I Miserabili (1964) - Episode 2: Javert

this too is yaoi @lesmisshippingshowdown

...You peaked my curiosity, sir.

So, without further ado, let's meet 1964 Grantaire!

Grantaire's introduction

1964 version

Grantaire has two introductions here: one done by "Les Amis", and one done by himself. Let's start with the first.

"Grantaire, skeptic"

Grantaire is first introduced to Marius (and the audience) at Café Musain, along the other members of "Les Amis". He's sitting with Prouvaire and Feuilly, a bottle of wine by his side, and he's introduced as "skeptic".

This is followed by:

I swear, this Enjolras is such a meme!

I know it's 1964 Italy, but the way Combeferre looks at Enjolras after telling Grantaire believes in him is... both indecipherable and soo clear, it makes you wonder the intended meaning.

And this is just the first "Oh" moment, trust me... It gets fruitier. XD

"Drink and shut it"

Here is where Grantaire can finally shine. Just give him a reason to talk and it's over!

Poor Feuilly, I guess he's used to R making fun of him! But this mix of cynicism, carelessness and sarcasm is top Grantaire!

But you know what's even better?

Boom!

Bro went for him harder than expected and it made me laugh hysterically!

And it's not out of character, either: in the book, Enjolras can be pretty hard on Grantaire.

Now, I said it would get fruiterer and I must not disappoint you.

What a diva.

Also, I like the choice of both pairing love and drunkenness together, while also creating a dichotomy between the two states.

Dichotomy that can also turn both into the same thing:

You can read it in many different ways, it's such clever writing!

And then he's back being the careless drunkard we know and love:

I Miserabili (1964) - Episode 1: Un giusto

live javert reaction

This scene is quirky.

The reasons for its quirkiness are not found, as one may expect, in the choices made during the process of adaptation. Rather, in the execution of said adaptation...

Yeah, I'm being way too serious. XD

Let's go through this analysis, with some help from our dear, old Brick!

1) Javert's arrival

Due to time or budget, a lot of things are cut in this section. Notably, the part where Gavroche joins the revolutionaries along with Mabeuf and, of course, Javert. This leads to:

Mabeuf's presence not being acknowledged, for now

Gavroche arriving to the barricade off-screen

Javert appearing only at the beginning of this scene

Anyways, as in the Brick, Gavroche notices Javert:

"When he entered, Gavroche followed him mechanically with his eyes, admiring his gun; then, all at once, when the man was seated, the street urchin sprang to his feet." (IV-XII-VII)

Now, I think the director here was trying to reproduce the highlighted part. But, well...

...They could have used anything else to reveal Javert. They chose a Fashion Week-style boom. Slay, Javert, slay.

2) Javert's behaviour

When Gavroche reveals Javert's identity, the man has been at the barricade for hours. At least, in the book.

This small detail creates some suspense, as Enjolras prepares for the "showdown". And when it happens:

“Who are you?”

At this abrupt query, the man started. He plunged his gaze deep into Enjolras’ clear eyes and appeared to grasp the latter’s meaning. He smiled with a smile than which nothing more disdainful, more energetic, and more resolute could be seen in the world, and replied with haughty gravity:⁠—

“I see what it is. Well, yes!” (IV-XII-VII)

Now, in the tv series he has JUST ARRIVED. Does that make a difference? Well, yes.

The man has been here for mere seconds and he just, gives up. Without even trying! AND HE'S SMILING IN A "Well, dang! You found me, boys!" SMILE.

Oh, and then they seize him with a DRAMATIC ZOOM.

3) Javert's punishment

If you thought we were past the best part, brace yourselves... I purpousefully omitted one detail: the scene takes place outside the "Corinthe".

So where are they going to tie him? Well, inside the "Corinthe"!

So why did they do the scene outside if they could do everything in one place?

...Because I omitted another detail: WHO's inside the "Corinthe".

Book fans can guess already:

If Javert thought waiting for his demise would be a tad annoying, he clearly had not added having GRANTAIRE as a guard to the equation!

In order, he:

Creates an alcoholic mix (a nod to "Preliminary Gayeties", perhaps?)

Starts getting clingy

Asks for Javert's political beliefs

Gets mad at Javert for not drinking with him

Threatens Javert with the bottle

Drinks said bottle instead

And Javert could stay silent, but our inspector thought calling him a "Clown" would be the better choice.

...Sadly, we'll never know what kind of discourse Javert's insult would've ignited, because it's time for one of the best scenes...

Le Cabuc.

Bonus: look how happy Feuilly is when Gavroche makes Enj respect him, he's a proud Big Bro to street gamins.

So, citizens, get ready for:

"Blondeau's Funeral Oration, by Bossuet"

With no oration. And Italian.

Chapter 1: Marius MARIO

Yeah, they "italianized" the name. For some reason. I have no idea.

And the story is now narrated from his POV because it comes right after his fight with Gillenormand. I mean, the two-scenes sequence is the same as in the novel. If you don't count those 5 in-between pages about a bunch of guys who really love the alphabet...

Chapter 2: Bossuet THE EAGLE

In the novel, the chapter is seen from Bossuet's POV. Here, he appears as a new character in the scene.

Only, he's never called Bossuet.

Here, let him introduce himself:

So, in the tv series, the guy literally comes out of nowhere and starts talking with Mario... And he does not tell him why he knows he's THE Mario.

He does it in the book, yes. The handbag. Not here.

He just knows.

While he's not bald in this adaptation, the fact that he's portrayed by an Italian actor, in an Italian production, makes the man really expressive!

(I might be biased here, but this physical acting makes the amount of static scenes this tv production has much more enjoyable!)

This is Bossuet doing an impression of Blondeau:

Chapter 3: COURFEYRAC

Marius is now Mario. Bossuet is now The Eagle.

Not Courfeyrac. He stays Courfeyrac.

Clearly the easiest "name" to remember.

Anyways, we've now arrived at the moment that made me do this post.

Yes, Courfeyrac literally comes out of nowhere (probably from the same portal Bossuet used before) and asks Mario if he needs a place to stay!

Chapter 4: SOME CHANGES

The scene thus far has been almost word-to-word to the original chapter. But they added something Hugo's version lacked...

The coachman is a character here!

And he's fed up with Mario living on his coach!

So both friends just... Jump on the coach with Mario.

If you thought Javert & Valjean's carriage ride was awkward enough,

this is Mario's ride:

Chapter 5: ADDED PARTS

There are a couple of lines from later chapters in the book, like when they discuss Marius's political beliefs or when Courfeyrac suggests he should work as a translator.

But that's nothing compared to what's coming...

Mario meets Cosette and Valjean while on the carriage!!

There's a reason for that: the director did not have the time, nor the budget, to shoot many outdoor scenes. If you look closely, the gardens are actually a painted background.

Hey, it's 1960's RAI, not the HBO...

What follows is pretty canon: Courfeyrac thinks Cosette is not good looking, and Mario compliments Valjean's posture.

"Republic of Dreams, Province of Illusions, Capital City Soap Bubble"

- The Eagle, talking about Mario's brain

Ah, yes, Courfeyrac is "The richest revolutionary in all of free France".

LE CABUC - 1964 VERSION (part 2)

A shift in the monologue

The screenwriter decided to add part of a second dialogue Enjolras has on the barricade later that day, where he talks about the purpouse their fight will have for the future of France.

In the book the monologue explores the same theme of waiting for a better world, which the XXth Century is supposed to bring. An almost religious feeling, as the Future is a new Coming that will bring peace for humankind.

Well, these two are having a moment...

Also, I love Enjolras' praise of Feuilly was added as well!

"Listen to me, you, Feuilly, valiant artisan, man of the people. I revere you. [...] You had neither father nor mother, Feuilly; you adopted humanity for your mother and right for your father." (V-I-V)

I'm not going to show the entire second part of the monologue, because it is pretty long, so instead I'm focusing on its finale, because of the impactful lines chosen here.

"Brothers, he who dies here dies in the radiance of the future, and we are entering a tomb all flooded with the dawn." (V-I-V)

And, with that, the scene is over

No, it's not!

Grantaire is back and has something to say!

I think this scene can be open to plenty of interpretations. Primarily, it show us the sparkle that ignites him, that light he's searching for.

This is a nod to a cut chapter in volume four, which gives more context to the entire scene. Grantaire is drunk and begs Enjolras to stay, even though he's not going to fight for the cause like anybody else.

" 'Grantaire,' he [Enjolras] shouted, 'go get rid of the fumes of your wine somewhere else than here. This is the place for enthusiasm, not for drunkenness. Don’t disgrace the barricade!' ” (IV-XII-III)

Between the last university exams and editing Delectatio Morosa highlights, I missed Barricade Day completely!

I had something in mind, as well. LM 1964 related.

Guess I'll work on that this weekend, alongside the Library Scene...

"Les Amis de l’ABC"

-1964 version-

Let's start with the bad news: Bahorel and Joly do not appear. I know. I'm disappointed too...

Let's see who's here, then!

COMBEFERRE

I really like Combeferre in this adaptation! All his major traits are covered: he's a guide, he's philosophical and he cares about progress.

And I love that beard!

In Episode 8, he's given this big monologue, one the screenwriter tailored from Hugo's long historical contexts. Here are some extracts for a comparison:

"Grumbles, tiredness, drowsiness. This has been the Restoration"

"The Restoration had been [...] fatigue, buzzing, murmurs, sleep, tumult." IV-I-I

"The Bourbons gave us the Constitution, like a loan."

"...the political right conceded in the charter of Louis XVIII [...] and graciously given to the people until such day as it should please the King to reassume it." IV-I-I

Also, him and Enjolras are often shown very close, almost touching at times. And they do depend on one another, when it comes to politics and leadership. Just how Hugo describes them in the book.

FEUILLY

Not a lot to say about him, for now.

He's also portrayed as a vocal member of the group, and it's made relevant that he's a worker, not a student.

I can't tell if his monologue is also tailored from the book, but it's very in character!

JEHAN PROUVAIRE

I have very little to say, for now, other than the fact he's the one singing the "I Prefer My Mother" song. And he has a small intervention in Combeferre's speech. Here's a line:

"The Bourbons were an instrument of civility, which broke in the hand of Providence!" again, from VI-I-I

ENJOLRAS

(Their faces are priceless here!)

That's probably one of the few Vintage!Enjolras that looks like the book counterpart. Not just aesthetically, also in the way he talks and in his facial expressions. (OK, maybe the screenshot doesn't help selling it. XD)

Maybe a bit too sassy. It's weird, for Enjolras... But hilarious, in some cases. You'll see later on.

They also cut his and Marius' argument over Napoleon, only leaving the part about the meaning of the song, but such part is now stripped off of his original context, so it does not hit Marius as hard as in the book...

Don't worry, Enjolras will have his time to shine.

GRANTAIRE

He needs a dedicated post, because his own introduction is so well done and entertaining!

The screenwriter understood the character and gave him his own spaces, so that he can be further explored.