This film, generally faithful to Hugo's novel, was the first full-length, wide-screen, color (Technirama) theatrical epic version of Hugo's story. No subsequent screen presentation of Les Miserables has displaced the 1958 film as a full-length theatre epic.
Through the story of Jean Valjean, Hugo sought to demonstrate that every soul contains a "divine element . . . which evil can never entirely extinguish." Valjean, released from prison after serving 19 years for stealing a loaf of bread, is inclined to hate human law, and is enmeshed in a struggle between hatred and goodness. His character is largely shaped by the Bishop of Digne, who befriends him when no one else does, and saves him from another prison sentence after Valjean steals the bishop's silverware.
An oddity in this film is that, when he first sees Valjean, Javert is the young son of a prison official. Presumably, the producers worried about the 12-year age difference between Jean Gabin (Jean Valjean) and Bernard Blier (Javert). In fact, this departure from Victor Hugo's novel is confusing and unnecessary. When they encounter each other in Montreuil, Javert is about 40 years old, and Valjean is about 55. In other words, the age difference between Gabin and Blier was almost exactly that between Valjean and Javert.
Remorseful after he robs a young boy, Valjean decides to turn his life around. He assumes a new identity ("M. Madeleine"), but he is pursued by police inspector Javert. The conflict between these two men is the central theme of the novel. Javert is not cruel. But, born in prison to a fortune teller mother and a convict father, he is ashamed of his origins, and compensates for them through an exaggerated respect for authority and hatred of rebellion. He is devoted to the literal letter of the law (in today's terms, a "textualist," or "strict constructionist"), whereas Valjean seeks to abide by the spirit of the law. Troubled by the fate of Fantine, a young woman unjustly fired from his factory, he promises to assist her and her daughter Cosette, who is with the Thenardier family (a situation explained in a flashback). Later, Valjean provides assistance to this family, but M. Thenardier responds by attempting to rob Valjean.
Applying the letter of the law to himself, Javert, having denounced "Madeleine" to authorities as the real Valjean, demands that Valjean dismiss him, because an innocent man (Champmathieu) has been mistaken for Valjean, and is about to be sentenced. Valjean feels compelled to sacrifice his successful new life in order to save this innocent man. (In the subsequent trial, Gabin plays both Valjean and Champmathieu). Valjean soon escapes from jail, rescues Cosette from the Thenardiers, and flees to Paris, where he and Cosette live in a convent. After she graduates from its school, Cosette meets Marius and they fall in love.
Marius is then living next door to the Thenardier family. Perhaps the various Les Miserables films differ most in their treatment of the Thenardiers' daughter Eponine. Hugo may have created her as a foil to Cosette (who was a very different person), or to demonstrate that good can emerge from depraved circumstances. Eponine has scarcely any food or clothes, is periodically pursued by the police, beaten by her father, and (perhaps to avoid him) occasionally sleeps in ditches. On the other hand, she travels around Paris soliciting money for her father, she is educated, is fascinated by books, adjusts her appearance in a mirror, attends theatrical shows, sings love songs, worries about Marius' hair and clothes, and, even as she is dying, fears that he did not pick up a coin she dropped. The 1958 film, like some others, emphasizes her unrequited love of Marius; but neglects the rest of her story. Marius does not return her love, or even sense it, but Eponine adopts a surprisingly protective attitude toward him. The 1958 film largely overlooks this part of the story. It fails to reveal that it is Eponine who guides Marius to Cosette's house. And it omits Eponine's admonition to Marius, as she is guiding him, to pretend that he is not with her, because "It won't do for a fine young man like you to be seen with a woman like me." Knowing she has no chance of romance with Marius, she not only takes him to Cosette's house, but repeatedly acts to protect Cosette, even to the point of risking her own life.
In view of their childhood antagonism, a conversation that grown-up Cosette and Eponine might have had if they recognized each other would be interesting. In the 1958 film (unlike the novel) they do meet. Valjean and Cosette provide a big meal for Eponine in their home, and arrange to take food to the Thenardier family. Cosette even gives Eponine a new dress. But the young women never recognize each other. In the film (as in the novel), when Marius shows up in her garden, Cosette never asks, "How did you find me?" That question also could have produced an interesting conversation. And, after he has survived the barricade battle, he never tells Cosette how Eponine saved his life there. In each of these situations, Hugo could have given more depth to Cosette's personality.
When Valjean plans to move, Cosette writes a note for Marius with news about the move and her new address, and hands it to Eponine (then disguised as a boy) to deliver to Marius. In Hugo's improbable narrative, Eponine, driven by jealousy, plans to separate Marius from Cosette and lure him to the barricade so they can die there together. So Eponine withholds Cosette's note from him, and yells to him to join his friends at the barricade. Thus, in one paragraph, Hugo makes it appear that Eponine's actions send Marius to the barricade. But the real problem, not explained in this film, is that Marius is financially unable to marry Cosette, having for years chosen not to work, and having failed to obtain money from his grandfather. Marius is responsible for his own misfortune; and now he must fulfill his "sacred" oath to die if Cosette moves away. He probably would have gone to the barricade even if he had received Cosette's note. Hugo's description of Eponine's handling of Cosette's note provides a mystery. A jealous person would read the note. Eponine doesn't. A vengeful person would destroy it. She doesn't. To separate Marius and Cosette, she should certainly dispose of it. She doesn't do that either. Jealousy doesn't begin to explain Eponine's handling of Cosette's note. Obviously, she still has the option of delivering it to Marius.
In the 1958 film, Eponine takes the note from its hiding place, reads it, crumbles it angrily, hides it under her blouse, and tells Marius that Cosette has gone to London. Thinking he has lost Cosette, Marius no longer fears death. As he heads for the barricade, Eponine tells him, "Let me come with you. We'll have a laugh." Apparently oblivious to what might happen, she accompanies Marius to the barricade. When a soldier aims at Marius, Eponine grabs his rifle and points it at herself. Mortally wounded, she gives Cosette's note to Marius, telling him, "I can't see you unhappy." She asks him to kiss her after she dies. When she appears to die, Marius gives her a long kiss on her lips. Then she revives and says, "I think I was a little in love with you," and dies.
After reading Marius' note to Cosette, Valjean first considers concealing it, hoping that Marius will die and Cosette will remain with Valjean. But Valjean's conscience compels him to go to the barricade to save Marius. At the barricade, Valjean assumes responsibility for killing Javert, but then frees him. Later, Javert says he cannot understand Valjean's action. Valjean says, "I pity you." Valjean carries Marius through the sewer and takes him home. Then Javert goes to the river. We do not hear his final thoughts. A little boy walks away from him, looking back apprehensively. A derelict old man, apparently dozing or drunk, jumps up and hurries away. Javert cuffs his wrists and falls into the river.
Like the novel's Valjean, Jean Gabin is rather unemotional, and the emotional moments he experiences often involve internal struggles. Gabin always appears clean shaven with hair neatly combed. As with Hugo's Javert, Bernard Blier always seems "Impassive" and "perfectly calm." Daniele Delorme, portraying Fantine after she has lost her hair and her teeth and been reduced to prostitution, provides powerful emotion. Bourvil, noted for comic roles, was a poor choice for Thenardier, whom Hugo describes as resembling "vulture and shyster," a man steeped "in an intensifying viciousness." There was no humor in Hugo's Thenardier. Giani Esposito displays very little emotion as Marius, often with a vacant stare thinking about Cosette. Even in romantic scenes he seems rather stiff. The script limited Beatrice Altariba's performance as Cosette. On the other hand, the script gave Silvia Monfort wide latitude to develop Eponine's character. Monfort, most famous for her stage performances, is very compelling as a sultry-voiced, red-haired, and barefooted Eponine, and is perhaps the most highly regarded actress ever cast in this role. 35-year-old Serge Reggiani seems well suited to the role of insurgent leader Enjolras, although Hugo's Enjolras is only 22 (and appears even younger). Jean Topart provides voice-over commentary.
The 1958 film was very successful in France, but was not screened in the U.S. until 1989. It was filmed in studios in former East Germany and France; and some scenes (e.g., at the Luxembourg Garden) were filmed on location. East German soldiers served as extras in the Waterloo and barricade scenes.
Through the story of Jean Valjean, Hugo sought to demonstrate that every soul contains a "divine element . . . which evil can never entirely extinguish." Valjean, released from prison after serving 19 years for stealing a loaf of bread, is inclined to hate human law, and is enmeshed in a struggle between hatred and goodness. His character is largely shaped by the Bishop of Digne, who befriends him when no one else does, and saves him from another prison sentence after Valjean steals the bishop's silverware.
An oddity in this film is that, when he first sees Valjean, Javert is the young son of a prison official. Presumably, the producers worried about the 12-year age difference between Jean Gabin (Jean Valjean) and Bernard Blier (Javert). In fact, this departure from Victor Hugo's novel is confusing and unnecessary. When they encounter each other in Montreuil, Javert is about 40 years old, and Valjean is about 55. In other words, the age difference between Gabin and Blier was almost exactly that between Valjean and Javert.
Remorseful after he robs a young boy, Valjean decides to turn his life around. He assumes a new identity ("M. Madeleine"), but he is pursued by police inspector Javert. The conflict between these two men is the central theme of the novel. Javert is not cruel. But, born in prison to a fortune teller mother and a convict father, he is ashamed of his origins, and compensates for them through an exaggerated respect for authority and hatred of rebellion. He is devoted to the literal letter of the law (in today's terms, a "textualist," or "strict constructionist"), whereas Valjean seeks to abide by the spirit of the law. Troubled by the fate of Fantine, a young woman unjustly fired from his factory, he promises to assist her and her daughter Cosette, who is with the Thenardier family (a situation explained in a flashback). Later, Valjean provides assistance to this family, but M. Thenardier responds by attempting to rob Valjean.
Applying the letter of the law to himself, Javert, having denounced "Madeleine" to authorities as the real Valjean, demands that Valjean dismiss him, because an innocent man (Champmathieu) has been mistaken for Valjean, and is about to be sentenced. Valjean feels compelled to sacrifice his successful new life in order to save this innocent man. (In the subsequent trial, Gabin plays both Valjean and Champmathieu). Valjean soon escapes from jail, rescues Cosette from the Thenardiers, and flees to Paris, where he and Cosette live in a convent. After she graduates from its school, Cosette meets Marius and they fall in love.
Marius is then living next door to the Thenardier family. Perhaps the various Les Miserables films differ most in their treatment of the Thenardiers' daughter Eponine. Hugo may have created her as a foil to Cosette (who was a very different person), or to demonstrate that good can emerge from depraved circumstances. Eponine has scarcely any food or clothes, is periodically pursued by the police, beaten by her father, and (perhaps to avoid him) occasionally sleeps in ditches. On the other hand, she travels around Paris soliciting money for her father, she is educated, is fascinated by books, adjusts her appearance in a mirror, attends theatrical shows, sings love songs, worries about Marius' hair and clothes, and, even as she is dying, fears that he did not pick up a coin she dropped. The 1958 film, like some others, emphasizes her unrequited love of Marius; but neglects the rest of her story. Marius does not return her love, or even sense it, but Eponine adopts a surprisingly protective attitude toward him. The 1958 film largely overlooks this part of the story. It fails to reveal that it is Eponine who guides Marius to Cosette's house. And it omits Eponine's admonition to Marius, as she is guiding him, to pretend that he is not with her, because "It won't do for a fine young man like you to be seen with a woman like me." Knowing she has no chance of romance with Marius, she not only takes him to Cosette's house, but repeatedly acts to protect Cosette, even to the point of risking her own life.
In view of their childhood antagonism, a conversation that grown-up Cosette and Eponine might have had if they recognized each other would be interesting. In the 1958 film (unlike the novel) they do meet. Valjean and Cosette provide a big meal for Eponine in their home, and arrange to take food to the Thenardier family. Cosette even gives Eponine a new dress. But the young women never recognize each other. In the film (as in the novel), when Marius shows up in her garden, Cosette never asks, "How did you find me?" That question also could have produced an interesting conversation. And, after he has survived the barricade battle, he never tells Cosette how Eponine saved his life there. In each of these situations, Hugo could have given more depth to Cosette's personality.
When Valjean plans to move, Cosette writes a note for Marius with news about the move and her new address, and hands it to Eponine (then disguised as a boy) to deliver to Marius. In Hugo's improbable narrative, Eponine, driven by jealousy, plans to separate Marius from Cosette and lure him to the barricade so they can die there together. So Eponine withholds Cosette's note from him, and yells to him to join his friends at the barricade. Thus, in one paragraph, Hugo makes it appear that Eponine's actions send Marius to the barricade. But the real problem, not explained in this film, is that Marius is financially unable to marry Cosette, having for years chosen not to work, and having failed to obtain money from his grandfather. Marius is responsible for his own misfortune; and now he must fulfill his "sacred" oath to die if Cosette moves away. He probably would have gone to the barricade even if he had received Cosette's note. Hugo's description of Eponine's handling of Cosette's note provides a mystery. A jealous person would read the note. Eponine doesn't. A vengeful person would destroy it. She doesn't. To separate Marius and Cosette, she should certainly dispose of it. She doesn't do that either. Jealousy doesn't begin to explain Eponine's handling of Cosette's note. Obviously, she still has the option of delivering it to Marius.
In the 1958 film, Eponine takes the note from its hiding place, reads it, crumbles it angrily, hides it under her blouse, and tells Marius that Cosette has gone to London. Thinking he has lost Cosette, Marius no longer fears death. As he heads for the barricade, Eponine tells him, "Let me come with you. We'll have a laugh." Apparently oblivious to what might happen, she accompanies Marius to the barricade. When a soldier aims at Marius, Eponine grabs his rifle and points it at herself. Mortally wounded, she gives Cosette's note to Marius, telling him, "I can't see you unhappy." She asks him to kiss her after she dies. When she appears to die, Marius gives her a long kiss on her lips. Then she revives and says, "I think I was a little in love with you," and dies.
After reading Marius' note to Cosette, Valjean first considers concealing it, hoping that Marius will die and Cosette will remain with Valjean. But Valjean's conscience compels him to go to the barricade to save Marius. At the barricade, Valjean assumes responsibility for killing Javert, but then frees him. Later, Javert says he cannot understand Valjean's action. Valjean says, "I pity you." Valjean carries Marius through the sewer and takes him home. Then Javert goes to the river. We do not hear his final thoughts. A little boy walks away from him, looking back apprehensively. A derelict old man, apparently dozing or drunk, jumps up and hurries away. Javert cuffs his wrists and falls into the river.
Like the novel's Valjean, Jean Gabin is rather unemotional, and the emotional moments he experiences often involve internal struggles. Gabin always appears clean shaven with hair neatly combed. As with Hugo's Javert, Bernard Blier always seems "Impassive" and "perfectly calm." Daniele Delorme, portraying Fantine after she has lost her hair and her teeth and been reduced to prostitution, provides powerful emotion. Bourvil, noted for comic roles, was a poor choice for Thenardier, whom Hugo describes as resembling "vulture and shyster," a man steeped "in an intensifying viciousness." There was no humor in Hugo's Thenardier. Giani Esposito displays very little emotion as Marius, often with a vacant stare thinking about Cosette. Even in romantic scenes he seems rather stiff. The script limited Beatrice Altariba's performance as Cosette. On the other hand, the script gave Silvia Monfort wide latitude to develop Eponine's character. Monfort, most famous for her stage performances, is very compelling as a sultry-voiced, red-haired, and barefooted Eponine, and is perhaps the most highly regarded actress ever cast in this role. 35-year-old Serge Reggiani seems well suited to the role of insurgent leader Enjolras, although Hugo's Enjolras is only 22 (and appears even younger). Jean Topart provides voice-over commentary.
The 1958 film was very successful in France, but was not screened in the U.S. until 1989. It was filmed in studios in former East Germany and France; and some scenes (e.g., at the Luxembourg Garden) were filmed on location. East German soldiers served as extras in the Waterloo and barricade scenes.