Having been absent from online blogging for a fair while, I thought I'd make my return with the phenomenon sweeping Britain's cinemas - Les Misérables. If you're still dying to see this wonderful film, please hesitate from reading this post, as it does contain spoilers.
To my shame, I've never read the book by the master Victor Hugo (who of course also wrote The Hunchback of Notre Dame, which lies collecting dust no doubt on my bookshelf in university, which I will eventually get round to reading one of these days). Nor have I seen the stage musical, which I've been told is absolutely amazing, as I can well imagine. I was always curious about the sad little girl on the poster, but my interest unfortunately stopped there. It's strange how quickly you attach yourself to characters in fictional media. It was shocking how quickly when watching this miraculous film (directed by Tom Hooper), that I felt sympathy for Fantine - how I wanted her to strive for something more and give something to her daughter. It was amazing how much I wanted Cosette to thrive in life, how I willed Jean Valjean to make a better life for himself and succeed in his endeavours, and how I surprised myself by not wishing revenge upon Javert, but urging him not to commit suicide for the pity in my humanity willed against the revenge.
Besides the brilliant performances - both in acting and singing - of the cast, which I do give credit to, I do not wish to focus from the perspective of a movie critic. Rather, I wish to reflect on two themes of the film - that of revolution and religion.
What pushes people so far as to challenge the state authority, and the law? The answer is drastic living conditions, substandard conditions, feeling lower than the low and being pushed to the absolute knife edges of life, to the extent where you question whether you're truly living. We see in a dramatic context the extent to this suffering - how dreams are crushed, hopes are dashed and living becomes a hell. Fantine's dream becomes crashing down as a harsh reality, and Cosette's fantasy cloud land becomes a foggy haze in the wake of a brutal reality.
This semester in my university studies, I will be entering new territory by engaging in a module of Modern History which will encounter the very matter of the setting of Les Mis - that of revolutions. The spirit of revolution causes drastic social change, which, though devastating during the time of experience, can be viewed, in retrospect as a courageous period of history and a movement and monument for social and political change. The spirit of the characters procuring the revolutionary spirit in this film adaptation of Les Mis demands from an audience a great degree of respect and reverence at the aims of the revolutionary characters. Despite the odds, they retain their hope and even in the face of death, they remain courageous and retain their belief in the values which they are fighting for
With the author, Victor Hugo being involved with politics himself, one can understand the setting of his novels being in the very heart of the social context of the French Revolution of 1848. I do not pretend to know much about the history of France, not do I particularly need to dwell on it for the purposes of this post, but I think an appreciation is necessary of the causes people fight for - whether we agree with them or not - it takes a great deal of bravery to stand up against the masses and truly strive for your beliefs.
It is unbelievably astonishing if anyone comes from a screen showing of this film without realising the overt religious influence the film procures. At the time, the Catholic Church briefly aligned with State affairs, perhaps due to the similarities in heirarchy and monarchy; yet this alliance proved to be short and the social conscience of the Church dwelt upon people's minds. Two French media outlets of the time: Le Correspondant, and a left-wing paper, L'ère nouvelle both professed to supporting the aims of the revolutionaries, in the context of Christian socialism.
In the film, we see numerous references to the church supporting the downtrodden, as would be expected due to the overt instructions, Biblically at least. Bishop Myriel aids Valjean, despite the ex-con stealing his silverware. The Nuns hide Valjean and Cosette in the Convent and towards the end of his life, Valjean returns to the Convent for sanctuary, for he has found peace with God. The film portrays religion to an extent which is undeniably inspirational. Towards the climactic ending, Fantine promises Valjean salvation upon death, promising to lead him to God, claiming that when one loves another person they see the face of God - an inspiration Victor Hugo perhaps formulated from numerous Biblical sources, perhaps in particular Revelation 22:4.
It is hard to judge which character is the most merciful. In considering Valjean and Bishop Myriel, both show undeniable humility and selfless love in their actions. If one looks closely in the backdrop of many scenes in the film, a crucifix is often to be seen, not to be gone unnoticed in the context of faith, though in a vicious and sacrificial revolution.
Another theme of the story which seems profound to me is the importance of our decisions. Jean Valjean, though his decision to steal bread, though illegal, was out of love for his family in a life and death situation, yet he suffering brutally as a consequence, yet still made the choice to ignore the bitterness harbouring inside him and did not resort to revenge, but bettered himself and made a life for himself. His subsequent decision in caring for Cosette is an act perhaps originating a little out of guilt at his indirect mistreatment of Fantine, but mostly one of self-sacrifice. He absolutely did not have to take Cosette in as his own child, but he did, and he did so out of love and promise.
In contrast, Javert, in his choice to pursue Valjean out of self-professed justice realises his shortcomings, and guilt consumes him and it leads to a devastating suicide. Fantine's decision to leave her daughter with the Thénardiers family, in the hope they will treat her well and give her daughter a better life, is one made not only out of necessity (for she has to work in order to pay for Cosette's keep), but is also made out of choice: understandable an incredibly difficult decision for any mother to make, for it means losing valuable time she could have spent with her daughter.
Ultimately, revolutions are not decisions to be taken lightly. Revolutions are a push for change when all else has been forsaken - when humanity is at its wits end of being treated with a brutal hand. It is my hope that in such revolutions, the better side of our nature prevails, that a light can shine through the darkness of a grim situation, and a candle still burns despite the wind of change. I would hope that we could put aside our difference in the hope to search for common ground with our fellow man, for the hope of seeking peace, equality, and love to end destruction and ruin of humanity.
"If we don't end war, war will end us."
H. G. Wells
References:
On Church-State relations and media outlets of Catholicity in Revolutionary France: http://www.ohio.edu/chastain/ac/churchfr.htm
1 comment:
Hey Steph, I'd really recommend the book. The bishop is a much bigger character in the book with a more extensive backstory that develops a lot of what you were talking about. He's especially awesome at living very simply despite his large church salary and in his condemnation of the church's opulence at the time. :)
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