The Wretched

Better known by it's French title "Les Miserables" is Victor Hugo's acclaimed novel depicting the lives of the poor in nineteenth century France, culminating in the June Rebellion of 1832. Later fashioned in to a musical and now a film, the tale of petty criminal turned philanthropist Jean Valjean, Fantine and her illegitimate daughter Cosette is beloved of many.

Like many purists, having seen "Les Miz" - as it is affectionately known - on stage and knowing the score almost by heart, I was awaiting the film version with a mixture of eagerness and trepidation. Director Tom Hooper had fashioned a formidable cast headed by Australia's own Hugh Jackman, whose stage cred includes a Tony Award for his performance in 'A Boy From Oz' (the story of Peter Allen) but still, I had my doubts.

Due to be released in Australian cinemas on Boxing Day, I was on tenterhooks. So when my local cinema advertised advance screenings the week before Christmas, I jumped at the chance. Whatever doubts I had were erased within minutes. The movie version of "Les Miserables" is a perfect example of how magic can be fashioned through the confluence of attention to detail, skilled acting, directing, costuming, makeup, music and foley. There was not one person in the cast or crew who let the team down. Like its stage production cousin, "Les Miz" the movie had me engaged, weeping, cheering, singing along... and possibly the most gratifying part and one I truly wished the cast and crew could have witnessed - an entire audience of filmgoers applauding at the closing credits.

The movie's homage to the past certainly wasn't missed either - Anne Hathaway, playing Fantine in the movie, is the daughter of Kate McCauley who played Fantine on stage in the Broadway debut. Frances Rufelle, who played Eponine on stage was cast as one of the prostitutes and most notably, Colm Wilkinson - the Broadway Valjean - made an appearance as the Bishop of Digne.

What makes this version of "Les Miz" significant though, is the way in which it was shot. Ordinarily, the score to movie musicals is prerecorded, the actors in a sound booth and later miming their part with the vocals expertly overdubbed by the crew. Flaunting this tradition, the producers decided to record all the vocals live, the actors aided by discreet earpieces that the music was fed through. This enabled them to tailor their acting and give real expression to their vocals; this is particularly apparent in Valjean's Soliloquy where you get a real sense of his torment and guilt.

Standout performances abound; predictably, Jackman's rendition of "Bring Him Home" and Hathaway's "I Dreamed A Dream" were exceptional - but keep an ear out for Eddie Redmayne. Cast in the role of rebellious student Marius, his rich vibrato is pure pleasure and a privilege to listen to. Also one to watch - now and in the future - is the young actor Daniel Huttlestone. His skilled rendering of the street urchin Gavroche was flawless; providing he doesn't succumb to child actor oblivion, he'll be a formidable talent one day!

Crazy People

It would be hard to start a pop culture blog without mentioning one of my favourite movies of all time. "Crazy People" is an irreverant, light hearted and comical look at the farce that is the advertising industry. Released in 1990, it stars Dudley Moore, Darryl Hannah and Paul Reiser (remember him from the television series 'Mad About You'?) it is as relevant today as it was back then. I'd even go so far as to call it the precursor to "The Gruen Transfer" on ABC (Australia).

It centres around advertising copywriter Emory (Moore) who, following a bitter divorce, goes "insane". Frustrated by his job where he feels he is being compelled to lie to people, he decides to start creating "honest" advertising copy... and that's where the fun starts. I don't think I've been able to look at a Volvo since without remembering Emory's tagline: Buy Volvos, they're boxy but they're good. Or Jaguar: For men who'd like handjobs from beautiful women they hardly know.

The best part of the film, though, is how the public react to the "honest" ads... they love them! The movie becomes a commentary on not only the duplicity of the advertising industry but also the effect that that duplicity has on consumers. An interesting thought - do consumers really need to be lied to? Are we cognisant of this duplicity and do we require it of advertisers? Its like... when I ask my boyfriend if I look good in this dress, I don't want his honest opinion, I just want him to say yes, I look good in this dress. It's not a question so much as it is a desire for him to reinforce my own perception. So... by extension, is that what consumers need from advertisers, or would we still buy products that were honestly promoted? Comment!