Victor Hugo et les principaux personnages des Miserables
By Jay
I’ve always been a huge admirer of Victor Hugo, ever since I saw the 1935 film version of Les Miserables when I was eleven years old in 1979. I finally read an abridged version of the novel in 1984 followed by the unabridged version in 1988. I’ve subsequently read just about everything of his that has been translated into English and own an antique 30 volume set of his “complete” works that dates from shortly after his death in 1885. I also own (I believe) all of his biographies that have been either written or translated into English and have copies of many film versions of his novels. I suppose I could almost consider myself an expert on the “anglo” interpretation of this great writer’s works in English, and my only regret is that I have never read any of his works in his native French.
By Jay
I’ve always been a huge admirer of Victor Hugo, ever since I saw the 1935 film version of Les Miserables when I was eleven years old in 1979. I finally read an abridged version of the novel in 1984 followed by the unabridged version in 1988. I’ve subsequently read just about everything of his that has been translated into English and own an antique 30 volume set of his “complete” works that dates from shortly after his death in 1885. I also own (I believe) all of his biographies that have been either written or translated into English and have copies of many film versions of his novels. I suppose I could almost consider myself an expert on the “anglo” interpretation of this great writer’s works in English, and my only regret is that I have never read any of his works in his native French.
Recently, I
came across a very short film called Victor
Hugo et les principaux personnages des Miserables. According to a quick internet search, this is
the first film version of any of Hugo’s works though it can barely be called a
“version” but rather a curiosity. It was
filmed by the Lumiere brothers circa. 1897/98, making it nearly 120 years
old. It’s surprisingly very clear for
such an old film – almost as if the footage could have been shot today. Of course, there were no feature length films
in the 1890’s, mere snippets. The film
itself lasts for just over a minute and shows an anonymous impersonator assuming
some of the substantial roles within the novel beginning with Hugo himself,
white beard and all. Hugo stares at us
as if to say, Wait until you see what I
have in store for you, as he gazes directly into the camera, head somewhat
loftily raised, arms folded, gaze set with purpose. Hugo’s character is then followed by the
angry looking convict Jean Valjean, beardless and with his prisoner
identification number on his stocking hat.
The impersonator then turns around and changes into the identity of the
benign and kindly looking Bishop Myriel, bespectacled and with eyes gleaming
benevolently into the camera. The next
character that is portrayed is the innkeeper Thenardier with full beard, arms
folded, hunched over and almost leering into the camera as if to say, Watch out, or I will take what’s in your
pockets! And the final impersonation
is probably his most unique – that of Valjean’s nemesis, police inspector
Javert, beardless, police hat, with false broken teeth – leaning back with his
hands behind him, his mouth open and expression wild with obsessive
determination. It is a macabre portrait,
and one that demands continuous viewing.
On the whole, the entire film demands continuous viewing. It is one minute captured in time towards the
end of the century before last when films were in their infancy. On Christmas Eve I found myself watching it
over and over again. I cannot explain
why I am so fascinated by the film except perhaps that everything about it is
in the distant past. The anonymous
impersonator has surely been moldering in his grave for many, many years and
yet the sparks of life he brought, however fleetingly, to the various
characters forever remain etched in time.
