You review Les Miserables
We like some musicals—Singin’ In The Rain, West Side Story, Sweeney Todd, Passion—but we’re not really into the genre. We are the only people we know who have never seen The Sound of Music in its entirety (We see the hills, we fall asleep). A few minutes into The Phantom of the Opera movie we had a giggling fit and removed ourselves from the theatre lest we be attacked by its devout fans. We’ve never seen Miss Saigon or had the slightest inclination to do so.
In short, we’re not the right person to review Les Miserables the movie. We’ll watch it eventually, when the crowds thin. If you’ve seen it, do us a favor and post your review. Bonus question: You lost 25 pounds for the role. How did you gain them back?
Actual conversation with Noel
– Umiiyak daw ang mga nanonood.
– Kung ganoon, opening credits pa lang, iiyak na ako.
– Sa umpisa pa lang daw, humahagulgol na.
– Pwes, habang bumibili ako ng tiket, meron nang papatak na isang luha sa mata ko.
– Competitive!
* * * * *
Your reviews are fantastic. Thank you! From hereon we shall outsource all reviews of stage-to-film musical adaptations to you.
Answers to questions you might be asking, unless you wandered onto this site purely by accident >>>
January 20th, 2013 at 12:12
Many viewers indeed in my place shed a tear or two, especially when a soldier shot a child revolutionary who’s collecting bullets. Hugh Jackman’s performance is superb. I thought he’s the musical version of Wolverine. Russel Crowe did justice as an obsessed inspector/police chief. The children performers really shine the movie, especially the role of the child Cosset (so gut wrenching to see her maltreated by her “adoring” guardians). Sacha Cohen’s magnificent! His role’s really suit his strength as an obnoxious swindler and opportunist. The musical’s a slightly faithful to the novel (I just read the book, tons of sub-plots/stories to be fitted in the movie). A good watch for my money.
January 20th, 2013 at 12:43
I understood the story of Les Miserables more by watching the film than singing along with its 10th anniversary concert. Now I no longer need to read countless synopsis, wikipedia pages or even push myself to read the book. Although I’m not sure if in Victor Hugo’s book Fantine also returned as an angel or any translucent being in the end. And did Javert, jumped off the bridge because Russel Crowe failed to deliver his pinnacle song, Stars?
January 20th, 2013 at 14:44
As someone who listens to the 25th Anniversary Concert of Les Miserable almost everyday for the past six months on his laptop as a way to jumpstart his work day, I considered it as a form of pilgrimage to watch the movie at around 11 pm in the mall near where I live and risk being mugged while singing “In the rain, the pavement shines like silver” on my way home, walking on almost deserted streets where gangs of teenagers roam.
Hugh Jackman did very well as 24601 – a difficult feat considering the range of emotions he had to convey while singing. And he was the lead, which required him to sing throughout the movie. He must have had a very good vocal coach because he changed some of the notes and pitch of the songs to suit his voice without sacrificing the emotional resonance(I’m pretending to know what I’m talking about).
Anne Hathaway, I LOVE YOU!!! She knew that she was not a powerful singer so she compensated by powerful acting. Fantine is one of the most memorable characters of Les Miserable. Eventhough she only had comparatively shorter onscreen/onstage time than the other characters. Anne was very stunning in embodying the emotional wreck that was Fantine – nalinlang ng lalake, naanakan, inakusahan ng pagiging hitad ng kanyang kapwa manggagawa, kinalbo, binugaw, pinagsamantalahan, dinakip ng pulis, nagka-pulmonya, at namatay na nawalay sa kanyang anak. I think she took the Lea Salonga approach when she sang, squeezing every emotion out of each line.
As for Russel Crowe, I have to disagree with Wangbumaximus. Russel can carry a tune but cannot act and sing at the same time(I loved him in Gladiator). When he sang “Now bring me 24601/Your time is up and your parole’s began…” I had to suppress my giggles, and I had to exert utmost effort from bursting into hysterical laughter whenever he appeared on-screen throughout the movie. It was agonizing to watch him. It was like watching a schoolboy being forced to sing in his school play. He was so stiff and self-conscious – more concerned with singing in tune than fleshing out the character of the obssessive Inspector Javert.
It was nice to see the cast of the actual musical(some of whom also performed during the 25th Anniversary Concert) do bit roles in the movie. Colm Wilkinson the actor who played the Bishop of Digne, was the original Jean Valjean and the Phantom of the Opera. Some of the cast of the musical acted as soldiers or as the townspeople.
Since this was a movie adaptation of a musical about miserable people, it was appropriate that the actors did not go for theatrical singing. It would have been ridiculous, to paraphrase Anne, to sing perfectly while in the midst of suffering, poverty, disease and squalor. The dialogue was modified and some of the songs were shortened and even omitted. The order of some scenes were switched and some characters did not die like they were supposed to. I was not even sure some characters were supposed to die. Then again, this was a movie, and the producers could not resist from further manipulating the emotions of the already weeping audience. We were already suffering, there was no need to inflict more suffering on us. Or maybe that was the point, to make us all miserable and even more miserable. So Fantine-esque.
I could not help from singing along and my friend occassionally whispered to me to please shut up. But everyone just had to join in when Enjolras sang “Do you hear the people sing…”. The movie is an excuse for fans of the play to gather in one venue and do community singing.
January 20th, 2013 at 14:59
people sing. people die. the dead people come back at the end to sing some more.
January 20th, 2013 at 17:35
You may enjoy reading this review: http://themattwalshblog.com/2012/12/28/les-miserables-taught-me-how-to-hate-again/
January 20th, 2013 at 20:01
Javert jumped (or committed suicide) due to the tremendous guilt feeling of letting Valjean escaped due to what the latter did to him (Valjean let him escaped despite on what all he did against Valjean) while he should have captured him because that’s his duty as an inspector. Caught between self-morality and the corruption of the system he dutifully served, he ended it all by that moment.
January 20th, 2013 at 23:40
Sensationalized. Romanticized. Bordering on being pretentious.
January 20th, 2013 at 23:45
Oh, and I like Samantha Barks who played Eponine in the movie and in the 25th Anniversary Concert. She’s a powerful singer. It was strange to hear her toned down in the movie. Maybe she had to since she was paired with Amanda Seyfried(Cosette) who squeaked through the songs that were supposed to be sung by a soprano. Maybe her squeaks(boses-kiki) were intended to represent the virginity of the character? Anyway, as much as I like Samantha Barks, her sad, melancholic and lovestruck Eponine is not as good as Lea Salonga’s(who played Fantine in the same concert) angry, feisty, and lovestruck Eponine. Samantha seemed to forget that Eponine was supposed to be a tomboy.
And as for Aaron Tveit, nice try but I’ll pick Nick Jonas(who played Marius in the concert) over him anytime.
January 21st, 2013 at 04:09
I love musicals, and there’s a reason why Les Miserables doesn’t make my Top Five or even my Top Ten favorite musicals. Or even as a favorite. Sure, it has some very good songs, but the reason why I love musicals is for the energy they have. And in my opinion, Les Miserables does not have that.
Musicals don’t always have to be happy. Heck, I love Sweeney Todd, and they’re chopping people up all over the place and serving them as pie. Once On This Island, which IS in my Top Five, ends with the poor rejected girl committing suicide over some rich douchebag before getting turned into a tree by capricious deities who’d placed a bet with each other over her love life. And of course, another fave of mine, Jesus Christ Superstar, has 39 lashes and crucifying and all that bloody agonizing in the garden.
However, Les Miserables pretty much lives up to its title. These people are Miserable. Miserable. Miserable. And the songs, while well-done, just absorbed “les miserables” too much and drains the energy of the story for me.
(This is also why I’m not too fond of The Phantom of the Opera – which also has songs that I do love – but which just drains the tragedy to the point of no fun at all).
The 2012 adaptation of Les Miserables does little to change my opinion of the entire musical.
Did I like it? Some things, I did. Mostly the performances of Anne Hathaway and Helena Bonham Carter, and of course, a number of the songs.
The film itself lacks a certain oomph, and like its source material, manages to drain the joy out of its audience. And Russell Crowe was hilarious.
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The Cast
Anne Hathaway deserves that Oscar, and she is the best thing in the film (I am biased, though, as I’ve been such a huge Anne fan from her “Princess Diaries” days). She sang “I Dreamed A Dream” with such raw emotion, possibly the only part of the film that did genuinely tug at my apparent heart of granite.
Hugh Jackman was pretty good, too, though perhaps he could’ve been better. Perhaps its the singing, which is acceptable, but maybe the fact they sang live instead of lip syncing affected his performance.
Russell Crowe? The weakest of the lot, vocally and acting-wise. I expected more from him. But then again, he’s relegated to man-chasing in the entire film, which from experience I will have to say can really be quite taxing.
Amanda Seyfried, who I think is very talented, was severely underused as Cosette. They could have cast an unknown and saved some money.
Samantha Barks as Eponine surprised me with her 14-inch waist and huge boobs. The popular “On My Own” could’ve been one of the best of the film if not for me being distracted by her general pathetic…ness. Grow a spine, girl. Didn’t you boss Cosette around when you were kids?
Eddie Redmayne, who portrayed Marius, is a very effective singer, and in some angles he’s cute, but he lacks the charisma to be this character. He has mastered the art of trembling lips while singing.
Helena Bonham Carter can do no wrong for me. However, the first thing that came to my mind as she appeared onscreen was, “Where’s Tim Burton and Johnny Depp?” At least she’s consistent with her penchant for period costume and characters that are bonkers. I love her.
Sacha Baron Cohen bordered a bit into over-acting, and not in the good Bonham Carter way. He was still amusing, but perhaps it’s because Helena is with him in most of his scenes, and they played off each other pretty well.
—
All in all, for me, Les Miserables remains to be a musical that is best listened to for some of its songs than watching it. Maybe I’ll watch it once more, if only for Anne’s “I Dreamed A Dream,” but like the first time around, I’ll probably be snickering with my friends at some key moments.
7 out of 10 stars
January 21st, 2013 at 04:19
Post-Script: Conversations with Friends.
“Nung nagkita si Fantine at Eponine sa langit, ‘di kaya sinampal ni Fantine si Eponine at sinabihang, ‘Walanghiya kaaaa! Minamaltrato mo ang anak kooooh nung bata pa kayoooo!”
“Javert’s obsession with Valjean just became way homoerotic as portrayed by Russell Crowe and his glazed, longing eyes. Then again, what do you expect? It’s singing Gladiator meets singing Wolverine: testosterone flying about, notes all over the place.”
“‘Empty chairs at empty tables / Now my friends are dead and gone.’ Parang ganyan ako kaninang umaga nung knockout na kayong lahat sa inuman natin kagabi. Kakantahin ko na ‘yan palagi ‘pag nandun kayo sa place ko.”
“Do they get discounts when they hire Helena for these period movies? They must save a fortune on costuming if that comes free with her.”
“May panahon ka talaga, Cosette, na umoutfit nang bongga with matching well-placed hat habang tumatakas kayo sa kalagitnaan ng gabi.”
“May panahon din si Eponine achievin ang 14-inch waist habang nagmamando sa inn nila.”
“At may panahon din talaga si Marius na umemote sa pag-ibig habang nagpapatayan na sa paligid nya.”
January 21st, 2013 at 04:24
I missed this gem:
“First Sweeney Todd. Now Les Miserables. I don’t think I want to get invited to a party where Helena Bonham Carter does the cooking.”
January 21st, 2013 at 06:47
I thought Russell Crowe was ok. The problem is, the rest of the cast were great. Except maybe Amanda Seyfried, but I never did like the stage version of Cosette to begin with, so the bias is already there.
I think Anne Hathaway, Hugh Jackman and Samantha Barks were effective because they managed to fuse together stage and movie acting. Russell Crowe was acting as if he was on a stage. He would have been a good Javert on stage. On the other hand, Amanda Seyfried was too much of the movie actress and therefore was almost too subdued to be noticeable. I sort of wish they could have given her a new solo for the movie.
The movie turned out better than I expected, although I hoped it could have added more details from the book, especially since they already decided to stray a little bit from the stage version. The movie Eponine is still not Hugo’s Eponine, and Cosette is still not given any justice at all.
January 21st, 2013 at 15:04
The 64 million dollar question goes to Tom Hooper : Why all the tight shots???
Man, if he did that to me, the people will see pores the size of coin purses. Pwede hulugan ng barya!!!
January 21st, 2013 at 18:08
To brewhuh23: Why the tight shots? —> http://www.bworldonline.com/weekender/content.php?id=64442
January 21st, 2013 at 18:56
I would so do Hugh Jackman. And as a living, breathing carnivore, can you blame me? The man has more beef than Tesco’s. That alone is enough reason for any self-respecting homosexual to brave the epic 3 hours it takes for this film to take its course. Even more so when Hugh Jackman starts to sing, “Look down! Look down!” Sir, yes, sir!
That having been said, I was disappointed by the film.
Before I get stoned to death, hear me out.
Yes, Hugh Jackman as Jean Valjean gets drenched with water in the opening scene and we see him power lifting a thick pole amongst equally muscular inmates, etc. So honestly, within the first few minutes, I felt like I already got my money’s worth. But Russel Crowe as Javert is just a buzzkill! First of all, Crowe looks more like an aging accountant than a menacing law enforcer. Do the filmmakers honestly expect me to suspend disbelief that this squat figure wearing a funny hat is enough of a threat to someone as physically imposing as Jackmantasy? And even though I’m familiar with the book and the musical, the film, as a visual medium, should rightfully be able to stand on its own. Every time I see Crowe and Jackmantasy together, I wanna weep, giggle and gag – all at the same time. The multi-layered conflict (moral, spiritual, legal, blah blah blah) between Crow’s Javert and Jackmantasy’s Valjean is at the crux of Les Miserables. It’s so important, they sang lots of songs about it!
And then Crowe starts to “sing.” I wonder – did he do animal exercises when he was getting into his role? I could just imagine him and his beautiful mind, in rehearsal mode: “I am Javert. Javert is a watchful bird. Javert is a… a… Crowe?! A crow!!! Caw caw caw!”
Anne Hathaway is gorgeous even with a patchy head and a bleeding mouth. But I found it difficult to get past the obtrusive make-up. It was flat-out clownish – and this is way before “Master of the House.” I appreciate the need for grit, but must everything be so overstated whilst the singing is all so… understated? Underwhelming! At this point, I question whether this is still Les Miserables or Waiting for Godot… Is there any salvation for the wretched of the earth, i.e. the poor Les Miz nerds like myself who are trapped into waiting, waiting for this movie to get better?
Amanda Seyfried as Cosette trills thinly through “A Heart Full of Love;” Samantha Barks shockingly lacks the awareness to turn her face towards the camera during key passages in “On My Own;” Freddie Redmayne’s chin vibrates alarmingly throughout “Empty Chairs and Empty Tables,” leaving me scared that his jaw might fly out of the screen and into the audience. The filmmakers might as well have cast Nick Jonas in all the roles!
The only saving grace of this film is Colm Wilkinson as the Bishop of Digne, who needs to do nothing more than be onscreen for me to start cheering, weeping, hugging myself, etc. Wilkinson’s passion, certitude and quiet grace only served to highlight the shortcomings of the celebrity cast, and how unnecessarily busy the entire film was. Honestly, did we really need each shot to pan out vertically and into the stratosphere?? Is this Les Miz or X-Men?
Hugh Jackman should have just been shirtless the entire time.
January 21st, 2013 at 18:59
Bonus question: You lost 25 pounds for the role. How did you gain them back?
Crispy pata, kare-kare, paksiw, and all manners of artery-clogging stews with meats of dubious provenance. Yum.
January 21st, 2013 at 19:24
It was OK at first, then it got tiring. Eddie Redmayne is great, though.
My full review:
One of the reasons why we go and see a movie is because it appeals to our emotions. From the way the trailer was made and released a couple of months back, Tom Hooper’s big-screen adaptation of LES MISERABLES wanted to tug our heartstrings. However, promises made sometimes do not equate to promises fulfilled. Heavens forbid, this movie could be this year’s SHAKESPEARE IN LOVE, or SLUMDOG MILLIONAIRE.
Opening with an underwater shot and cut to a number of rugged inmates pulling the ropes of a huge boat, we are introduced to convict Jean Valjean (Hugh Jackman), who is ordered by prison guard Javert (Russell Crowe) to lift and move the wet French flag tied to a heavy wooden log. Valjean does as ordered and showcases a magnificent feat of strength that amuses Javert. Valjean is soon released on parole, but outside life proved harsh as no work would take him on due to his criminal history. His crime: refusal to go hungry. His sentence: 19 years.
The story of LES MISERABLES itself is stirring. Victor Hugo’s tale of love, freedom, and injustice captivated millions worldwide since its initial release in 1862. Most members of the audience might remember an earlier version of the movie, helmed by Bille August from a script by Rafael Yglesias which starred Liam Neeson as Valjean and Geoffrey Rush as Javert. Although a number of elements and chronology were altered in August’s version, the film was as cinematic as one could wish for. Plus, Neeson is readily believable as a father figure who’d risk his life over his adopted daughter Cosette (Claire Danes). As his archnemesis, Geoffrey Rush makes an iconic Javert, forceful and charismatic with just enough menace to tell you he won’t stop until he gets his man.
LES MISERABLES by Tom Hooper, adapted from the Boublil and Schonberg musical is beautifully shot, costumed, designed, and scored (but of course it is a musical, afterall!). The heavy and relentless use of close ups is an advantage over the stage version, plus it enables us to identify with the motivations of every character. But in terms of emotional attachment, LES MISERABLES falls short.
People are yapping on and on about how Hooper’s version will make you cry buckets of tears. I guess it is a matter of how you take the movie, or how fast your eyes swell up, but in my anticipated scene where I am supposed to cry- such did not happen. Anne Hathaway gives her Fantine every energy and inspiration, but in her rendition of “I Dreamed A Dream”, I failed to connect. Hooper gives his best with the close ups, but the effect wears after a few seconds. The underlying motivation in the book why Fantine “Dreamed A Dream”, was lost in translation. Still, I give it to Anne Hathaway for a brave performance.
I almost cried in on scene, the death of the young boy Gavroche. However, the scene quickly cuts into the attacking soldiers that every inch of attachment I had with Gavroche was wiped beyond recognition.
Jackman as Valjean exerts his best effort, and on top of his lungs he sings and the effort is clearly established. Crowe’s Javert is very macho, his song delivery leaves much to be desired but when he acts and the camera captures his emotions, he reminds us he is Russell F—— Crowe.
One other problem LES MISERABLES have is the considerable reduction of Marius Pontmercy (Eddie Redmayne) and Cosette’s (Amanda Seyfried) courting moments. It is preposterous beyond belief that a young man and a young woman would readily die for one another upon a single, brief encounter. I’ve had coffee breaks longer than their courtship stage. No wonder Eponine (Samantha Barks) was a train wreck. As the proverbial third wheel, even she is shocked at the ridiculousness of Cosette and Marius’s love.
Poor Amanda Seyfried was totally underused in this movie.
Hooper probably thought that most people would have been familiar with the story of LES MISERABLES, and so important details were not included, such as the significance of Lamarque in the French Revolution, the thrill and exhaustiveness of Cosette and Marius’s courtship stage, and the suffering of Fantine. Upon consideration, Uma Thurman makes a more realistic portrayal of a mother with everything stripped from her.
But if Hooper added more to his version, I’m afraid the film will run longer than LORD OF THE RINGS, what with all the singing.
My literary buff friend argues that the festive number “Master of the House” where we are introduced to the Thenardier household is quite off-putting, given that the subject matter of Hugo’s novel ought to be dark and depressing, and that a comic relief may be out of place. Me, I’ll take them as they come. Besides, Sacha Baron Cohen and Helena Bonham Carter as the Thenardiers are perfect breathers from all the singing and introspection.
Hooper’s version does offer some fleeting moments of cinematic delight, in all respect. Javert pinning a medal on the body of deceased Gavroche is most astounding. Eddie Redmayne is also superb as Marius.
LES MISERABLES the movie feels like a stage musical brought onscreen, with the costumes, the set design, the spectacle, and the whole gimmickry shebang. It maybe the intended effect, but perhaps it should have paid more attention to story coherence, which starts out with a neat editing. The Liam Neeson headlined version omitted a lot of important moments in the book, but it favored emotion without feeling contrived. This version is over glossed and overlong.
Cross published at: http://deathoftraditionalcinema.blogspot.com/2013/01/les-miserables-tom-hooper-2012.html
January 21st, 2013 at 21:14
hyperactivegayboy: In our best Beavis and Butthead impression: Huge Ackman power-lifting a thick pole. Uh-huhh. Sounds like an episode of Oz! (Note: Sorry to disappoint James Franco’s admirers, but his Oz movie is based on the Wizard of and not the HBO prison series.)
January 21st, 2013 at 21:15
macky46 et al: Pinapasabi ng aming kaibigan na layuan ninyo si Eddie Redmayne dahil may nagmamay-ari na sa kanya. Lumayo kayo! Alis!
January 21st, 2013 at 21:20
ManilaBeans: Didn’t Hugh Jackman win a Tony for The Boy From Oz? If he threw in some high kicks, we’re watching Les Miz.
January 21st, 2013 at 21:23
allancarreon: So Russell Crowe: Man-Chaser.
January 21st, 2013 at 21:25
the chronicler of boredom: Method-watching ang ginawa mo. Yun bang pagkatapos ng pelikula, paglabas mo sa sinehan, ikaw ang mabubugbog, mananakawan at magagahasa. Ayyy!
January 22nd, 2013 at 08:10
Jessica: If it were “Hugh Jackman: Man-Chaser,” then I’m in. Yes, I do believe he won a Tony for the Oz thing. Unfortunately, he did not throw in some high kicks in Les Miz, but as has been said, he did power lift a rather thick pole. Now the obsession of Crowe’s Javert makes more sense. Of course, he was bordering on Edward Cullen stalk-y, which is probably why he jumped off that bridge.
In any case, Hugh did carry an unconscious Eddie Redmayne aloft his shoulders, thereby igniting a global fan fiction wildfire. And it happened in the sewers, with both of them graphically covered and/or swimming in… stuff. That dirty image probably takes care of some kinky fringe segment of that fan fiction writing pool. Hee.
January 22nd, 2013 at 08:41
@allancarreon: I love Once on This Island too. My favorite musical number is their finale “Why We Tell the Story.” Kawawang Ti Moune. Bwisit na Daniel.
January 22nd, 2013 at 11:46
@jessicazafra:
“Whoa. Is this like the weather channel?”
“Yeah, eh heh heh, the forecast is partially cool.”
January 22nd, 2013 at 15:45
@jessicazafra:
Kung nangyari yun, may emotional authenticity na ang aking performance. Hahaha! Ramdam na ramdam ang delivery ng linyang “He took my childhood in his stride”
January 22nd, 2013 at 19:11
@butoygirl: I love “Why We Tell The Story,” “Mama Will Provide,” “We Dance,” “Rain,” and definitely “And The Gods Heard Her Prayer” dahil ang bakla lang ng arrive nun. Hahaha. Bwisit nga na Daniel. However, although kawawa nga si Ti Moune, I also can’t help thinking at times, “Naive hussy!” Si ateh naman kasi, antayog ng pangarap, hindi man lang nag-hire ng PI para imbestigahan si Daniel, chos.
There should be a mash-up musical. Pagsamasamahin si Ti Moune, Eponine, Mary Magdalene, at lahat ng mga ume-emote na characters for unrequited love. Pati na rin ung beki na may gusto kay Sam Concepcion sa “I Do Bidoo.”
Pwedeng i-title dito ang “Les Miserables, Part 2: Kailan Mo Ako Mamahalin?”
That will either be fun or the most misery-laden musical of all time.
January 22nd, 2013 at 20:07
allancarreon: Isali ninyo yan sa MMFF para may mapanood naman kami.
Kung kabiguan at kabaliwan sa pag-ibig ang hanap ninyo, panoorin ninyo si Fosca sa Passion ni Stephen Sondheim. Pati manonood ay gusto nang magpakamatay sa panlulumo.
January 23rd, 2013 at 08:40
@allancarreon: My favorite line of the finale song: “It will help you feel the anger and the sorrow . . . and forgive.” Namatay ako dun. Nagawa pang magpatawad. Ako pa kay Ti Moune, hihilingin ko sa mga diyos na gawin nila akong bagyo para sirain ko yung mansyon ng lalaking iyon. Bitterness is next to . . . a good vengeance plot. Oo, naive hussy nga si ateh.
About the mash-up musical, pwedeng sumingit si Adele tapos kakantahin niya ang official anthem ng mga sawi sa pag-ibig; ang Someone Like You. Huwag lang nating ipaalam para surprise. Di ba gusto yan ng mga manonood sa MMFF? Cameos and community singing!
January 23rd, 2013 at 18:43
@jessica: hindi ko pa napapanood ‘yan. Mahanap nga. Kaya lang baka hindi ako ang mamatay sa panlulumo; baka mapatay ko ang character kung Bobita Peron sya sa pag-ibig.
@butoygirl: I know. Naive hussy who needed to grow a spine si Ti Moune. Parang gusto ko syang sampalin. Pati si Andrea. Hahaha si Adele ay dapat ngang taga-awit ng lahat ng theme song sa MMFF. Pasok sa takilya taun-taon ‘yan.
Ika nga ng kaibigan ko: “On a scale of 1 to Adele, how bad is your lovelife?”
(Come to think of it, Adele might make a good Eponine. Or Fantine.)
January 28th, 2013 at 12:17
Friends’ comments on unwitting tragicomic characters:
Anne:
– Kawawang nilalang! Nasisante na, nabungal pa, na-rape pa!
– At sa isang iraw lang!
Hugh:
– Eh bat kasi sinabi pa nya na sya yun! Wala dapat problema!
– Ayan na naman sya, nag-iisip na naman!
– Who am I who am I na naman!
– You’re Jean Valjeannnnnnnnnn!
Russel:
– Eh bat ba siya galit na galit sa nagnakaw ng tinapay, eh yung mag-asawa nga araw araw nagnanakaw hindi nya hinuhuli!
Helena:
– Napakagaling ni Bellatrix talaga!
– Miss ko na si Marla!
Sacha:
– Si Bruno yan.
– Ay talaga? Ahahahahhaha!
Rebel leader in red:
– Napakapogi mo naman!
– Sana sila na lang ni Eponine kahit sa afterlife man lang.