O mês de Janeiro está a aproximar-se de dia para dia e isso quer dizer que estamos cada vez mais próximos da estreia de "Os Miseráveis". É verdade, o dia 3 de Janeiro de 2013 marca a estreia em Portugal de um dos filmes mais esperados aqui pelo Rick´s Cinema, a adaptação cinematográfica de "Os Miseráveis", realizada pelo cineasta britânico Tom Hooper.
Não faltam boas razões para termos expectativas positivas em relação a este projecto. Inspirado no clássico literário de Victor Hugo e no musical homónimo, composto por um elenco talentoso, "Os Miseráveis" marca a nova incursão na realização cinematográfica de Tom Hooper, após ter vencido os Oscars de Melhor Filme e Melhor Realizador em 2011 por "O Discurso do Rei".
Realizado por Trevor Nunn e John Caird, com música composta por Claude-Michel Schönberg, o musical foi um sucesso, tendo posteriormente sido adaptado para a Broadway.
Awards Daily, foi um projecto que o deixou bastante agradado: "(...) I felt very lucky to find this bit of material. This is the word’s
longest-running musical… One of the great musicals that had never been
made into a film. It was a really interesting opportunity. So I
certainly felt lucky to be able to have that conversation. And if what
happened to me at the Academy [Awards] helped, then that’s fantastic.
Coming Soon, Hooper revelou ter aproveitado a oportunidade para ver e/ou rever alguns clássicos: "I did. I quite enjoyed having an excuse to go back and watch some of the
classics. I particularly loved watching "The Sound of Music" again,
which I haven't seen since I was a kid, and also really found it
interesting how it had a similar structure to "The King's Speech" in
that you're in this personal story, and then suddenly the Second World
War comes on and you're going, "Oh God, of course. That's why." Suddenly
the jeopardy jumps and the way the war ambushes the narrative stakes
and creates this kind of intensity for the personal stories to play out,
I thought it was interesting. But yeah, I saw "Cabaret," and actually
I'd never seen "Cabaret" until this--which I can't believe--that was
amazing. "Fiddler on the Roof," I'd never seen and I saw it. I managed
to get hold of an actual print of "West Side Story" and screened it for
just me, which was kind of really cool. So yeah, it was good going back,
particularly to the glory days of the musical and looking at what the
old masters did with the form".
Awards Daily: "What I found is that the combination of the singing and the acting that
I required, and the ability to act through song in a cinematic way…for
the medium of the camera… It was…really hard to find people who offered
that perfect combination. There were a lot of people who auditioned. And
a lot of people were brilliant. But it was hard to find people at the
level that I was looking for. Anne Hathaway (Brokeback Mountain), Eddie Redmayne (My Week with Marilyn), Samantha Barks (TV’s Groove High)
were really standing out from that process. In particularly because I
was committed to doing the film live, I knew that had to find people
that had the singing ability for real. There could be no tricks later
on. One of the things that’s really hard to do…is to serve the score
musically. To sing it, to find the power in your voice that you need to
serve these songs, while keeping the necessary stillness in your face,
and the necessary intimacy and minimalism that a film camera requires.
It’s technically hard to do. In “I Dreamed a Dream,” to do the belt
voice that song requires, and also keep your face very still for the
site oficial: "Com a França do século XIX como pano de fundo, Os Miseráveis conta uma
apaixonante história de sonhos desfeitos, de um amor não correspondido,
paixão, sacrifício e redenção, num testemunho intemporal da
sobrevivência do espírito humano. Jackman interpreta um ex-prisioneiro,
Jean Valjean, perseguido durante décadas pelo cruel polícia Javert
(Russell Crowe), depois de ter quebrado a sua liberdade condicional.
Quando Valjean aceita cuidar de Cosette, a filha da operária Fantine
(Anne Hathaway), as suas vidas mudam para sempre".
Manohla Dargis, do New York Times, uma referência na escrita de crítica cinematográfica, que concluiu "As he showed in “The King’s Speech” and in the television series “John Adams,” Mr. Hooper can be very good
with actors. But his inability to leave any lily ungilded — to direct a
scene without tilting or hurtling or throwing the camera around — is
bludgeoning and deadly. By the grand finale, when tout le monde is
waving the French tricolor in victory, you may instead be raising the
white flag in exhausted defeat".
when viewers may feel like they’re about to witness a bona fide
disasterpiece, one of those spectacular miscalculations that can be
almost as entertaining -- almost -- as a superbly executed work of
audacious ambition and scope". Hornaday não se ficou por aqui, tendo salientado que "There’s little sense of dynamism or pacing, a fault both of the original
score and Hooper’s unimaginative staging and camera work, which tend to
underline, italicize and boldface every emotional beat".
Scott Chitwood do Coming Soon salientou na sua crítica os bons momentos musicais e designs, bem como "Despite
the cool effects and detailed costumes, it's the actors that really
make "Les Misérables" work. We already knew Hugh Jackman, Russell
Crowe, Anne Hathaway, and Amanda Seyfried could act, but this film
really shows off their full range of talents".
Kofi Outlaw do Screen Rant segue no rumo favorável: "Hooper’s direction of Les Misérables is fittingly epic and
gorgeous, bringing nineteenth century France alive in the same way he
did WWII-era England in his Oscar-winning film The King’s Speech. The production design and costumes of Les Mis are
impeccable, and many familiar set pieces from the award-winning stage
play are brought to life in such vivid new dimensions that it’s hard not
to feel as though you are seeing the story again for the first time". Outlaw concluiu a sua crítica salientando que "Nevertheless, the sheer scale of what Hooper and Co. have created is
impressive in its own right, and the streamlined and insightful take on
Hugo’s novel opens up the story in new ways that distinguish this
version of Les Mis from its many predecessors. Is it perfect?
No. Is it worthy of the word “classic?” Perhaps in some circles of
opinion. But for my part (as an admitted causal fan of musicals) it is
simply a very gorgeous, well-executed (but at times lukewarm) film".
clips, imagens, featurettes, entre outros. Aqui pelo Rick´s Cinema a expectativa em relação a este projecto é bastante elevada (sim, esperamos sempre o melhor dos filmes, apesar de ser impossível gostarmos de todos) e esperamos um musical de grande nível, recheado de momentos emotivos, boas interpretações e muito boa música.
Vale a pena recordar que "Os Miseráveis" estreia em Portugal a 3 de Janeiro de 2013. "Os Miseráveis" estreia no Brasil a 1 de Fevereiro de 2013. Se tiveram paciência para ler este mini-artigo até ao fim, gostávamos de saber se gostaram do mesmo e se devemos continuar a apostar neste tipo de posts relacionados com algumas das principais estreias da semana.