When Tom Hooper’s Les Misérables lit up UK screens in 2013, fans and critics alike were quick to criticise some of the film’s casting. Ten years on, has the musical casting debate been settled for good?
It doesn’t feel like ten years since Les Misérables was released in UK cinemas, and yet this week marks a decade since British audiences first saw the film, with a reception full of mixed reviews that continues to this day. For years there has been debate among casual and longtime fans alike, particularly over the film’s casting. Hugh Jackman and Russell Crowe, playing Jean Valjean and Javert respectively, have been blasted time and time again for their performances, with fans citing poor vocals. It raises the question of what the best practice really is when it comes to musical casting: actors who can sing, or singers who can act?
Despite most of Les Misérables’ stars coming from acting backgrounds rather than singing ones, they put up a good fight. Vocals are strained at times, but overall they give us one of the most important things: a feel for what their characters are like. Although the likes of Philip Quast and Norm Lewis may be superior vocally, Russell Crowe brings a sort of startling vulnerability to his turn as Javert. His rendition of ‘Stars’ is a softer and more soulful take than many. The grumpy, bull-headed demeanour Crowe is often typecast into is given more depth in this role. A more vocally strong choice might not have had the feel of Javert, rendering the point of a movie musical—in which we ought to get closer to the characters as they’re less distant than they would be on a stage—rather moot.
Hugh Jackman is much the same—though numbers such as Bring Him Home sound a little strained at times, the imperfection of the performance, the wavering notes and harsher-sounding lines, lend themselves perfectly to an uncertain, bitter, then later determined, Jean Valjean. He has peered into the character’s chest and taken a look at his beating heart. There are other films, such as Baz Luhrmann’s Moulin Rouge!, that help to prove this point—though a stronger singer than Ewan McGregor might have been possible, would they have embodied the lovesick-puppy energy that Christian is supposed to have in quite the same way? Unlikely. The passion that the film’s actors have for the project is palpable. They’re simply happy to be there—so why are some viewers so ungrateful for them?
The film is an imperfect labour of love with impressive sets—including a barricade that was built by the actors—and a spirited cast. Although it brushes up against being a little too long, it has stood the test of time as adaptations go. At the very least, there has not been a stronger one since. Andrew Davies (writer of the BBC’s decidedly non-musical 2018 Les Misérables adaptation) claimed his miniseries version would ‘rescue’ the original novel from ‘that awful musical with its doggerel lyrics.’ Ironic, given that the 2018 adaptation is such a bizarre and unpleasant ride. A song or two might have picked up its limping pace.
This harkens back to the question: if an adaptation is a musical one, who is it best to choose? Singing actors, or acting singers?
The answer isn’t as clear as one might think. Some might insist it has to be singers who can act—but this isn’t always the case. Take Cats (2019), ironically also directed by Tom Hooper, as an example. Brushing aside every other problem with that film—that would be an entirely separate article—the acting is a prominent one. Singing stars of the likes of Taylor Swift, Jennifer Hudson and Jason Derulo were enlisted, but even they couldn’t help the cause. Talented though they may be, their backgrounds aren’t predominantly in acting. One doesn’t watch Cats and think they’re seeing Bombalurina sing or Grizabella become the Jellicle Choice. They see Taylor Swift and Jennifer Hudson sing while donning some rather unsettling CGI.
Something similar occurred with the 2021 version of Cinderella. Despite a star-studded cast that was made up partly of singers, partly of actors and partly of people who were both, the film drew criticism for both its singing and its acting. This raises another question in terms of whether it’s entirely fair to expect actors to do both in the first place. Surely it’s better for them to be strong in one area and weaker in the other than to focus so hard on trying to do both perfectly that neither aspect works well?
Or, perhaps, the film industry needs to hire more stage musical stars for movie musicals (Anthony Ramos was widely praised for his part in 2021 film In The Heights.) That or focus more on the release of Proshots—such as Come From Away and the hugely successful Hamilton— than film adaptations.
Words by Casey Langton
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