I had one for Les Misérables based on one of the performances on Youtube. During Thénardier's Villain Song "Dog Eat Dog", he refers to God being as dead as the "stiffs at (his) feet". Initially, this just seemed like a usual example of a villain having Nietzsche Wannabe pretentions, but then it hit me... During this scene, Thénardier is in the Paris sewers, and it seems like the "stiffs" he references are Valjean and Marius, neither of whom are dead. Thus, the musical is sending the message that God is very much alive.— Jordan
Here's another one from Les Mis. Jean Valjean's repentence song ("What Have I Done?") is about how the bishop's love has turned his life around. Inspector Javert'ssuicide song ("Javert's Suicide") is about how Valjean's love has turned his life around...only in a completely opposite way. The tunes to both songs are the same. Every song in this musical gets a reprise (most of them increasingly darker), and it's fittingly ironic that the hero's song about deciding to live a purposeful, redeemed life should return as the antagonist's song about being unable to continue with life.
In the 2012 film, Valjean manages to casually see through every one of the Thenardier's well-practiced routines to pick his pocket. Having spent 19 years in jail, Valjean has learned a thing or two.
When Javert, after denouncing Madeleine as Valjean in M-sur-M, comes to argue that he should be discharged for his actions, he declares (Quoted from a non-English translation): "I have often been severe in my life. If I would not be severe towards myself now, all that I have done would become an injustice. Should I save myself more than the others? No." It's isn't until much later in the book, upon his suicide, when that line truly becomes foreshadowing and begins to shed light into the matter. Javert learns that he has been wrong about the concepts of justice and redemption for his entire life. Therefore, despite his ambition to become utterly irreproachable, he has constantly been unjust: He has arrested men and women like Valjean and Fantine a hundred times over petty laws, leaving countless men, women and children to suffer poverty, sickness and death, not realizing the injustice of it because of his blind devotion to the laws of men instead of those of God. Upon realizing this, he sees that he has failed his moral duty and gives his resignation to God by throwing himself to the Seine, because his rigid moral code demands for his punishment which he can only attain by damning himself.
In 'Stars', Javert promises to never let Valjean go, and swears it by the stars. in 'Dog Eat Dog', M. Thenardier 'looks up to see the heavens and only the moon shines down'. A few songs later, Javert gives up on chasing Valjean.
Also, in "Javert's Suicide", one of the lyrics towards the end, just before he kills himself, is "And the Stars are Black and Cold", showing that he believes himself to be abandoned by God.
In the song "Red and Black":
"Red- a world about to dawn!" Think of the phrase "Red sky at morning, sailors take warning." Now go back to "One Day More." "One more day before the storm!" and "A Little Fall of Rain." Get it?
"Like the flowing of the tide, Paris coming to our side!" The tide goes in and out...
In "Lamarque is Dead"
Enjolras never finds out how many guns they have, which explains why they run out of ammunition later. Both times that he asks Feuilly and Combeferre if they have the guns they need, he gets interrupted before they can answer: first by Grantaire, then by Gavroche. Note that this only applies to the cut production of the musical- the full version (as demonstrated by the Complete Symphonic Recording) has an extra set of lines before Gavroche's interruption where there is quite a lot of detail given about the amount of ammunition in each district.
Enjolras is going to get that answer before the revolution starts.
Another reference to the tides - "Could it be he's some old jailbird/that the tide now washes in?" And like the tide, Valjean goes 'out' as well; he escapes from both Javert, who's singing, /and/ the barricades!
Most people are very divided on Russel Crowe’s performance of Javert, citing an overall lack of range, volume, and vocal presence, especially in “Stars.” It is usually seen as a declaration of Javert’s crusade to capture Valjean, using the stars and God as his witness. However, in the film version, Crowe’s Javert is singing this song right after Valjean has just escaped him for the second time. Crowe’s Javert sings the song much more softly, but with just as much emphasis, while walking along a narrow ledge. This is not a Javert that is planning a personal crusade, but a Javert reassuring himself in his faith that, just as the stars have their order in the sky, so too does the world have an order, which is the law. His faith in this order is illustrated by his walking on the ledge; it is dangerous, and he could fall, but he firmly believes that God will keep him from falling in accordance with this order, just as He orders the stars in the sky. This is referenced again in “Javert’s Suicide;” once again, he is walking along a ledge and pondering the order of the world. However, this time, his belief in this order is shaken. He remarks that “the stars are black and cold,” and is no longer certain about his faith in God or the nature of the law. When this faith is challenged, he falls from the ledge and dies.
In the novel, Thenardier asks for money to support three people, even though the only family he has left is his younger daughter, Azelma. Earlier in the novel, when the Patron-Minette was breaking him and Babet out of prison, it described Montparnasse, the handsome young dandy of the group, to be practically a son-in-law to Thenardier. Thenardier wanted the extra money so he could bring Montparnasse and marry Azelma off to him.
Assuming he wasn't just lying so he could get more money. He told Marius that his wife was still alive.
In the film version of the musical, Valjean starts as a convict with a shaven head, dressed in red tatters. By the time Fantine is arrested and confronts Valjean, her head's been shorn and she's wearing a bright red dress, as an ironic echo of Valjean's own helplessness and powerlessness.
When Javert is unmasked as a spy at the barricades in the book, he makes no attempt to lie about his agenda even if he will be otherwise be executed. Why would he go so far in his decision not to lie that it would end up killing him? Hugo strongly implies that Javert is part Romani from his mother's side; Given the century's attitudes, he has likely suffered from discrimination most of his younger life. He hadn't only risen from poverty, but he had to fight for his good reputation and integrity in the eyes of the prejudiced society where many would've deemed him a liar and charlatan. Javert would never sacrifice his integrity even in the face of death, because in his black-and-white world it would mean succumbing to the nature the society would brand him with.
In the 2012 film, Cosette sings "Castle on a Cloud" to a makeshift baby doll she's made from rags. She spends the entire song cradling it, occasionally whispering in its ear, seemingly apropos of nothing. But this makes a lot more sense when you realize the French version of the song is actually entirely different — it's about how much she wants a doll to play with and dress up, and how the doll would be like a daughter to her. They choreographed the song this way just to make the international dubbing easier — sort of a filmmakers' version of The Dev Team Thinksof Everything.
This is a great idea, I'm sad to Joss it — having seen the film in Paris, this troper can confirm that there wasn't a single cinema playing a dubbed version of the film anywhere in the city. I don't think they even made a dub.
In the 2012 film, Sacha Baron Cohen's Thenardier accent slips between Cockney, over-the-top French, and a bit of fake plummy in between, making him the only character to have any kind of French accent (for everyone else, The Queens French applies). This differs from the norm in which the character just slips between Cockney and a fake plummy accent. However, this might make sense, as the novel suggests that Thenardier might not actually be French, but instead a Belgian who lived near Waterloo and started passing himself off as French at the same time he started passing himself off as a soldier. Thus, as part of Translation Convention, Cohen's Thenardier does the usual slip between lower class accent and fake upper class one, but he also has the noticeable French accent to mirror how the character's actual background is with Belgian French or Flemish, but is putting on a French (from France) accent
Many of the songs in the musical, while eminently memorable, have rather simplistic — one might even be tempted to say banal — melodies. "Master of the House," "Look Down", and "Do You Hear the People Sing" all have short melodies that repeat the same snippets many times. For an internationally renowned musical, they might seem to fall a little flat ... UNTIL you get to "One Day More", and you suddenly realize that those earlier melodies were simple because they all had to work together when sung at the same time! 'Twas true Crowning Music of Awesome at that moment.
In the novel the narrator remarks that Madame Thenardier wont hire maids for their inn anymore, since her husband would go after them. This is the exact reason why they keep Cosette. Now imagine what would have happened if Cosette had still been with them when finally hitting puberty (or probably even before.)
In the ending when Fantine and Eponine take Valjean's soul to Heaven, all who died during the book are there...except Javert. Because he committed suicide, his soul is either in Hell or, at the very least, in Purgatory, deprived from his eternal peace.
Gavroche to Enjolras: "If you are killed before me, I will take your musket." On the outside, that scene is just funny—but when you think about it, Gavroche, a little kid, not only understands that They're both going to die, but he talks very matter-of-factly about it.