#napoleon is a coward

[josefavomjaaga]

Napoleon is a coward

At least as far as private matters are concerned. I always had suspected as much, considering how awkward he acted around Josephine until he finally told her he wanted to get rid of her. But the way he treated his brother is just shameful.

Napoleon to Berthier, Paris, 8 February 1810

My cousin, you will forward the enclosed decree through an officer to the King of Spain and to Marshal Soult, to whom he will deliver your letter. My intention is that all orders be given in accordance with this decree. I can no longer cope with the enormous expenses of my army in Spain. I want the administration of the conquered countries to be in the hands of the generals who command the provinces, so that all the resources are applied to the expenses of the army. [...]

The decree in question, imposed for financial reasons, basically stripped Joseph of his authority as king. As far as I get to understand from the letters DuCasse cites, at least some provinces were declared to be »under siege« as a whole, which basically put them under martial law and handed over all government functions to whatever marshal or general was in charge. However, it seems Napoleon did not even tell Joseph to what extent his authority had been annulled:

Berthier to Suchet, Rambouillet, 22 February 1810:

[...] The intention of the Emperor is that Aragon, which is put in a state of siege, should have the least possible communication with Madrid [i.e., with Joseph]. The fact that the province is under siege gives you full authority, and you must use all its resources to pay, clothe and feed your army. If, at last, the King were to give you orders, as General-in-Chief of the armies of Spain, with regard to the administrative part, only then must you make it clear that Aragon, being in a state of siege, forms a separate army receiving orders only from the Emperor. You sense well enough, Monsieur le Comte, that you should only make these dispositions known in the case of absolute necessity. His Majesty relies on you for the prudence which such a position requires, and he counts on your devotion to his person, and on your attachment to the French Empire. You feel that some parts of Aragon might be necessary for the new limits of France. This letter, Monsieur le Comte, is between you and me only.

[Emphasis by me]

Translation: Joseph no longer holds any authority in Spain – but try to not let him notice, so that he can have fun playing king some more. And be prepared that we at some point may just grab some territories away from under Joseph’s ass. Surely you fully understand how this is necessary, right? So – hush!

This is incredibly ugly, and it makes look Napoleon, and in extension Berthier (as he seems to have no problems with this duplicity), not look good. From now on Joseph would often be left completely in the dark, not even being told about the orders that Napoleon and Berthier gave directly to the marshals and generals governing the Spanish provinces. Which then resulted in a direct confrontation with those military gouvernors, in particular with the one who, technically, was Joseph’s chief-of-staff and thus was supposed to also be loyal to him:

Joseph to Berthier, Madrid, 25 August 1810

[...] The Marshal Duke of Dalmatia believes he can give orders below the Sierra-Morena which must be carried out exclusively to all others, these are his expressions. [...] If the orders from Sevilla can deprive me of the troops around Madrid, I am not sure that one of these mornings, when I wake up, I will not find myself a prisoner of the armed bands of Estramadura, Valencia or Siguenza.

And there again, like after the battle of Ocaña, we have the fear that Joseph’s own person might be in actual danger.

This cannot be the Emperor's intention: it is essential that his justice should express his will in a clear and strong manner.

It did, in a way, by moving the whole of the army administration to Sevilla and placing it under the command of Soult – who, independently from Joseph, also had complained to Berthier that the current situation, with everybody torn between the official authority of the king and the actual authority of the marshals, was unbearable. Joseph continues:

As for myself, I am ready for all the sacrifices compatible with my honour; but I cannot see myself treated in this way by Marshal Soult, who is no longer recognisable to me since the arrival in Seville of one of your officers who, according to what he told my royal commissioners, brings him the direct orders and instructions of the Emperor.

[Emphasis by me]

There we have it. Orders are given to the marshals and generals, Joseph is left in the dark about them, and then complains when these marshals and generals follow the orders they received. It’s as if Napoleon deliberately wanted to put Joseph in the most humiliating position, and as if he deliberately wanted to ruin any chance for Joseph’s kingdom of Spain to succeed by sowing as much tension and discontent as possible.

[24cardpickup]

Yearly Mike Flanagan pain hours <:

[cyarskaren52]

I want meg to clear him so badly

[secretmellowblog]

One super funny thing about the French Rev (that Victor Hugo even references in Les Mis) is the way it altered naming conventions, resulting in tons of WILD amazing ridiculous names!

Basically what happened was— during the French Rev the laws around registering names were relaxed, so people started giving extremely revolutionary names to themselves and their babies.

Sadly Napoleon’s government later cracked down on this. When Napoleon came into power he passed a restrictive law mandating that people had to choose among a list of “normal” names, banning the weird revolution ones, because he was a spineless coward afraid of the power these names had. The restrictive naming laws weren’t repealed until late in the 20th century.

But anyway here are some of my favorite French Rev baby names (taken from this list):

Mort Aux Aristocrates -“Death to Aristocrats”

Amour Sacré de la Patrie l’an Trois -“Sacred Love of the Fatherland Year III”

Lagrenade —“The Grenade”

Droit de l’Homme Tricolor “Right of Man Tricolor”

Égalité — “Equality”

Régénérée Vigueur— “Regenerated Strength”

Marat, ami du peuple -“Marat, friend of the people”

Marat, défenseur de la Patrie—“Marat, defender of the Fatherland”

La Loi-“The Law”

Philippe Thomas Ve de bon coeur pour la République — “Philippe Thomas ‘Go with a good heart for the Republic’”

Raison —“Reason”

Simon Liberté ou la Mort —“Simon “Freedom or Death””

Citoyen Français—“French Citizen”

Sans Crainte— “Without Fear”

Unitée Impérissable— “Imperishable Unity”

Victoire Fédérative— “Federal Victory”

Vengeur Constant —“Constant Avenger”

[kelvinthegoatt]

Call me a coward but young Napoleon is easier to draw than balding Napoleon

[thesmegalodon]

just got the greatest idea for a movie

Muppet Farm

It's animal farm but with muppets, à la Muppet's Christmas Carol, but they play the entire thing completely straight.

Every human character is Michael Caine in a different costume. Link Hogthrob is Napoleon.

It's time, Hollywood. Don't be cowards.

[miffy-junot]

Napoblr picrew tag game!

I found this picrew with really pretty Regency/Napoleonic era designs, I thought it would be cute if we make ourselves as ladies of the Napoleonic court! (sadly there isn't a male version so it's just for fem-presenting folks I'm afraid)

Above is my attempt at making myself, I need the outfit so bad (yes I am going for a historically accurate hairstyle because I am no coward!!!)

tagging (no pressure of course): @apurpledust, @mandatorycommunistbrunchhour, @auguste-marmonts-only-fan, @hanciiii, @bryla-kobaltu, @dinapiss, @6jozefa, @jel-randombooth, and anyone else who wants to join :3

[napoleonic-sexyman-tournament]

Propaganda for Michel Ney:

This man. THIS MAN HAD SO MUCH CHARACTER. HE’S LITERALLY THE KIND OF MAN THAT INSPIRES GOOD FICTIONAL CHARACTERS NGL!! Since he’s up against a british person, here is a description of him by the Times of London:

“... his name rendered illustrious by 25 years of eminent services and brilliant exploits, was dear to the country, and even the enemies of France admired in him the character of the Great Captain. All allowed him to possess as much generosity of sentiment as bravery and skill at the head of armies. No trait of weakness, adulation or rapacity, had ever cast shade over his loyalty and military virtues. His sole defect seemed to be a certain vehemence of character and expression, which rendered him little suited to public affairs.”

And his death was so tragic. In Waterloo, he had made a fatal mistake with the cavalry, and he decides here that he will die. We don’t know exactly what happened here. Did he have so much PTSD from russia and years of war that he made such a stupid mistake (AA ALSO AFTER the disaster of russia campaign he isolated himself so much. Poor man🥺)? But one thing’s for sure, this man wasn’t a coward. The Bravest of the Brave was not a man who’d mess up in the war and just run away. On those grassy fields, Ney tried everything to get his men’s attention and when all hope seemed lost he shouted in the faces of the enemies “See how a marshal of France meets his death!” It seems in that moment his greatest want was to be killed by english bullets. But Victor Hugo recounts this and adds the ironic line of “Unhappy man, thou wert reserved for French bullets!”

…😭😭😭😭ISN’T THAT JUST…. SO POETIC AND TRAGIC?????

AND DON’T EVEN. DONT EVEN GET ME STARTED ON HOW HE DIED!!!!

This man sobs afterwords he gets tried for treason against france basically for siding with Napoleon. But with how unfairly they zero-in on ney’s wrong doings, this was a blood sacrifice. To help him, his lawyer reasoned that the place Ney was born from technically was no longer french, since it has been annexed by Prussia from the 1815 treaty of paris…

But this guy. OH nOnoNonononononoNO, this red-haired, lion-looking, emotional honor-filled patriot has the audacity to interrupt his defender and say loudly without the slightest doubt or hesitation "I am French and I will remain French!"

….

Come on. COME ON!!!! How stupid is he???!! How idiotic!! He just closed another door to survival because of what??

because of honor….. Wow, can you imagine that? He has given everything all his years of service, all his years of being a husband, a father, a son, all his years of rest and peace of mind to France. He has done so much, and even when…EVEN WHEN FRANCE SLAPS HIM ACROSS THE FACE AND SAYS “you traitor” He shouts back “I am French and I will remain French!” aaaaaaAAAAAAAAAAAAAAAA OMG….. what the hek…who is this man????

So he is executed as a traitor. There are different versions of his death but here are a few:

By Rochechouart:

“He [Ney], of course, refused to kneel down and be blind-folded; he merely asked the Commandant Saint-Bias to show him where he should stand. He stood facing the platoon, who held their guns ready to fire. Then, in an attitude I shall never forget, it was so noble, calm and dignified, without bravado, he took off his hat, and availing himself of the moment when the Adjutant stepped aside and gave the signal to fire, he said these words, which I distinctly heard: Frenchmen, I protest against my sentence; my honour..." As he said these words he placed his hand on his heart; the volley was fired, and he fell. A rolling of drums, and the shout of "Vive le Roi" from the surrounding troops closed the mournful ceremony.”

Such a death made a deep impression on me, and turning to Auguste de la Rochejaquelein, Colonel of the Grenadiers, who was beside me, and who, like me, deplored the death of the bravest of the brave, I said: ‘There, my dear friend, is a lesson how to die.’”

By M. Laisne:

“He [Ney] took some steps, removed his hat, and in a loud and clear voice: ‘I protest,’ he said ‘before heaven and mankind, that the judgment that condemns me is iniquitous; I appeal from it to Europe and to posterity’ …. Before these words there was presented to him a handkerchief to bandage his eyes. He answered with exaltation, ‘do you not know that a soldier does not fear death.’ He advanced again four paces, laying his hand on his heart and said to the soldiers: ‘Do your duty. It is there that you must hit, do not miss me.’ Instantly he fell dead.”

And finally a very close person to him, Ida Saint-Elme:

“Ney got out of the carriage. He was wearing civilian clothes: a long dark coat, a white necktie, black breeches and stockings, a tall beaver hat with curved brim. He uncovered. His slightly raised head showed that his face wore a tranquil expression. He looked first to the right and then to the left. He caught sight of me. Then, as though fearing to compromise his faithful friends by the least sign of recognition, he bent his brow downward a trifle.”

“He walked on with firm step. At that instant I discerned through the mist, in the centre of the square of troops, and standing out from the dark background of the wall, the firing squad. I tried to rush forward. Belloc pulled me back, and forced me into the cab.”

“Then I dropped weakly upon the seat. A few minutes elapsed, each a whole century long. Then I heard a sharp report. I went into a dead faint."

His death is so tragic and amazing. It really shows out his character and was the initial thing that got me interested in him as a person. Anyways, basically, this dude is such a tragic glory-lover but also very heroic and inspiring.

So therefore HE ISS SEXY GO VOTE FOR NEY!!!

.

[quackity1999]

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go fuck yourself literally go fuck yourself thats not even funny at all i think you have problems man i seriously fucking think you have issues who the hell do you work for im gunna contact their team and have you fired for harrassment im gunna fuck your shit up you absolute coward you think its fun you think my fucking life is easy you're probably 3 inches taller than me i dont give a fuck about what you think do you seriously believe you have the jurisdiction to just stand around and base your worldview of people based off their height are you fucking 12. are you like literally 12 motherfucker dont look down at me. sit on your fucking ass i dont talk up to people like you. are you a fucking loser who waits for their mommy to give you your daily pussy ass pokemon trading cards do you even think youll finish highschool? do you think youll go to college? i fucking dont you're a piece of sh

[archduchessofnowhere]

Oh Sophie and Franz❤️. Their friendship was very sweet and they might have had romantic feelings, but I'm not sure if logistically they could've actually carried on an affair (like do we know of any chances they could had to be properly alone?). They were close enough for people to wonder tho, that Prokesch had to come out and state that the Duke of Reichstadt had absolutely not banged his aunt is quite telling lol

About Maximilian, personally I think that the theory has such a hold in people's imagination because it provides a sort of continuation for Franz's short (and honestly, rather uneventful) life. It helps that Max's fate was so attached to the Bonapartist empire. But him actually being his son just doesn't seem likely, and the only evidence of this that exists are rumors (in defense of this theory tho I'll say we shouldn't forget that Franz's mom was the most Habsburg looking woman ever and that genes can skip generations).

I've also read that quote paraphrased, I don't know the source but given that they were each other's first friend at court, I can believe it.

Moritz von Dietreichstein to Empress Marie Louise, then Duchess of Parma, November 27, 1824:

He [Napoleon II] is quite beloved at the Courts of Bavaria and Saxony. He devotes his most particular attentions to the Princess Louise [of Bavaria], to the great amusement of her sisters and their ladies. After the ball I had the honor of dining with him at the table of the Queen of Bavaria. Her Majesty talked with me at length and her one topic was the prince. She adores him. In brief, it is the general opinion that he has the making of a most accomplished gentleman.

[ic-napology]

My Scott's Napoleon review (short version)

Ok so I'm ready for my Scott's Napoleon review (late of course).

The beauty of its form and aesthetics can't be argued. I'm not in awe though, because it was a standard I pretended from Ridley Scott and Apple. Sadly, the content made it feel a huge waste.

What do you do with the thought, be it accurate or not, that Europe was ruined by wars because a vile man might have been frustrated by a toxic relationship? Is this idea something worth creating such an e x p e n s i v e movie about? Why so much bling?

To a Napoleonic fan, it would cause a soul-bleeding, because of how shallow and inaccurate all this is. To a non Napoleonic fan, it would be just... I don't know, depressing? Lame? It would be even if they remembered that this movie would contain a personal and artistic re-elaboration of history by a filmmaker (known for doing that all the time).

My main issue with this movie, both as a fan of Napoleon and Josephine and... as a person I guess?, is about how it deals with the "humanizing Napoleon" thing. I am ok with the intention per se. I am ok with giving a personal touch to a story. I'm not ok if that means mortifying him, without leaving any redeeming quality nor charm for balance. It wouldn't sit well with me about any character, whoever they are.

It could have meant adopting a more empathetic frame towards Napoleon's life and character. It would have given insight to qualities, vision and goals of the character too. Empathy doesn't require to justify someone's eventual horrible sides. It could work even in a movie where you mostly want to point out a villain's faults. I would dare say that if you make the viewer empathise with a villain, just before showcasing the worst of his deeds, it would be even more shocking and hard to deal with.

Best villains are the ones you could get some insight and connection with. And this movie fails to connect you with Napoleon at all. "There's nothing we can do", other than despise him.

Ridley Scott can manipulate history and mansplain all the historians he wants, he still has become a coward storyteller.

[mist-the-wannabe-linguist]

Man, the more I think about future alternate history of Temeraire the more it looks like the 20th century would see a massive decline if not outright near-extinction of heavyweights dragons, at least those in Europe and maybe Russia

It's 1914, dragons in Europe have had rights for a while now, still not 1:1 to humans (not sure where women's rights would be at in Temeraire universe so maybe dragons are on par with human women) but we're getting there. They aren't seen as beasts or intelligent warships anymore. But then World War I begins and the propaganda machine is everpresent and merciless. It is every man's duty to defend his country or else he is a coward and a weakling and deserving of shame, and for dragons, whose size and strength is incomparable to humans, this applies tenfold. Not to mention the fact that dragons require lots of food from the already dwindling wartime resources. The pressure on dragons to "pull their weight" would be massive. And so most of them join the war effort, working as messengers, reconnaissance, moving cargo, or serving as soldiers in their own right, old but still capable dragons once again taking on harnesses and crews like they have 100 years ago and teaching the younger ones the tactics they still vividly remember. But this is not the 1800s anymore, technology has progressed and just like the traditional cavalry, dragons and their crews fall prey to modern artillery and machine guns. Smaller, lighter breeds manage to keep ahead of the relatively primitive technology, but the large and slow heavyweights become little more than gigantic moving targets. In this world, the term The Lost Generation rings even more true.

Meanwhile in Russia the period of chaos after the dissolution of Russian breeding grounds during the Napoleonic wars has long since passed, with sky-high costs in both human and dragon lives. By the 1830s, some of the few remaining dragons were lured back to human society with promises of steady food and treasures, and it did not take long for things to return to what they used to be. Dragons were indeed treated better now, but still far from equal, their situation more reminiscent to pre-Temeraire Britain, and there was still a strongly baked-in hierarchy of preferential treatment based on dragon size. Come 1917. The war drags on, living conditions plummet and unrest rapidly rises in the Russian Empire. Still not seeing any of the societal changes that dragons of Western Europe enjoyed, Russian dragons find much common ground with peasants, especially the small lightweight dragons, and calls for a change became louder. Humans and dragons alike united by the vision of peace, freedom, prosperity and equality for all, the Socialist Revolution sweeps through the country with the speed of a grey courier's flight. A republic is established, the tsar and his family are executed, same as thousands of other members of nobility, the wealthy, and others seen as enemies of the state. This includes many dragons who did not side with the revolution, particularly those who refused to part with their hoards. Many heavyweights saw themselves as targets, viewed as symbols of the imperial power by the people and as tyrants in their own right by smaller dragons. Then the middleweights, and even lightweights do not avoid suspicion. Talks of the inherent greed and savagery of dragons find more and more voices, people remind themselves of the brutality unleashed by freed dragons a hundred years ago. With the increasing industrialization and technological development, there are opinions that dragons have no place in a modern world, claims that "why need dragons when we can achieve just as much with machines and pure human ingenuity". Many dragons find themselves out of work and out of food, and retreat to the wilderness. Those who remain are mostly the small ones, just large enough to live similar to humans, eat as much as humans and work according to human standards.

[isthenapoleoncute]

I had a sexy statue of Napoleon installed in my backyard and someone wrote graffiti on it: "If I live, you will die." What kind of coward would do such a thing?

A stupid one. What sort of Napoleon owner would not be proud to die for their pet Napoleon? One time I had to produce an ax to chop a great white shark's head off to protect my Napoleon's; I'd do it again

(Artist's rendition of me defending my Napoleon from a shark).

Also, I like how the Napoleon you submitted looks like he is trying imitate his sister, Princess Pauline! What a good boy!

[uptoolateart]

The thing about Chloe is that, like many things in the show, the events in Collusion can't be taken too literally.

Yes, her appointing herself as mayor is insane - so insane that it immediately made me think of Napoleon. Bearing in mind this is a French show...let's dig into this.

First, a VERY condensed rundown from someone with only a basic, basic knowledge of French history: there were multiple French Revolutions, but the one that led to the Napoleonic Era was initiated by rebels who represented 'the people' (versus the corrupted nobility), who stormed the Bastille, then lopped off the heads of their opposition.

This went on for years, during which time Napoleon rose up the military ranks and ended up ruling France. He too was supposed to be 'of the people' but power went to his head and he appointed himself not just King but Emperor, then proceeded to invade neighbouring countries, until Russia and Britain spelled the end for him.

In 'Collusion', when Miss Bustier is akumatised she guillotines the heads off her victims. The heads float up as balloons so children can handle watching it, but the allusion is there, reinforced by all the red, white and blue, being the French colours.

She then storms the Mayor's office, but before she can chop off his head, he steps down, recognising his own corruption.

Chloe then bursts in and tells the public there is another corruption of leadership - all that power being in the hands of Ladybug and Cat Noir. Being superheroes, they are not 'of the people', while Chloe states that she is.

However, Chloe is one of the Bourgeoisie. It's been there in her name since the very first episode, and she really lives up to it. In the days of the Revolution, she wouldn't have made it out with her head. And like Napoleon, she has now appointed herself the power figure - in this case, the Mayor. But Napoleon fell, and so will she.

This scene then becomes a commentary on modern politics:

We have a leader without an election, which we have had multiple times here in Britain, and I'm sure it's happened in other nations too.

When Chloe can't pronounce 'democracy', I expect that's a dig at a certain very famous political leader....

Our political leaders all have their scripts written by others, and arguably, at least in some cases, there are others behind the scenes, pulling the strings - like Lila behind Chloe...or Gabriel orchestrating for Chloe to be a 'saviour'.

Andre Bourgeois is a coward. It might look good on the surface, him admitting his corruption and stepping down...but he just runs from the mess he created. He could fight for custody of Chloe and enforce discipline and values until she turns 18, maybe try to undo some of the damage he's caused, but he takes the easy way out and leaves Chloe and Paris to it. This, too, is what some real life politicians do. (I'm given to believe this last point might not have been intended by the episode writers, but it's what comes across nonetheless.)

Please note I am not condemning or condoning any particular political system or party. I'm also not getting into the debate over Chloe's story arc.

This is simply my observation on what else is going on at the end of the episode. Looked at that way...well, it's quite a lot more than just Chloe becoming Mayor.

Please no post-Collusion spoilers in comments :)

[psalm22-6]

Reading the screenplay for Les Misérables (1917) by Frank Lloyd and Marc Robbins

So the 1917 American film production of Les Miserables (starring William Farnum, directed by Frank Lloyd, and produced by William Fox) is not lost per se but it isn't readily available to watch either. According to @melancholyarchivist's research, a version is preserved by the Filmoteka Narodowa and can be viewed on-site (Is there anyone in Poland who's interested in visiting?) and we may some day get a restored version. In the meantime, I found that (most of) the screenplay is available through the Library of Congress, where it was submitted as part of the studio's copyright claim. I will tell you straight away that it itsn't complete. It ends right at the story's climax, which was incredibly frustrating to me but there's still lots of cool info. Here were some high/low lights for me: The film begins with a forward displayed through intertitle cards:

1. In the realm of prose Victor Hugo’s immortal classic shows that if sin dims the Divine Image, conscience disturbs the soul with sore discontent. 2. We see how God uses conscience to waken a dead soul and “plague the sinful man with dark despair,” until the conscience, that first made a coward of a bad man, at last makes a hero, of a good man. 3. In “Les Miserables,” Victor Hugo portrays the worst man as having a Diving Spark that no injustice can extinguish, which God guards and feeds, making it incorruptible in this life, and immortal in the next—SLOW FADE

That is not a great start but okay. Then we see Napoleonic soldiers walking triumphantly through the streets (the year is 1796.) Contrast this with scenes in Jean Valjean’s household, where children are fighting over a scrap of bread. Valjean sees the baker's window full of cakes and bread. He breaks the window and reaches over the cakes in order to take the bread. He is of course immediately caught, and the baker rejoices smugly. For context to this next part, an iris shot was a common technique in silent films where the camera’s “eye” opens and closes to direct the viewer's attention. (Also I have added punctuation to a lot of these quotes to make them more readable.)

SLOW IRIS in on loaf of bread on Judge’s bench. Open full on Judge, looking off and talking sternly, pointing to loaf of bread

This makes it sound like the bread is on trial. The bread on display in the courtroom is present in the 1935 American film production as well and like in the '35 production, 1917 has Jean Valjean dragged out of the courtroom while dramatically reaching for his sister. In Toulon, we see Javert as a prison guard. Although Valjean is repeatedly referred to as a "galley slave," he is not shown working on a ship (as he will be in the '35 film). He demonstrates his strength by saving a prisoner in a quarry. There is a lengthy scene of Jean Valjean attempting to escape prison (which was eventually cut down according to what I've read. Notice how the title page says "a film in 10 reels." It was later cut to 8.) Jean Valjean strangles a guard to death. Bloodhounds chase him across a marsh. When Valjean is released from prison, instead of being chased by the dog out of the dog house, there is a scene where Jean Valjean asks a man for food. The man refuses but Jean Valjean then sees him give his dog steak. He exclaims “I am denied food–when even dogs are fed.” A nun directs Valjean to the Bishop's. After the classic Bishop's Candlesticks sequence, we do see Valjean steal from Petit Gervais. Cut to the bishop praying in front of his empty cupboard. Then cut back to Jean Valjean, who sees the coin. Cut to the bishop. Back to Jean Valjean. Jean Valjean has a vision of himself: beside him fades in images of him as a prisoner, which are slowly replaced by a vision of the Bishop surrounded by light and looking at him sadly.  The police are looking for Valjean but they don’t see him because he is on the ground sobbing. Then he goes to the Bishop’s house and prays outside it.  There is a very sad scene of Fantine leaving Cosette with the Thenardiers but this scene was later cut. After Fantine is fired, an “old hag” tells her “Why should you starve when you are still young enough to attract men?” (This intertitle was cut by the Chicago board of censors.) In horror, Fantine holds up her hair and has a vision of Cosette as a baby, which dissolves into the hair. We see Fantine go to the hairdresser to sell her hair.  Immediately after this she encounters the Bamatabois character and remembers what the old woman told her (that intertitle was also cut by the Chicago board of censors). She smiles at him, and touches his arm, and he pushes her into the gutter, telling her it is where she belongs. When Javert arrests her, the money she got for selling her hair is left behind in the gutter.   Meanwhile, we see Valjean coming into the homes of poor families to give them money. He arrives in time to see Fantine's arrest and orders that she be freed, leading to this direction:

Very dramatic. I'll try to limit my use of screenshots though, since the typeface is a bit hard to read but one thing that's very charming and at times hilarious are the typos. See for example this scene where Javert tells Mayor Madeleine that he has denounced him:

Interior Madelein's room-- He writing at desk. Door opens. Housekkeper announces Javert. Javert enters. Stands looking at Madeleine. Housekeeper exits. Madeline turns around, asks Javery his business.

Even ignoring "Javery," they just spelled Madeleine three different ways.

Closeup Javert-- Her looking at Madeleine with resigned expression says: "I WISH TO TENDER MY RESIGNATION." Closeup Madeleine-- He looking at Javery in tense manner, suddenly controls himself, quietly says "Well."

As Jean Valjean decides what to do about Champmathieu's arrest, he sees visions of prison and of the bishop. When he arrives at the court in Arras, he is transfixed by the doorknob, which transforms into the face of prisoner 24601 (I thought that part sounded pretty cool). In the courtroom, no one believes that Madeleine is Jean Valjean. He addresses the prisoners and reveals that he knows Valjean's prison number. Then he lifts up his sleeve.

Closeup Madeleine left arm and shoulder. Letters T.F.P. and numbers 24601 is seen branded there

Of course, the musical would later do this but what other early adaptations show Jean Valjean with a brand? Fantine dies, Simplice lies to help Valjean escape (a fair amount of emphasis on Simplice actually.) We see Madame Thenardier send Cosette out to get water. In the woods, witches and ghouls haunt Cosette. Valjean buys her Catherine, shows the Thenardiers the letter from Fantine and gives them money in exchange for Cosette. Cut to 1832 (funny, this is basically just like how the musical abridgesthings). We get a birds eye view of Paris and the

Closeup Courfeynac-- He surrounded by men, who are eagerly questioning him. Marins enters. They greet one another in friendly manner. Courfeynac tells Marius he wants to speak with him. They exit from friends. Long Distance-- Men gathered in knots whispering as Courfeynac and Marins go to table, sit and start to talk. [...] Interior room at coffee house-- Marins on stall, addressing men in earnest manner. He finishes speech, is congratulated by Courfeynac and others. IRIS OUT.

Yes, Courfeyrac is called "Courfeynac" for half the script, until they switch to "Courferac" which isn't as bad. Marius is always "Marins," except once when he is called Marius and I swear that "Marius" is the typo. We also get a short scene of Gillenormand, who receives a letter from Marins saying that he won't accept his money. Meanwhile...

Long Distance Garden-- Cossette out of sight. Valjean enters, sees her gone. Registers surprise. Cossette creeps out behind him, startles him. He turns, sees her. They exit together.

It's not super egregious but Cosette is always called "Cossette." Marins leaves Courfeynac. Cossette and Valjean go to the park.

Long Distance-- Valjean and Cossette seated on bench Closeup Marins-- He looking off, registers fascination. Closeup Cossette-- She reading book, slowly raises eyes. Sees. Closeup Marins-- He looking toward her, fascinated.

He looks at her like she's a bug.

Long Distance-- Marins walks past Cossette and Valjean. He exits past camera. Closeup Cossette-- She peeping over top of book after book after Marins. Very interested. Pathway-- Marins going from camera, turns and suddenly walks back.

Freak behavior.

Long distance-- Valjean speaks to Cossette, who is shyly looking toward Marins. They both rise and exit past camera. Marins comes to bench, picks up Cossettes handkerchief, gazes after them, registers facination.

I don't think that there is any payoff to the handkerchief, it seems to really be Cossette's. Cut to the Thenardier's. There is no Azelma, Azelma is replaced by Gavroche (sometimes spelled Gavroch, Gavranche, Bavranche or Gavrouche.) Eponine comes to Marin's room and he gives her money. Then that very afternoon, Valjean comes to give the Thenardiers alms. Gavroche actively participates in his parent's schemes (he breaks the window with a rock, not his hand.) Thenardier recognizes Valjean and decides to rob him.

Outlet of Sewer-- Low barred arch gate in background, river seen beyond. Thenardier come to outside of gate, opens it with key, enters, close gate behind him as he comes to foreground toward camera. 4 men creep past camera and join him. He starts to whisper to them.

I love that Thenardier is meeting Patron-Minette (unnamed though) in the sewer and that they introduce his key here. Meanwhile, Marins goes to the police:

Police Headquarters-- Javert with back to camera, listening to Marins, who is telling of plot. Javert suddenly swings around, full face to camera. THE SUBLINE IRONY OF FATE. JAVERT NOW ATTACHED TO THE PARIS POLICE TAKES CHARGE OF THE CASE.

I bet that that reveal was awesome! Javery gives Marins a gun. Then Valjean arrives at the Thenardier's house and is forced to write a letter luring Cossette there. But before he can be made to give the address, he escapes and burns his arm. Marins fires the pistol and Javert arrives. Valjean then knocks over the candlesticks and escapes in the dark. He goes home and Cossette tends to his wound. Eponine and Gavroche see their parents arrested.

Closeup Eponine and Gavranche-- Gavranche turns to Eponine and says: SISTER DEAR - I AM GOING FAR FROM HERE.

Meanwhile Marins is distraught because he can't find Cossette

Interior Meeting Room, A.B.C.'s-- Room crowded with men. Marins seated alone at table. Courfeynac addressing men. Marins does not pay much attention.

Eponine finds Cossette's house and leads Marins there.

Exterior Valjeans house-- Eponine enters followed by Marins. She turns, points to garden gate. He joyfully starts toward gate. She stops him. He turns to her. She wistfully says: DO YOU LOVE HER? Back-- She finishes line. Marins nods yes, then eagerly exits to gate. Eponine looks after him and sighs. Garden at bench-- Cossette gazing out dreamily. Marins enters quietly behind her, stands looking at her with great love. She suddenly feels his presence, sees him, rises, stands staring at him. They look at one another. Marins registers great love, starts to speak to her. She turns away from him, registers great confusion and emotion. Close up Eponine-- She leaning against iron fence, registers dumb suffering.

Unlike in the book, where iirc Marius and Cosette embrace straight away and then never again until they are married, Marins and Cossette do not embrace as first but after many meetings, they embrace A LOT. One night Valjean looks out his window and he just sees them making out. Then Marins leaves. Cosette goes inside.

Interior living room (night)-- Cossette discovered arranging flowers in old fashion vase and lighting candles in happy manner. Valjean enters to her, stands looking at her in silent anguish. She turns, sees him, goes to him lovingly, asks him what's the matter. He quietly says: FOR REASONS WHICH I CANNOT EXPLAIN WE MUST LEAVE THIS HOUSE TONIGHT FOR ANOTHER I HAVE CHOSEN.

So yeah the reason they leave is because of Marins. Meanwhile, Javert gets a message:

Interior Police Headquarters-- Javert discovered writing. Gendarmine enters, hands him letter. He opens it, read INSPECTOR JAVERT A MALE PRISONER NAMED THENARDIER ESCAPED TONIGHT FROM THE LA FORCE PRISON. ACT ACCORDINGLY. LEBLANCC

This letter makes me laugh. MEANWHILE, Cossette is distraught at leaving. She sees Eponine (Marins had previously pointed out his friend Eponine) and gives her a letter for Marins.

Insert note-- DEAREST MARINS FOR SOME UNEXPLAINED REASON MY FATHER HAS SECRETLY TAKEN ME TO NO 7 DE L'HOMME WHICH IS TO BE OUT FUTURE HOME. COSSETTE

That also makes me laugh. Then a riot breaks out for no reason except that it is 5 June 1832.

Street near coffee house-- People seen hurriedly entering homes, all in state of alarm. Courfeynac at head of 35 men marching toward camera, old man and Gavranche at side of him. They all singing revolutionary songs.

Eponine is there in men's clothes and she gets the idea to give Marins (who has discovered that Cossette's house is empty) an anonymous note telling him to go to the barricade.

Long shot-- Shooting barricade in foreground, fight in progress. Red flag which is attached to pole at top of barricade suddenly falls, shot away. Old man grabs it, starts to climb to top of barricade. Close up top of barricade-- Old man starts to put flag back into place. Close up soldiers at end of street-- Officer gives command, they fire volley. Close up old man-- He trying to fix flag, suddenly his body sags, clutching flag, he falls. Long distance-- Old man falls from top of barricade to ground. Courferac goes to him. Close up Courferac andold man-- Courferac raises the dead body, registers strong emotion Close Up Marins-- He gazing off, exits toward Courferac Behind barricade-- Marins with Courferac laying dead man on matress, Marins has dead man's coat in hand, suddenly rises, calls off, raises hand, says: "LET THIS DEAD HERO'S COAT BE OUR FLAG."

They continue to fight the National Guard. Marins strikes a soldier senseless. Eponine gets shot, gives Marins the letter, and asks for a kiss. Marins kisses her. She dies. Then he writes a note to Cossette. Gavroche delivers the note to Valjean. Valjean is about to rip it up when he has a vision of the Bishop.

Sub title-- KNOWING THAT COSSETTE'S HAPPINESS DEPENDS ON MARIN'S SAFETY, VALJEAN GOES TO THE BARRICADE TO WATCH OVER HIM.

The next morning, the insurgents are still fighting:

Iris in on old man's coat-- Top of pole at barricade. Open full, showing long distance shot of street, men in barricade being served with coffee, fighting going on. Valjean in background, tending wounded.

Couferac tells them that they are going to run out of ammunition and Gavroche goes to get more. Valjean yells at him to come back. When Gavroche is shot and killed, Valjean retrieves the body and the ammunition.

Interior coffee house-- Courferac followed by Marins and Valjean leave body of Gavrouche. Courferac sees Javert and in terrible rage points to him and says: "YOUR FRIENDS MURDERED THAT BOY FOR WHICH CRIME YOU DIE."

I forgot to mention that Javert had been caught and tied up earlier. Marins is horrified but Courferac agrees. Valjean secretly lets Javert go. The barricade is attacked by cannons. Marins is shot. Valjean takes Marins and leaves. We see Courferac fighting terrifically. Shots of Valjean carrying Marins through the sewers are interspersed with shots of Courferac and others fighting. The insurgents retreat into the coffee house. The others die until only Courferac remains. He runs into another room, slamming the door behind him. The soldiers follow. The screenplay ends there! Don't you wish you could read the rest??! I feel certain that we were going to see Thenardier again, since he had escaped from prison, plus we saw him use that key. And I think we would have seen Gillenormand too. Also obviously Jean Valjean dies, but I read that his death scene got cut down in the final version.

[proosh]

"Averse to all forms of cowardice?" I'm actually convinced you have no idea who you're talking about. One of France's defining character traits is that he's a coward. You sound like a fake fan.

Anon, and anyone else who's reading this, look. I'm really sorry for the tone the rest of this reply is about to take. You see, I'm someone who's very much about curating one's personal internet experience, and an advocate for mutual respect and sensibility in regards to fandom matters. I'm all about encouraging differing interpretations and analyses of characters, even if I don't necessarily agree or understand it's all a matter of perspective and if I'm not a fan of something? I ignore it, simple. I likewise expect the same sort of understanding from other participants in fandom: If I am posting things that is not to someone's taste, they can simply ignore me or block me to curate their personal online experience. You know, like civil people within a public forum.

However, you've decided to come to my inbox, on this wretched day after I have just been subjected to two and a half hours of the worst Napoleonic cinema experience the human mind can possibly conjure, to tell me that I am a "fake fan" over a silly little shitpost? Are you on crack? Is it crack you're smoking? Because, my good bitch, you will find it is you who is the fake fan.

For example, we've got literal direct canonical evidence of France being, like, incredibly and unfathomably enthusiastic about the idea of getting to go to war with the English again, specifically saying that being at peace feels like he's been "crammed into a fake version" of himself. I'm sorry, it really doesn't get more explicit than that. Look, it's not a headcanon I believe in, but that's okay. You do you! I'm happy for whatever interpretation you have! I will not be the one sending pissy little anons about it, I promise! You're welcome to block me if this is something that is incompatible with your fandom experience! Go for it! Please!

But, sure, maybe direct canon depiction isn't enough to defend the thought process as to my personal interpretation. I'll put this under the cut since I'm invariably getting long-winded, but let's have a quick fun lightning-round overview of French history and culture in regards to their collective bloodthirst and warmongering that doesn't really lend itself to an interpretation of 'cowardice' as a concept that's strongly represented within the French national identity (at least in my opinion);

The French have, for about a thousand-odd years, been heavily associated with an unusually bellicose, honour-bound, chivalric, warmongering ideal, to the point their ongoing national anthem is quite literally about murdering people and watering the fields with blood!

Historian Niall Ferguson argues that France is the most belligerent military power in history!

Literally over a million men were fed into the meat grinder of World War One! Literally an entire generation! Approaching 5% of the entire population!

One of the last bayonet charges in history was performed by the French! In 1995!

Their ongoing nuclear doctrine is one of the pants-shitteningly insane ones on the planet, and scared the piss out of the Soviets - Which is to say, they will happily drop a nuclear weapon on an enemy city as a warning shot! And they'll do it, too, because they keep refusing to sign nuclear arms treaties!

Their population is entirely and consistently prepared and ready to implode their own country and governance at the first sign of any infringement upon perceived civil and social liberties!

If you've read this far, anon, congratulations! I hope you can better understand the reason why I interpret France the way I do! If you disagree with me, you're welcome to come off anon and meet me at the Champs-Élysées at dawn so we can duel to the death over our incompatible opinions like true respectable gentlepeople of honour and class. Or you can just block me and not bother me again.

It's totally up to you, buddy!