Les Miserables

If you're reading this wondering if you should pick up the latest version of "Lay Miz," you've already established your frame of reference. That abbreviated moniker comes from the immensely popular musical adaptation, which has already made millions of people around the world familiar with the story of a convict named Jean Valjean (Liam Neeson in this version) whose twenty year struggle to build a new life after his release from prison is thwarted repeatedly by monomaniacal Inspector Javert (Shine's Geoffrey Rush). Director Bille August's straightforward rendering is certainly faithful to the most basic events of the novel, though it cuts certain characters entirely and chops other scenes to a bare minimum. It's not textual fidelity which is lacking; it's emotional scope. Virtually every scene feels muted, the political and personal passions tamed to a state of dignified dissatisfaction. What the film really needed was for someone, anyone, to break into song; three minutes of furtive conversation between Valjean's adopted daughter Cosette (a damp-eyed Claire Danes) and Marius (Hans Matheson) can't create nearly the convincing sense of love at first sight that three minutes of "In My Life" does. From a standpoint untainted by musical preconceptions, Les Miserables is perfectly effective as period drama, handsomely mounted and smartly acted. Often, however, it feels as though August is keeping his cast on a leash, eschewing musical theater in favor of Masterpiece Theater. Optional. (S. Renshaw)