FRA FEE Feuilly ........................................................GABRIEL VICK Grantaire ...........................................GEORGE BLAGDEN Joly .........................................................HUGH SKINNER Lesgles .......................................................STUART NEAL Prouvaire .........................................ALISTAIR BRAMMER Madame Hucheloup ................ ............... KATY SECOMBE Army Ocer ..........................................HADLEY FRASER
HOW DO YOU HEAR THE PEOPLE SING LIVE ON FILM? It has always been my dream that if Les Mis ever became a movie the actors would sing live, ever since I saw Alan Parker’s great lm The Commitments and discovered
only pick p the voice. Each nmber as it was lmed was recorded 10/15 mes in a day, over and over, meclosly click-tracked and policed by sond editor Gerard
that several seqences were recorded live as indeed were three scenes in his lm of Evita. Indeed, as recording technology has become so sophiscated, I have stopped recording my stage msicals in stdios and now record the prodcons live in the theatre with terric reslts. The very rst show that I recorded live was the Les Misérables 10th Anniversary Concert at the Royal Albert Hall in 1995. However no one has ever tried to do this with a complete msical lm before. Normally the actors and the orchestra record the songs before the lm starts, and dring lming the actors lip-sync to the previosly recorded tracks – sally excing msically bt oen dramacally ninvolving when in a non showbiz context. With a story as dramacally visceral as Les Mis, the old way simply wouldn’t have worked as the actors needed to be recorded in the dramac moment. When director Tom Hooper approached Working Title in 2010 to say he was interested in direcng the lm I was
McCann so that Tom could edit between the huge amount of takes and camera angles he demanded from his actors. It was painstaking and gruelling work for all
thrilled when he told me that he too passionately wanted to record the actors live.
Thogh it was a visit to the original prodcon of Les Mis at the Queen’s Theatre that sparked o Tom’s interest in trning this legendary msical into a lm, it was the contemporary bite of the new orchestraon for the 25th Anniversary prodcon that convinced him to make them the basis of the lm’s msical sondtrack. When Clade-Michel Schnberg, Alain Boblil and I had or rst proper working meeng with Tom in New York in the smmer of 2011, the rst srprise we had was Tom’s insistence that we get involved in delivering all the changes he wanted to make
for the lm, and that screenwriter Bill Nicholson’s new material be folded into the show’s original musical structure rather than vice versa. Over several months we all worked with Tom around the piano pulling the show
concerned bt the end reslt was something niqe and griy, in its way as revolonary as Victor Hgo’s original story. Once Tom had completed his rst edit it became clear that we were in a ‘chicken and egg sitaon’; we needed a nal edit to ensre the lm score felt as seamless as it does in the theatre, yet Tom and his extraordinarily gied editor Melanie Ann Oliver coldn’t nesse their nal ct nl the score was driving the movie. However wonderful the visuals and performances
on the screen, their power and eecveness cold only be released throgh the msic; conversely, the orchestraon needed to be ne-tned to reect the wonderfl performances and drama on the screen. So bit by bit the process inched its way back
and forth, as however mch preparaon and synthesised prototypes we had, it wasn’t nl we were in the recording stdio with or sperb msicians that we were able to ascertain what really worked and what didn’t.
Thanks to Clade-Michel relessly adjsng his composion and creang new msic with his brilliant orchestrators Anne Ddley and Stephen Metcalfe (adapng his own O2 concert orchestraon) we went into Air Stdios (on a hairily ght schedle) with some of Britain’s nest msicians, condcted by the lm’s otstanding Msical Director, Stephen Brooker, and a thrilling and dierent orchestraon. Even at this late stage Tom’s lm was sll evolving and dring this orchestraon process he remained indefagable – forensically prodding and driving the team to nd the specic qalies that the nal ct demanded. Our orchestrators sweated and the copyists had many sleepless nights as our
apart, adding new scenes, sharpening p and eshing ot others, adapng the score and even adding a
reless msic recorder and mixer Jonathan Allen at Abbey Road raced against the
new song. None of us wanted to simply put the show on the screen, but rather to reinvent the material as a movie in its own right. Easily said but harder to achieve, as the driving force
orchestral performances nl Tom and I were sased we had the very best of what
of or msical adaptaon is Clade-Michel’s extraordinary and dramac score that is trly operac in structure. The end result was a
new piano recording of the lm version that was ready by Christmas 2011 which Tom took into rehearsals. To gather the live performances, brilliant sound recordist Simon
Hayes chose a ny earpiece that could receive enough sound for the actors to hear the electric piano as they sung on set, but ensured the microphones would
clock with his team, masterfully pulling out the best of the live singing takes and had been recorded.
Now it was me for Andy Nelson, one of the world’s greatest lm sond mixers, to pll everything together; msic, vocals, sond eects, adlibs and atmosphere, and deliver the nal sondtrack that yo will hear in the cinema. In a very short me, Andy, his team and Clade-Michel achieved miraclos reslts and jst before the last week of November, Tom nally had the lm he wanted and we were able to switch or aenon to this cast recording. In preparing this CD we can’t have the lm’s stnning and emoonal visals and therefore the soundtrack recording has been slightly remixed by Lee McCutcheon and Stephen Metcalfe. We all very much wanted this album to stand alone and be
dierent from all the previos stage recordings, reecng the fresh approach that this lm has taken in png Boblil & Schnberg’s legendary score and Herbert Kretzmer’s meless lyrics onto the screen – brilliantly captred by the magnicent, hearelt performances of or otstanding dream cast who, I am prod to say, are predominantly from a musical theatre background. Les Misérables has always
aracted exceponal talent and or lm is blessed with the best of the best. CAMERON MACK INTOSH November 2012
F R O M S TA G E T O S C R E E N From the start we knew that the stage version wold not make a lm and that changes would be needed: at the theatre the curtain rises on a world suggested by
the set and the Overtre and the convenon of singing, which is where the evening’s jorney begins. We are at rst distant spectators of what nfolds, nl we warm towards the plot and the songs. Lighng, t he set and staging direct or aenon to where it shold focs. In a lm the camera acts as or eyes; it cts right to the heart of the acon, allowing s to share in the icker of a smile or a trembling hand. At the cinema you do not project towards the auditorium as in a theatre, so the behaviour
and ths the words have to be delivered dierently. At the theatre the voice has to carry to the pper circle; on screen Eponine can “whisper” her agony to Maris. No set changes on the big screen, no theatrical coup like the opening of the
Barricade. The links are as short as yo wish and the eects that yo can imagine in a screenplay limitless. As an example, an old dream of ours found its place on
lm by making General Lamarqe a real character and having his fneral one of the high points – rather than menoning him in passing in the show like the giding ghost of the short-lived 1832 Paris stdents’ revolon – while giving the ‘Do Yo Hear The People Sing?’ anthem its natral cinemac expansion. All these thoghts inspired the screenplay which we co-wrote with William Nicholson and
Herbert Kretzmer, along with several new scenes drawn from Victor Hgo’s novel, which were nally able to nd their place. In addion we wrote a completely new song, ‘Sddenly’, created for Hgh Jackman, whose voice was a blessing to its creaon. We also discovered how Anne Hathaway, Russell Crowe, Amanda Seyfried, Eddie Redmayne, Sacha Baron Cohen, Helena Bonham Carter, Samantha Barks and Aaron
Tveit cold re-shape the songs that we thoght we knew and make them their own. All of this compelled s to reconsider or score: its constrcon, its orchestraons and the necessary intersal dialoge dring a long process. Lile by lile the new version took shape in close collaboraon with Tom Hooper and Cameron Mackintosh. Or objecve was to protect the spontaneity of the drama and the nity of the msical work, reinvenng them as if they had been wrien this way in the beginning. Add to that the challenge of png down the live recording of actors and making the orchestraons aer shoong, and yo have a pictre of how excing the jorney has been. Once again or aim with this recording is to oer a visal and powerfl evocaon of Les Misérables - The Movie. While listening, we love to visalise the scene – so make yorself comfortable, pt on the CD, close yor eyes and ‘watch’. ALAIN BOUBLIL and CLAuDEMICHEL SCHöNBERG November 2012
t h’ gbl f flg Les Misérables w - gg l w f l w l. a WorLdWide phenomenon Asked who was France’s greatest poet, André Gide responded with the famously
refl answer: “Victor Hgo, hélas!” Cameron Mackintosh, the impresario who broght Alain Boblil and Clade-Michel Schnberg’s Les Misérables to London and transformed it into a worldwide phenomenon aer its mild Parisian sccess and disastros Brish rst-night recepon, wold give a rather more posive response. I was in that rst-night adience on 30 September 1985, and shared the general opinion that it was an indierent show, shallow and somewhat forced in tone. I emerged with only one song planted in my head, ‘Master of the House’, sung by Alun Armstrong as Thénardier, the outrageously opportunist innkeeper, a number that struck me as rather like ‘You’ve Got to Pick a Pocket or Two’ from Oliver!.
a maGniFicent achieVement
I wasn’t wring abot the play back in 1985, jst prodcing a radio programme in which it was discussed, so I have no words to eat, merely a confession to make. Aer a gap of nearly 28 years, I’ve seen Tom Hooper’s lm of Les Misérables and the scales have fallen from my eyes and ears. On screen at least, it’s the best musical I’ve
seen for many years, a magnicent achievement that overwhelmed me from the opening moments of the tormented hero Jean Valjean working with a chain gang to
drag a sailing ship into dry dock in 1815 to the nale of his death in a Parisian convent 17 years later following the failre of the 1832 prising against the repressive monarchy. If at mes, as I’ve sggested, Les Misérables echoes Oliver!, it’s an Oliver! with steel teeth and waving a red ag.
upLiFtinG
Almost everybody, whether they’ve read Hgo’s 1,300-page novel or not, knows the compelling story from the nmeros lms and broadcast versions. As pared down for the stage, it’s abot the brtalised ex-convict Jean Valjean (Hgh Jackman) trying to live a Chrisan life aer being redeemed by the saintly Bishop Myriel, and prsed for nearly two decades by the rigid upholder of the law, Inspector Javert (Russell
Crowe). It’s a very Victorian tale, both pliing and senmental, of deep-dyed villainy, fallen women, mistreated orphans, hidden benefactors and social
injsce. And in the lm it’s treated with a proper seriousness that provides comic relief only through the wicked Dickensian couple, Thénardier (Sacha Baron
Cohen) and his slaernly wife (Helena Bonham Carter), both of whom are excellent, as they were in the Tim Brton lm of Sondheim’s Sweeney Todd .
Several things hold the lm together, the most notable being Clade-Michel Schnberg’s msic and the English lyrics by Herbert Kretzmer, which like Roben Mamolian’s 1932 Love Me Tonight and Jacqes D emy’s Les Parapluies de Cherbourg and Les Demoiselles de Rochefort are sung through using rhyming couplets at
all mes. These lyrics are simple and direct, neither deliberately smart nor parclarly wiy, bt they hold or aenon line by line, driving the acon forwards, developing the themes, trning the lm into a verbally coherent whole. The solos and choral pieces always propel the story and derive their force from the context, so that Fanne (Anne Hathaway), the prostte whose daghter Cosee is eventally adopted by Valjean, sings ‘I Dreamed a Dream’ from the depths of her degradaon.
poWer, intensitY and coLour
Instead of pre-recording the songs and having the actors moth the words on set, Hooper took the risky course of having them sung and recorded as the cameras rolled. Peter Bogdanovich came a cropper doing this in At Long Last Love. But in Les Misérables it lends an unusual power, intensity and colour to the performances, most especially Jackman’s Valjean and Crowe’s Javert. This is a fanciful thought, but it may well be that a s Australians (or in Crowe’s case a New zealander long resident
in Astralia) these two actors have a parclar feeling for the convict cltre that lies behind Hugo’s novel.
Althogh Javert’s prsit of Valjean is the dramac thread that es the story together, the polical theme is principally linked by men accsed of being class traitors, and this is well broght ot. The working-class Javert has been corrpted by becoming the nqesoning servant of the rling class; the stdent Maris (Eddie Redmayne in ne voice) has fond personal salvaon by deserng his own class to join the revolon. In Les Misérables the idealists, not the devil, have the best tunes, among them ‘Red and Black’ and the srring ‘Do Yo Hear the People Sing?’.
GiFted coLLaBorators
Hooper is also to be congratlated on the integraon of the grand set-pieces – the chain gang at work, the chases, the ghng at the barricades dring the aborted revolon – with the more contemplave moments, and both parts with the connos ow of msic. In this he’s been helped by some gied collaborators, inclding prodcon designer Eve Stewart and cinematographer Danny Cohen, who both worked with him on The King’s Speech, and the editor, Chris Dickens, whose recent credits include Slumdog Millionaire and Berberian Sound Studio . The lm has
a wonderfl period look that’s both stylised and realisc, and draws on 19th-centry French painngs, most especially David, Géricalt, Delacroix, Manet and Gstave Doré.
LoVe, FiGht and hope
Above all else, perhaps, the lm is abot three things. First, love both sacred and profane, and its ability to transform and transcend. Second, or need to ght for change and social jsce in a crel world that resists revolon or too easily undermines and diverts it. Third, and above all, Les Misérables is about holding on to
hope in the most desperate condions, and it ends in the victory of love in a context of polical defeat. Phillip French, The Observer
recordinG credits Re co rd P ro du ce rs . . . . . . . . . . . . . . . . . . . . S TE P HE N M E TC A LF E LEE McCUTCHEON CAMERON MACKINTOSH Mu sic P rodu cers . . . . . . . . . . . . . . . CLAuDE MICHEL SCHöNBERG ANNE DUDLEY* M us ic o rc he st ra te d b y . . . . . . . . . . . . . . . . . . . . . . A NN E D UD LE Y STEPHEN METCALFE
Adapted from the new orhestraons by . . . . . . . . C HR IS JA HN KE
A ss is ta nt E ng in ee rs . . . . . . . . . . . . . . . . . . . . . . . . C HR IS B AR RE T T FIONA CRUICKSHANK OLGA FITzROY PAUL PRITCHARD
Re-Reording Mixer . . . . . . . . . . . . . . . . . . . . . . . . . ANDY NELSON Prodon Sond Mixer . . . . . . . . . . . . . . . . . . . . . SIMON H AYES Orchestra Contractor .. . . . . . . . . . . . . . . ISOBEL GRIFFITHS LTD
STEPHEN METCALFE STEPHEN BROOKER
Orchestra Leader . . . . . . . . . . . . . . . . . . . . . . . . . . ROLF WI LSON
Musical Director and Conductor . . . . . . . . . STEPHEN BROOKER
O n S et P iani st s . . . . . . . . . . . . . . . . . . . . . . . . . . R OG ER DAV IS ON JENNIFER WHYTE
M us ic S up er vi so r . . . . . . . . . . . . . . . . . . . . . . . B E C KY B EN T HA M Music recorded and mixed by . . . . . . . . . . . . . JONATHAN ALLEN
Addional Orhestrator, Msi Editor and P rogrammer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R AE L JO NE S Supervising Music Editors . . . . . . . . . . . . . . . . JOHN WARHURST GERARD M cCANN
Msi Preparaon . . . . . . . . . . . . . . . D AKO TA M US IC S ER VI CE S
*Addional Msic by ANNE DuDLEY
LOOK DOWN / THE BISHOP / VALJEAN’S SOLILOQUY / AT THE END OF THE DAY / THE DOCKS (Lovely Ladies) / I DREAMED A DREAM / FANTINE’S ARREST / WHO AM I? / FANTINE’S DEATH / THE CONFRONTATION / CASTLE ON A CLOUD / MASTER OF THE HOUSE / THE BARGAIN / SUDDENLY/ THE CONVENT / STARS / PARIS / LOOK DOWN / THE ROBBERY / ABC CAFÉ / RED & BLACK / IN MY LIFE / A HEART FULL OF LOVE / • ON MY OWN / ONE DAY MORE / DO YOU HEAR THE PEOPLE SING? / BUILDING THE BARRICADE / JAVERT AT THE BARRICADE / THE FIRST ATTACK / LITTLE FALL OF RAIN / DRINK WITH ME / BRING HIM HOME / THE DEATH OF GAVROCHE / THE FINAL BATTLE / THE SEWERS / JAVERT’S SUICIDE / TURNING / EMPTY CHAIRS AT EMPTY TABLES / VALJEAN’S CONFESSION / THE WEDDING / BEGGARS AT THE FEAST / EPILOGUE
Albm o-ordinated by . . . . . . . . . . . . . . . . . . . . . . . . J OHN CRAI G NICHOLAS ALLOTT Mu sic recor ded at . . . . . . . . . . . . . . . . . . . . . . . . . . . A IR ST UD IO S, LYNDHURST HALL, LONDON Music mixed at .. . . . . . . . . . ABBEY ROAD STUDIOS, LONDON
Msic by CLAuDE-MICHEL SCHöNBERG Lyrics by ALAIN BOuBLIL, HERBERT KRETZMER, JEAN-MARC NATEL
Lyrics by ALAIN BOUBLIL, HERBERT KRETzMER
•
Lyrics by ALAIN BOuBLIL, HERBERT KRETZMER, JEAN-MARC NATEL, TREVOR NuNN, JOHN CAIRD
•©
Copyright (Msic & Lyrics) 1980 Edions Msicales Alain Boblil
English Lyrics © Copyright 1985-1986 Alain Boblil Msic Limited (ASCAP)
Music Edit ors and Programmers . . . . . . . . . . . . JAMES BELLAMY ROBERT HOUSTON NEIL STEMP
Mastered by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S IM ON GI BS ON
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As sis tant Pro gra mme r . . . . . . . . . . . . . . . . . . . . . . . . . . N IC K H IL L
fo r U ni ve rs al Pi ct ur es . . . . . . . . . . . . . . . . . . . . M I KE K NO B LO C H
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A lb um m ix ed a t . . . . . . . . . . . . . . . . . . . . . . F X G RO UP, L ON DO N
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© Copyright 1985-1986 (Msic & Lyrics) Alain Boblil
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uniVersaL pictures PRESENTS IN ASSOCIATION WITH reLatiVitY media A WorkinG titLe FiLms/cameron mackintosh PRODUCTION A FILM BY tom hooper huGh Jackman russeLL croWe anne hathaWaY amanda seYFried “Les misÉraBLes” eddie redmaYne WITH heLena Bonham carter AND sacha Baron cohen CASTING BY nina GoLd EDITORS meLanie ann oLiVer chris dickens ace PRODUCTION DESIGNER eVe steWart DIRECTOR OF PHOTOGRAPHY dannY cohen Bsc MUSIC SUPERVISOR BeckY Bentham ORCHESTRATIONS BY anne dudLeY stephen metcaLFe MUSICAL DIRECTOR stephen Brooker MUSIC PRODUCERS ANNE DUDLEY CLAUDE-MICHEL SCHÖNBERG ORIGINAL FRENCH TEXT aLain BouBLiL CO-PRODuCER Bernard BeLLeW EXECUTIVE PRODUCERS anGeLa morrison LiZa chasin nichoLas aLLott F richard pappas MUSIC BY CLAUDE-MICHEL SCHÖNBERG LYRICS BY herBert kretZmer SCREENPLAY BY WILLIAM NICHOLSON ALAIN BOUBLIL CLAUDE-MICHEL SCHÖNBERG HERBERT KRETZMER PRODUCED BY tim BeVan eric FeLLner d eBra haYWard cameron mackintosh BASED ON THE ORIGINAL STAGE MUSICAL BouBLiL AND schÖnBerG’s Les misÉraBLes DIRECTED BY tom hooper © 2012 uniVersaL studios. ALL RIGHTS RESERVED.
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