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Posts Tagged ‘Samantha Barks’

Looks like a nice little family flick for the holidays…

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In our last segment we left off with an observation of detachment on the part of Jean Valjean (Hugh Jackman) and Eponine (Samantha Barks).  Now let’s take a look at how their respective acts of detachment converge in the wedding of Marius (Eddie Redmayne) and Cosette (Amanda Seyfried), and then move on from there.

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On the one hand we have a lover whose love is unrequited…

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…and on the other an adoptive father reluctant to lose the only companion he has in life.

Both have come to the same realization: “They are not ours to claim.”

Brace yourself, for we are touching a deep vein of the story’s inner life that is necessary for a life both of Grace and transcendence: Detachment.

Colm Wilkinson

It all starts with the Bishop (Colm Wilkinson), who gives Valjean two of his candlesticks in addition to those of his possessions that Valjean had initially stolen.  In so doing, the Bishop is clearly a man of the Gospel:

If anyone wants to go to law with you over your tunic, hand him your cloak as well.  Should anyone press you into service for one mile, go with him for two miles. (Matthew 5: 40-41)

The more detached we are from earthly things, the less we have to lose; the less we have to lose, the less our enemies can take from us, and the more we have to give.

Adam_Eve

The problem of attachment has haunted us since the Fall of Adam and Eve, which made the elevation of the ego and the subservient urge to to dominate people, things, and nature for ourselves normative for mankind — so much so that we tend not even to perceive anything wrong with it unless it gets violent.

We can think of it like a beautiful moth we are tempted to hold in our hands.  It’s great, but what happens when we hold it too tight?  It dies from suffocation.

But when we can let go of those persons and things we cling to inordinately, they have a way of then being able to take flight like the moth, to fulfill their true purpose toward the Kingdom of God.  And we, being unburdened by attachment, have the freedom and levity of heart to do the same ourselves.

Images obtained through a Google image search

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I would, as a viewer, identify four things that make the most difference in the second half of “Les Misérables.”  And these are relatively little things, as opposed to the grand uprising that was the focus of the previous post.

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1. Eponine (Samantha Barks) gives Marius — with whom she is in love — the note he was supposed to have received from Cosette — with whom he is in love — after hiding it.

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2. Jean Valjean (Hugh Jackman), fearing to lose his adopted daughter Cosette but knowing her love for Marius, saves the latter’s life in almost total anonymity.

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3. The love between Marius and Cosette, which culminates in a happy wedding.

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4. The mercy of Valjean, who at one point has Javert (Russell Crowe) in his grasp but spares his life, even knowing full well that he will continue to hunt him.

It is in these very simple and seemingly mundane actions of rectifying one’s own mistake, risking life and limb for another with no one watching, the love between a man and a woman, and “turning the other cheek” that produce the greatest emotional effect and conduce most to the story’s happy ending.

I think we see our two great themes coming together at this point.  We talked about the futility of a merely this-worldly uprising against institutional oppression in the previous post, and of how the latter is embodied in the character of Javert.

Javert 2Ironically, his side of the coin — namely, the legalistic police state — is another form of the same error.  After all, it is based on the assumption that by force, one can bring about perfect conformity to morality here on earth.  So the problem it poses is an earthly-utopia/transcendent-hope issue is well as a Law/Grace issue.

By showing Grace toward Javert in a self-effacing way, Valjean actually does wind up successfully bucking the “system.”

Javert_SuicideJavert, unfortunately, commits suicide as a result of this.  Having been faced with an understanding of reality for which he has no frame of reference, he simply cannot handle it; and instead of repentance, he chooses despair.

But whatever the result, Valjean has, by way of an action that to all appearances should be judged of little importance, thrown a wrench into the clockwork.

Self-effacing actions, not self-asserting actions, are what effect real and needed change.  Eponine and Valjean succeed in surrendering their own desires/interests, and their respective acts of detachment converge in a wedding…

Next time.

Images obtained through a Google image search

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Again, having seen “Les Misérables” is not mandatory.  We are here dealing with a theme, not plot points.

Ok, we’ve had a break.  Now let’s get back into it.

We’d be remiss if we concluded that the Grace/Law issue is the only great theme that shines through “Les Misérables.”  In fact, I think even that falls under a wider umbrella — namely, hope.

We can say that hope is upheld by the change that Grace allows and legalism prohibits.  But on another level, hope is the “food” of the human race.

I can borrow no better words than those of motivational speaker Matthew Kelly, who has commented on the difference made by people “who believed that the future could be bigger than the past.”*

“Les Misérables” bears witness to hope, but it is also a cautionary tale.  We have to remember that hope transcends us, and must be patiently awaited until it is ready to meet us on its own terms.

Humility is mandatory.  Look at it this way: If we think of the progression of time and history as a straight line, we can infer that it is set against a larger background (eternity), and headed toward a final end (heaven).

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As a progression, it has a length, but no width.  No two points in time can exist side by side.

Now, imagine trying to give it width.  Mentally attempt to grab the middle of a line by its “edges” and stretch it out like so…

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You have some more width — or something vaguely like it — but what does this “stretching” do to the rest of the line?  It pulls it back in both directions.

I think utopianism and triumphalistic ambitions toward hope do the same thing to us as human beings.

When we invest our hopes in this world, we forget where we came from and where we’re going.  The great progression of history becomes no longer a line, but a mess…like a blob of jelly spread out over the face of eternity.

Again, humility is mandatory in order for hope to be truly hope.  As with Grace, we must acknowledge our dependence on something higher than ourselves.

More than that, we have to acknowledge the fact that our destiny, our fulfillment, our hope lies in something that is beyond our powers — and beyond this world.

And now the curtain opens…we’re ready for Act II!

* Here is a link to one of at least two videos in which Kelly says this: http://www.youtube.com/watch?v=PcM7S7Y7r0A

Top photo obtained through a Google image search; others courtesy of Yours Truly.

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