Before diving into this review of the singing performances, it’s important to acknowledge that passion and dramatic intent can sometimes outweigh vocal perfection. As someone involved in vocal training, I always encourage students to prioritize conveying the story and emotion of a piece. Having seen the principal cast of Les Misérables in other acting roles, anticipation was high that their dramatic interpretations would be compelling in this sung-through musical. Les Misérables is unique in its operatic structure, almost entirely set to music with minimal spoken dialogue. This creates a continuous musical flow, blurring the lines between traditional scenes with musical interludes rather than distinct breaks.
As a longtime admirer of Les Mis, deeply familiar with the original cast recording—flaws and all—I approached this film adaptation with informed ears. The original recording, while not vocally flawless, captures the heart of this powerful musical. My prior exposure to Hugh Jackman’s musical theatre work, particularly his Oklahoma! production, set my expectations somewhat higher for his performance compared to other cast members.
Unfortunately, Jackman’s portrayal of Jean Valjean, the central figure of Les Misérables, didn’t fully realize his vocal capabilities. From the outset, his delivery often leaned towards chanting or intoning rather than fully sung phrases. While a forceful vocal approach can drive narrative momentum, even in Valjean’s more lyrical moments, the richness and resonance I know Jackman possesses seemed absent. His opening soliloquy, intended to transition from desperation to resolve, maintained a singular intensity throughout, resembling operatic recitativo even in melodic sections. Imagine Figaro delivering his iconic arias in recitative – the beauty of legato singing would be lost!
There were indeed fleeting moments throughout the film where Jackman’s voice resonated beautifully, and these were genuinely enjoyable. However, their inconsistency was disappointing. Perhaps the most jarring instance was during Valjean’s prayer scene near the film’s climax. In this deeply personal moment, as Valjean observes the man his daughter loves and prays for his survival, Jackman chose to sing at full volume. This directorial choice undermined the intimacy of the prayer and proved to be a major misstep.
Anne Hathaway’s depiction of Fantine, a tragically pivotal character in Les Misérables despite her limited stage time, was profoundly moving. For those unfamiliar, Les Misérables is not a tale of guaranteed happiness, and in this film, Fantine’s heart-wrenching rendition of “I Dreamed a Dream” overshadowed even the finale in emotional impact. Hathaway masterfully conveyed both fragility and quiet despair, building to a powerful forte that expressed her character’s disillusionment – all while authentically portraying tears. This demanding feat was executed flawlessly, with unwavering energy, passion, and emotional truth.
Hathaway’s performance highlights a directorial choice by Tom Hooper: the extensive use of unbroken close-up shots during solo songs. While effective in “I Dreamed a Dream,” this technique became less impactful as the film progressed. Each character’s emotional solo, filmed in the same close, continuous style, began to feel repetitive, diminishing the intended emotional weight. The close-up, initially powerful, risked becoming a visual cliché. While likely intended to ensure optimal audio capture of quiet vocal nuances, exploring varied cinematography could have better served the diverse emotional landscapes of each character’s suffering within Les Misérables songs.
Russell Crowe’s vocal performance as Javert was, regrettably, the anticipated weak link. Clearly less vocally trained than his co-stars, Crowe appeared visibly uncomfortable in his musical numbers. His acting, typically strong, also seemed subdued, often reduced to simply standing and singing with limited conviction. Javert, never a personally compelling character for me, became even less so in this adaptation. Indeed, during his major song, I found myself taking a bathroom break during the film’s considerable three-hour runtime.
Amanda Seyfried’s portrayal of Cosette suffered from vocal limitations unsuitable for the soprano demands of the role. Her rapid vibrato, a common indicator of strained vocal technique, coupled with the noticeable digital correction of Autotune on nearly every high note, was distracting. It suggests a casting decision prioritizing physical appearance over vocal suitability for the Les Misérables songs, neglecting the inherent vocal requirements of Cosette.
Eddie Redmayne, an actor I consistently admire, brought a nuanced interpretation to Marius, a character I typically find less engaging. Entering the film, I was uncertain of Redmayne’s singing ability. While not without minor flaws—occasional jaw tension and a slightly strained tenor sound—his vocal performance was generally adequate for the role. Crucially, Redmayne effectively channeled emotion through his singing, making his performance more forgivable despite minor vocal imperfections, a contrast to Crowe’s approach.
In supporting roles like Éponine and Enjolras, the film truly shone, showcasing actors with clear expertise in both singing and acting. These performers represented the film’s vocal highlights. Aaron Tveit, as Enjolras, delivered each line with effortless vocal command, demonstrating a relaxed and consistent sound perfectly suited to the character’s vocal range and emotional depth. His acting was equally compelling. Samantha Barks, reprising her stage role as Éponine, faced the daunting task of performing “On My Own,” one of musical theatre’s most iconic songs, for an audience of Les Mis aficionados.
Barks and Tveit exemplified the ideal marriage of acting and singing, achieving a naturalness often absent in the performances of the more famous leads. Their singing felt organically integrated into their character portrayals, unlike the labored attempts by Jackman and Crowe to feign vocal ease. Barks and Tveit translated exceptionally well to film, their performances enhanced by their secure vocal technique and commitment to their roles, arguably outshining their more celebrated co-stars. The core issue with some of the lead performances wasn’t necessarily technical singing deficiencies, but rather an underlying insecurity in their vocal delivery, particularly evident in Russell Crowe’s portrayal.
