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fillsta · 2 years ago

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How to explain Les Mis characters to your friends

Enjolras 'Enjy dearest', 'Enj':

Angry blond boy. "Eat the rich". Either gay or aroace. His celebrity crush is Robespierre. He may or may not have a crush on a specific wine lover. Also Aaron Tveit. That's it

Combeferre 'Ferre':

The 'hot' scholar. Rly likes moths I guess. Wears glasses bc he's smart and smart ppl wear glasses. Has done nothing wrong, ever. We love him .

Courfeyrac 'Courf':

Everybody's friend. Flirty, fruity bitch. Round and lovable. Possibly in a relationship with either Combeferre or Jehan. Marius' own personal extrovert. Keeps the group together. Portrayed by the Mighty, the Fruity Fra Fee.

Grantaire 'R':

Likes to drink. A lot. Bi bitch, hopelessly in love with a certain blondie. Hold-hands-before-getting-shot-to-death kind of crush. Rly good at history and philosophy. Cynic. Also, fandom decided that he draws<3. Big hobo energy. Ask the fandom about the actor in the 2012 musical and they'll shed tears

Jean Prouvaire 'Jehan':

Ah yes, the softie. Love poetry and playing the flute. Most likely smoke weed. Plant parent. Gender unknown. We love their hippie bullshit. I don't remember the actor's name but he was kinda cute

Bahorel 'Baho':

The fruity gym bro. Enjoys fistfighting. Possibly Feuilly's bf. Man bun and beard. Studies law but doesn't want to be a lawyer. Doodles instead. Gavroche's idol. His celebrity crush is probably Dwayne Johnson or sth.

Feuilly:

IwbavajsbJzkabzjsvs. We love him. He's pure and innocent. Orphan. Makes fans for a living. Really loves the countries of the world. Headcannoned as Polish. Enjolras' fav ho. Wears flannels. I'll stop here because oh boi I can go on for ages

Bossuet/Lesgles:

Bald guy. Wholesome. He's also extremely unlucky and Victor made sure that's his only personality trait. Polyamoryyyy. His bf is Joly, his gf is Musichetta. It's just... Bossuet, you know?

Joly:

Doctor? Yeah, did I mention he's a germaphobe? Poor guy. Eccentric asf. Carries a cane everywhere. Will wake up in the middle of the night to align his bed according to the earth's poles and shit. Yes, he has a bf and gf, as previously mentioned.

Gavroche 'Gav':

Best boiiii. Smol, like, 10-12 yrs old. Savage. Absolutely destroyed Enjolras when in an argument. Also managed to trick a skilled criminal once. Rip, he would have loved Minecraft. Eponine and Azelma's brother. Courfeyrac's instant son. Looks up to Bahorel.

Marius Pontmercy:

The Most Awkward Human Being. Like, fr. Courfeyrac's emotional support introvert. Possibly the only straight here but who knows??? Idk he's kinda close with Courf. Anyway Enj amd Ferre scare him. Especially Ferre. He somehow gets a gf??? Survived

Eponine 'Ponine' Thenardieur

Marius' side ho. Has a crush on him. Bit I think she's gayyyy. Or bi. There's no way she's interested in men only. Anyway, poor. Terrible household situation :(. Feminist. I hope she gets a gf in her second life. R had a smol crush on her but that was just a phase. She deserved better, like everyone.

Cosette Fauchelevent/Valjean:

Marius' main ho (how this guy manages to get bitches is beyond me). Cottagecore goth (is that a thing?). Adopted. Such a sweet gal. Eponine could also be her gf <3.

Montparnasse 'Parnasse':

Ah him. Okay this guy. He is s narcissistic but a good one. One day he looked in the mirror and said 'Wow im hot lets murder people' and so he did exactly that. Said criminal tricked by Gavroche. 'Dandy'. He's so cool I love him sm.

Azelma Thenardieur:

Poor girl doesn't get any development. She's just there. Survived. Is rly cool tho, trust me.

Jean Valjean:

Stole bread and went to jail for 19 years. Villain origin story. Then he stole from a child (which may or may not have been Feuilly but that's another story for another post) and he instantly went good. Became mayor and businessman. One of his employees died so he found her daughter and raised her. Survived for a while. Is supposed to be the protagonist lol. Wholesome grandpa

Inspector Javert 'Jav jav man':

Is his life's goal to arrest Valjean. I say enemies to lovers trope. Starts off as a bitch, tbh.

Fantine:

My poor girl deserved the world. Her bf got her pregnant and fled :(. She gave Cosette over to some strangers to raise her while she worked in a nearby town, sending them money for Cosette's expenses. That's a no no there but ok. Gets fired, becomes a prostitute, dies. So of any of you out there shame sex workers I'll choke u while u sleep.

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huskerdustfanclub · 2 years ago

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The barricade was falling, Ferre looked around desperately directing his friends to safety, “That way! Hurry!” He was caught though, and brought to jail to be tried for treason. He knew Ashley was home waiting for him. Now all he could do was hope he could escape.

Ashley got word that Gabe and her friends were going to be hanged and rushed to the prison, shoving her way to the front of the crowd just in time

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jolrascirca · 2 years ago

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i see maria and i raise you the fact that tonight and a heart full of love are basically the same

what is The™️ love song to you guys? for me it's either miracle of miracles from fiddler on the roof or all i ask of you from the phantom of the opera

#ferre jail

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jolrascirca · 2 years ago

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most of the tags im putting here is so i can sort myself and not get confused on what i’m talking about (i tend to forget/unconsciously post)

For reference:

#’jolras thoughts : as it says, just random thoughts/headcanons i have. just words that are wording.

#’jolras writes : contains things related to, as it says, my fics/writing

#’jolras answers : for anything pertaining to the ask box

#Ferre Jail : stuff pertaining to my friend, Ferre

#PONT : things/stuff pertaining to my friend, Marius

#Little Gavroche's daycare : anything pertaining to my friend, Gavroche

#mr inspector man : anything pertaining to my friend, Nijs, who we call Javert anyways

#dont steal my bread : anything pertaining to my friend, Valjean

#alphabet boys : stuff pertaining to my friend group

#The Chief, the Guide.. and pontmercy : home to anything in the Les Pont de l’ABorbC group chat

The rest are probably fic titles, when a post pertains to a specific work

and my inbox/messages are always open.

#‘jolras thoughts #‘jolras writes #‘jolras answers #ferre jail #PONT #little gavroche's daycare #mr inspector man #dont steal my bread #alphabet boys #The Chief the Guide.. and pontmercy

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randomnotesonrandomness · 5 years ago

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"Literature can save a life. Just one life at a time."

Teju Cole on carrying and being carried. Translation, refugees, new words.

New York Books, July 5, 2019

A reproduction of a scene from an ancient Greek vase depicting the flight from Troy, with Aeneas carrying his father Anchises on his back, nineteenth century

The English word translation comes from the Middle English, which originates from the Anglo-French translater. That in turn descends from the Latin translatus: trans, across or over, and latus, which is the past participle of ferre, to carry, related to the English word “ferry.” The translator, then, is the ferry operator, carrying meaning from words on that shore to words on this shore.

Every work of translation carries a text into the literature of another language. Fortunate to have had my work translated into many languages, I am now present as an author in the literature of each of those languages. Dany Laferrière, in his 2008 novel I Am a Japanese Writer, expresses this slightly strange notion more beautifully than I can:

When, years later I myself became a writer and was asked, “Are you a Haitian writer, a Caribbean writer or a Francophone writer?” I would always answer that I took the nationality of my reader, which means that when a Japanese reader reads my books, I immediately became a Japanese writer.

Much is found in translation. There’s the extraordinary pleasure of having readers in languages I don’t know. But there’s also the way translation makes visible some new aspect of the original text, some influence I didn’t realize it had absorbed. When I think about the Italian translation of my work, I can feel the presence of Italo Calvino and Primo Levi, unnerved and delighted that I mysteriously now share their readership. When I’m translated into Turkish, it is Nâzım Hikmet’s political melancholy I think of. Maybe those who like his work will, reading me in Turkish, find something to like in mine as well? In German, perhaps even more than English, I sense the hovering presences of writers who shaped my sensibility—writers like Walter Benjamin, Thomas Mann, Hermann Broch, and W.G. Sebald, among many others. Thanks to translation, I become a German writer.

I trust my translators utterly. Their task is to take my work to a new cohort of my true readers, the same way translation makes me a true reader of Wisława Szymborska, even though I know no Polish, and of Svetlana Alexievich, even though I know no Russian.

Gioia Guerzoni, who has translated four of my books into Italian so far, has worked hard to bring my prose into a polished but idiomatic Italian. Recently, she was translating an essay of mine, “On the Blackness of the Panther,” which ranged on various matters, from race, the color black, and colonialism, to panthers, the history of zoos, and Rainer Maria Rilke. It wasn’t an easy text to translate. In particular, the word “blackness” in my title was a challenge. To translate that word, Gioia considered nerezza or negritudine, both of which suggest “negritude.” But neither quite evoked the layered effect that “blackness” had in my original title. She needed a word that was about race but also about the color black. The word she was looking for couldn’t be oscurità (“darkness”), which went too far in the optical direction, omitting racial connotations. So she invented a word: nerità. Thus, the title became: “La nerità della pantera.” It worked. The word was taken up in reviews, and even adopted by a dictionary. It was a word Italian needed, and it was a word the Italian language—the Italian of Dante and Morante and Ferrante—received through my translator.

Translation, after all, is literary analysis mixed with sympathy, a matter for the brain as well as the heart. My German translator, Christine Richter-Nilsson, and I discussed the epigraph to my novel Open City, the very first line in the book. It reads, in English, “Death is a perfection of the eye.” The literal translation, the one Google Translate might serve up, would be something like “Tod ist eine Perfektion des Auges.” But Christine sensed that this rendering would equate “death” with “perfection of the eye,” rather than understanding that death was being proposed as the route to a kind of visionary fullness. So she first thought of “Vollendung,” which describes a finished state of fullness; then she thought further, and landed on “Vervollkommnung.” Vervollkommnung is a noun that embeds the verb “kommen,” and with that verb, the idea that something is changing and coming into a state of perfection. That was the word she needed.

Christine also knew that what I was calling the eye in my epigraph was not a physical organ (“das Auge”), it was the faculty of vision itself. But I didn’t write “seeing,” so “des Sehens” would not quite have worked. In conversation with my German editor, she decided on something that evoked both the organ and its ability: der Blick. So, after careful consideration, her translation of “Death is a perfection of the eye” was “Der Tod ist eine Vervollkommnung des Blickes.” And that was just the first sentence.

A young woman from Bonn named Pia Klemp is currently facing a long-drawn-out legal battle in Italy. Klemp, a former marine biologist, is accused of rescuing people in the Mediterranean in 2017. If the case comes to trial, as seems likely, she and nine others in the humanitarian group she works with face enormous fines or even up to twenty years in prison for aiding illegal immigration. (Klemp’s plight is strikingly similar to that of another young German woman, Carola Rackete, who was arrested in Italy this week for captaining another rescue boat.) Klemp is unrepentant. She knows that the law is not the highest calling. As captain of a converted fishing boat named Iuventa, she had rescued endangered vessels carrying migrants that had been launched from Libya. The precious human lives were ferried over to the Italian island of Lampedusa. The question Klemp and her colleagues pose is this: Do we believe that the people on those endangered boats on the Mediterranean are human in precisely the same way we are human?

When I visited Sicily a couple of years ago and watched a boat of rescued people with bewildered faces come to shore, there was only one possible answer to that question. And yet we are surrounded by commentary that tempts us to answer it wrongly, or that makes us think our comfort and convenience are more important than human life.

Because Pia Klemp’s holy labor takes place on water, it reminds me of an earlier struggle. In 1943, the Danes received word that the Nazis planned to deport Danish Jews. And so, surreptitiously, at great personal risk, the fishermen of north Zealand began to ferry small groups of Danish Jews across to neutral Sweden. This went on, every day, for three weeks, until more than 7,000 people, the majority of Denmark’s Jewish population, had been taken to safety.

Currently in my own country, hundreds of people die on the border in the name of national security. Children are separated from their parents and thrown in cages. A few years ago, I visited No Más Muertes (No More Deaths), a humanitarian organization in Arizona that provides aid to travelers by leaving water, blankets, and canned food at strategic points in the Sonoran Desert. These are activities that the US government has declared illegal. The organization also conducts searches for missing migrants, and often locates the bodies of those who have died of hunger or thirst in the desert.

A young geographer named Scott Warren, working with No Más Muertes and other groups, has sought to help travelers cross safely. He provides water and, when possible, shelter. For this holy labor, Warren was arrested and charged last year with harboring migrants. Although the case against him recently ended in a mistrial, the US Attorney’s Office in Arizona is seeking a retrial. Warren is far from the only No Más Muertes volunteer to have been arrested as part of the government’s war on those who offer life-saving help to our fellow citizens.

Can we draw a link between the intricate and often modest work of writers and translators, and the bold and costly actions of people like Pia Klemp and Scott Warren? Is the work of literature connected to the risks some people undertake to save others? I believe so—because acts of language can themselves be acts of courage, just as both literature and activism alert us to the arbitrary and essentially conventional nature of borders. I think of Edwidge Danticat’s words in her book Create Dangerously:

Somewhere, if not now, then maybe years in the future, a future that we may have yet to dream of, someone may risk his or her life to read us. Somewhere, if not now, then maybe years in the future, we may also save someone’s life.

And I think of a friend of mine, a filmmaker and professor from Turkey who signed a letter in 2016 condemning the slaughter of Kurds by the Turkish state and calling for a cessation of violence. She was one of more than 1,100 signatories from universities and colleges in Turkey. In response, Recep Tayyip Erdoğan’s government initiated investigations of every Turkish signatory, accusing them all of terrorism. Most, my friend included, now face long trials and prison sentences. Many have been fired from their jobs or hounded by pro-government students. Some have already been jailed.

My friend and the other academics were carrying their fellow citizens. With the stroke of a pen, they attempted to carry them across the desert of indifference, over the waters of persecution. For this, they face consequences similar to those faced by Pia Klemp and Scott Warren: public disrepute, impoverishment, prison time. My friend finds herself in great danger for her stand, and so now it is her turn to be ferried to greater safety, because she did the right thing, and we must, too.

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combeferre-the-mothman · 2 months ago

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Ferre smiled and pulled her into his arms, “You’re far too pretty and charming to throw in jail.”

@combeferre-the-mothman

The Heist

Belle entered the ballroom of King Ferre. She needed to find a book. An important book but it contained information on Dark Magic and was probably locked up. She slipped on a mask and hoped to blend in but they had her bow at entry. “Majesty.” She greeted with a bow.

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lenezdansleruisseau · 6 years ago

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I Miserabili, Piccolo Teatro - Review (act II)

So, here I am with the review of the second act of the I Miserabili (I kept you waiting, I know, life is getting in the way, as always). First thing first, if you have no idea of what I’m talking about but you interested anyway here is the link to the review of the first act (where I also explain a little bit more what is this). Now, let’s start with a general talk about the second act. It didn’t work as well as the first act. I can’t tell if it was because in the part that they left of the brick for the second part more things happen or if it was because they used less the monologues strategy, anyway they made a lot more changes in the plot and a lot of Choices that made the whole act flow a little less easily. I’ll get more into detail under the cut. (This is not a spoiler-free post so if your intention is to go see this, don't read.)

The act opens with Valjean and Cosette eating in Valjean’s rooms. She complains that he treats himself badly and even threatens him to eat the same black bread that he's eating, instead of the white one, if he doesn't it the white one himself.

Now, a couple of words on the portrayal of Cosette: I really, really, enjoyed the actress' way of portraying her (I heard someone at the exit say that she was a bit "fake" and it's kind of true, but I don't think it hurt her performance that much), she was able to make the audience understand that even under the kindness and gentleness Cosette was a strong young woman who, after seeing how much the world could be terrible, she still decided to be soft and selfless. I think it was also the writing that helped with this, especially in this scene with Valjean it was clear they were trying to understand this part of Cosette's character and I really appreciated it.

Kudos to Romina Colbasso for the performance and to Luca Doninelli who wrote this adaptation. (You see, Davies? You can make a Cosette who's gentle and complex, you just need to understand the novel).

Back to the play. Cosette says she dreamed her mother and she looked like a saint, Valjean confirms that Fantine was a saint and tells her how much Fantine loved her. Cosette says that in her dream her mother was beautiful and she wished she was beautiful as her, but she knows she's not, you know who was beautiful? That girl at the convent named Marguerite, she wishes she was more like Marguerite, but, alas, she is not, the other day she heard two guys saying "What a beautiful girl, it's such a pity she dresses so badly" and she turned around to see of whom they were talking about because it couldn't be her at all. In all this speech Valjean looks kind of sad that his daughter would think that she's not beautiful, but says nothing. It's only when Cosette starts talking about this guy that smiled at her at the Luxembourg's Gardens that he starts asking questions. Cosette, sensing his worries, tells him that he's being silly and that "if they asked me to chose between you and Heaven, I'd already made my choice" which is very sweet, they hug and Cosette says that if he wants they can stop going at Luxembourg's Gardens.

We move to the Thénardiers' room where Mr. T is trying to write the letter to Marius. To include his grammatical mistakes they make Madam T correct them which prompt him to get mad at her and then send away Gavroche (who in this adaptation lives with them). When the two of them make up, Mr. T talks about the robbery he's organizing against the "the rich, old man always giving to charity at the church" (spoiler: he's talking about Valjean).

The other side of the stage gets illuminated (to make us understands we're in the same building) and there it is! Our Marius, whining and sobbing because the love of his life isn't coming to the Luxemburg's Gardens anymore and he doesn't know how to find her. Out of the blue, because the handkerchief's accident never happened, he decides that he will call her Ursula with no reason at all. Eponine arrives and the scene is literally identical to the one from the brick.

Here it's needed a little digression about the character of Eponine in this adaptation: first, the actress (Valentina Violo) was unbelievable, she was, in my opinion, the best of the whole cast, and they were all great; second, Eponine was the character who went under fewer changes in this adaptation, they kept all of her scenes and I think most of her dialogues, even her clothes were identical to the ones described in the brick (at least until she goes to the barricades). It was interesting that they decided to focus so much on her character.

So, we have the Marius-meet-Eponine scene, then we change scene again and we see the Superintendent Gisquet asking Javert why the fuck did he gave two pistols to Marius Pontmercy who, and I swear I'm quoting here, "is a dangerous Bonapartist." Ah, I always find so funny when in adaptations Marius is treated as some kind of competent and dangerous person. I mean, he does threaten to blow up an entire barricade in the brick, but still.

Anyway, Javert explains that he did that because he intends to capture the famous Thénardier's band (yeah, no Patron-Minette in this adaptation, they're called the Thénardier's band) and also, and here I'm quoting again and I hope you're sitting down, that dangerous criminal named Valjean who escaped the claws of the law too many times already! And Gisquet reacts as if Valjean is actually a Terrible Criminal whom he can't believe Javert has been able to find! Valjean is such an important criminal that Javert gets promoted to commissioner just for having a plan to capture him. I really don't understand where this fixation for Terrible-and-Really-Important-Criminal-Valjean comes from.

By the way, now it'll start a sort of running gag where every time a character refers to Javert as Inspector, he'll correct them with a very offended tone and all these characters will make a point of ignoring him. I also don't understand why we try to turn Javert in some kind of comic relief.

But we don't have time to reflect on this too much because there is a dramatic change of scene and Valjean now is moping around his house sad because he knows he's losing Cosette and that it's right because he does not deserve happiness because he is The Worst Person Who Has Ever Lived and Touissant who is there with him for reasons, says to him that that is all bullshit, he's a great man and he deserves happiness.

Cut again to the Musain! Here Enjolras is having a meltdown because Marius is helping the cops. He gets really shouty and even pushes Marius and Combeferre (who is still a strange mix of Ferre and Grantaire) has to hold him back before he tries to punch Marius in the face. Courfeyrac is able to calm Enjolras down and make him understand that Marius is doing the right thing, Enj doesn't sound convinced but stops trying to hurt Marius at least. Gavroche arrives and they talk for a bit about the fact that Lamarque (the hero of the people!) is going to die soon and that will prompt a rebellion. Marius seems a little distracted and Enjolras, after scolding him again follows Combeferre and Gavroche out of stage left. Marius whines with Courfeyrac about the disappearance of the love of his life and reveals that he asked Eponine to find her.

We don't get to see the robbery at the Gorbeau House, only Javert dragging Mr. T on stage and asking him about the man they were trying to rob and where did he go. Mr. T says that he doesn't know where or who he is (but tells all about what happened in detail) and when Javert threatens to send him in jail forever he just answers that there are people made of fire, like Valjean (a reference to the fact that he burned himself with a piece of scalding metal) and people made of water like himself and water always finds its way out.

Here we have the scene of Marius and Eponine meeting again with Eponine bringing him to Cosette's house. As for the other scenes with Eponine is identical at the one in the brick.

The first meeting between Marius and Cosette is cut pretty short: they have barely the time to introduce themselves and enounce a couple of the poems that Marius writes for Cosette in the novel and then they are interrupted by the "Thénardier's band". Eponine tells them to hide and, as always, we have the same identical scene of Eponine sending away the Patron-Minette as in the brick. Apart maybe for the fact that she calls Montparnasse "my sweet Montparnasse" like 18 times which I don't remember it being in the book, but I suspect it was because they wanted to make us understand they were involved "romantically" somehow.

The Thénardier's band goes away and Marius and Cosette come out again. Cosette reveals that after the Gorbeau House's affair, her father wants to leave for London, they kiss very dramatically and Cosette suggests he should come with them, but Marius can't because he has no money, so they kiss dramatically again and Marius hints vaguely that he will probably seek death going to the barricades that have never been mentioned before.

They may have not been mentioned, but here it is: the barricade! We know it's a barricade because the furniture forming it is in weird positions and because Enjolras is standing on it giving a speech.

If you're waiting for any one of the speeches Enjolras gives in the brick you'll be disappointed, he gives a completely different speech where he practically explains the meaning of Liberté, Egalité et Fraternité at the Italian audience (which by the way is slightly anachronistic because it wasn't an expression really diffused during the 1830s, if I'm not mistaken).

Combeferre(/Grantaire) brings Javert in as a prisoner and explains to Enjolras that they were able to discover that he was a spy thanks to Gavroche. Enjolras wants to shoot him, but Combeferre reminds him they don't have bullets to spare and decide to wait after the end of the rebellion. Enjolras asks where Gavroche is and Marius answers that he send him to give Cosette his last letter. In that moment Gavroche comes back and says that he didn't deliver it to her but to her father which prompt Marius to say "Luckily I'm going to die soon." Very dramatic.

Gavroche suddenly decides to launch himself on the barricades (screaming the name of Eponine?), Marius and Eponine who appeared from nowhere (well, actually from stage left, but they had never explained that she went after Marius) follow him and Eponine runs in front of Marius to save his life.

The scene of the death of Eponine and, you guessed it, it's the same as in the brick. I cried. You have no idea how good Eponine's actress was.

Enj, Ferre, and Courf arrives and here we have the moment where we should be able to see the humanity and softness of Enjolras and understand how young and maybe also a little bit scared he was, but it lasts 30 seconds and then Eponine's body is brought out of the stage and Valjean arrives climbing the barricade.

They ask him if he is a spy and why should they believe him and he answers that he doesn't know how to make them trust him, but also gives them the suggestion of the mattresses on the barricade so I guess they're fine with that. He sees Javert, but barely take notice of him because they hear Gavroche screaming Vive la Republique on the barricade and they all run to stop him. Gavroche is on top of the barricade, singing his song about Rousseau and Voltaire and waving the French flag for absolutely no reason and of course they shoot him. Enjolras is the first to arrive, he hugs Gavroche's lifeless body and promptly starts doing exactly what Gavroche was doing, so, of course, he's shot too. (I'm not even starting on the fact that this behavior was completely out of character for Enjolras who is a competent leader and knows that he needs to survive to give orders if he wants the barricade to be successful, but it was clear the characters of Les Amis where put in only to give a vague idea of the political climate of the period, so I shouldn't really have expected more.)

Valjean comes back to Javert and tells him they give him permission to shoot him. Of course, he doesn't do that and frees him instead, Javert asks him to just shoot him, but Valjean answers that his revenge will be to force him to die as a free man. Javert runs away and Valjean shoots in the air to pretend that he killed him. Right one second later, Marius appears and thinks Valjean killed Javert and gets mad because Javert saved his life (when? You may ask. I think he was talking about the robbery at the Gorbeau House). Valjean doesn't correct him and Marius threatens to kill him. Valjean then reveals himself as the father of Cosette and encourages Marius to shoot him anyway because if they were to exchange places, he would shoot him. Jee Valjean, calm down. (Also, it almost seems as if Valjean is already sick? It wasn't very clear.) Before Marius can take a decision though, he gets shot and Valjean takes him on his back and runs away from the barricade.

Out of the sewers, Valjean meets Thénardier and Montparnasse who are talking about the 25 000 francs that Paris loses in the sewers (yeah Paris' sewers' digression baby). Valjean pays Thénardier to open the door of the sewer for him, but then they hear Javert approaching and run away. When Javert sees Valjean with Marius on his back asks him what the fuck is he doing and, after hearing the answer, not only opens the door for them but also helps Valjean to carry Marius home.

Javert comes back to the stage alone. There is a homeless person sleeping and Javert starts monologuing to him about how Valjean is making him reconsider all is life. It's a really great monologue with a lot of good acting, he says something that really hit me: "God is the new superintendent." In the end, Javert gives his coat to the shivering homeless person and goes away strongly implying that he's going to kill himself.

We skip directly to after the marriage of Cosette and Marius, the two of them are on the stage lamenting the absence of Valjean from their life, they both know everything about him, even the fact that it was him who saved Marius from the barricade.

Suddenly, Touissant arrives on stage to tell them that Valjean is dying and they all run home to him. Cosette lectures him for not letting her know that he has fallen ill and he says that he was too ashamed for his past to be part of her life (which is kind of strange because she already knew everything about him, right? I mean, they made a point to make this clear in the first act so why should Valejan feel so guilty now?). Valjean dies between the arms of both Cosette and Marius urging them to love each other deeply because love is what saves us all.

Fin.

As I already said in the last post, I really enjoyed the play, my biggest problem with it was that I couldn't understand why they decided to do that: if you decide to do something as difficult as making a play about Les Mis, you should at least have a message you want to pass, a goal maybe, but in this play, it wasn't clear at all what they were trying to convey. It was easy to understand that the writer looooves the brick, he tried to keep most of the original text and even a big part of the digressions which can only indicate a great love for the novel, but that was all, a nice exposition of the novel.

My opinion is that they tried to focus on the message of love and that love is what saves us all in the end: both the two acts end with a quote of Hugo about love and the two characters who gets fewer changes are Eponine (the girl who dies for love) and Javert (the man who dies because he is not able to accept love in his life, more or less, I know is more complicated, forgive my simplification), so I think this was the direction they tried to follow, but it was lost between the dozens of monologues and details they decided to put inside. All in all, though, it was a pretty nice play so if you're able to catch it, go seeing it.

If you have questions, want clarifications, are interested in some more details, send me an ask! Thank you for reading!

#les miserables #victor hugo #piccolo teatro adaptation

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