In his critique of the movie Les Misérables, which appeared in The New Yorker, David Denby (staff writer and film critic at The New Yorker since 1998) attacks many
of the film’s intrinsic elements. Beginning
with its setting, and progressing through its staging, singing, actors, music,
connections to life, and use of emotion, Denby explains how the movie only featured
melodramatic scenes. He finds
fault with the gray, drab, and wet (both through tears and rain) atmosphere of
the movie, its “elemental” use of emotion and disconnect with actual life, even
suggesting two “cures” at the end of his article for those still “suffering
from absorption in ‘Les Mis’ ”. Denby
effectively uses rhetorical questioning to challenge the audience’s
preconceived beliefs about Les Mis, which helps to raise doubt and uncertainty
in their minds. However, he is
unable to provide much external evidence to support his opinions. Denby seems to have targeted the review
specifically at Les Mis fans and lovers, with the intention of highlighting for
them all the ways in which Les Mis the movie fails to deliver the incredible, emotional,
and complex story of its written counterpart. However, I think the tautology of Denby’s writing (ironically,
the same overuse of pathos to make points for which he condemned the movie)
detracted from the overall strength of his claims. Perhaps a less ardent Les Mis fan would disagree, but I think
Denby’s negative tone and highly critical approach interfered with his ability
to successfully accomplish his purpose.
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