Alternate Best Actor 1934: Harry Baur in Les Miserables and updates

First to note the backlog is ongoing but thought I'd jump ahead to open for another series of recommendations for a year that it is unlikely I'll be doing an official lineup for but first...

Harry Baur did not receive an Oscar nomination for portraying Jean Valjean and Champmathieu in Les Miserables.

This nearly five hour version, while one of the better adaptations of the story I've seen I cannot say is definitive as it is often heralded as. This as the length in itself, where the film is essentially paced like a miniseries, is a double edged sword. There are elements where it takes its time that do leave a memorable impression, the barricade sequence and the Thernardier robbery attempt in particular, however it also spends a strange amount of time with some more meaningless moments in terms of the overall narrative, and yet still excises major elements of the story. The most unforgivable, that keeps it from being definitive in my mind, is its simplification of Javert. While Charles Vanel does what he can with the role as written here, he is just a general policeman for much of the film, and much of the greatness of the character is sadly lost in this adaptation.

As many times one can argue that Javert is the secondary lead in many versions, that is not the case here, again a mistake I think as I find him the most compelling figure as written, however this seems to be in service in focusing even more so on Jean Valjean's personal journey. Typically Valjean begins as a rough, hardened convict in appearance, then later is "cleaned up" more towards a dashing hero type in terms of the casting of the likes of a Hugh Jackman, Liam Neeson or Frederic March. Well Baur is quite different as his physical presence is that of a peasant convict, accustom to harsh life who we discover as he is leaving his physically straining time in prison. Baur's work delivers a rougher portrait of Valjean, who isn't just bitter, yet the whole state of the man is filled with a sense of bitterness. His eyes don't reflect of a sorrow of injustice, but rather an anger towards all that he has suffered. An anger that is not of a righteous attitude but one hateful towards the world he believes has abandoned him. This as when he initially comes across the kind Bishop in this version, it is with an innate hostility, and a disbelief in his eyes as the Bishop notes his humanitarianism. Baur portraying this as a fundamental quality within his manner, as someone viewing the man as completely foreign and suspicion in these ideals, something that is not to be trusted. Baur establishing this state so purely, makes then the Bishop's action all the more powerful in this version. This as after Valjean robs the Bishop, and is immediately, caught, the Bishop not only ensures that he is let go, he gives him valuable candlesticks to have him change his life.

Baur's reaction in the moment of the Bishop's charity is a particularly powerful one in this version. This as Baur expresses in his eyes both the shame in his action compared to the Bishop's reaction, but more so this sense of the man being shattered by these words. This as his old world view founded by bitterness and distrust is lost, as his expression creates the sense of confusion, but also this moment of revelation that carries with it a real poignancy. We then of course jump to Valjean as the mayor of a town and a factory owner. This where Baur successfully fashions seemingly just a reserved but dignified older businessman. This man who exudes a certain grace of charity even if in this Baur still portraying a more subdued hardship effectively. When it comes to his knowledge that there is a man who has been arrested as Valjean, Baur is excellent in his scene of questioning his decision and what he should do. This as it is not a simple righteous action again, as we again see a hesitation in his manner as man seriously considering taking the selfish way out. As he continues to examine though we again see that connection to the priests words, and there is a terrific moment where Baur manages to convey Valjean's conclusion through a struggle expressed through almost entirely his eyes. This leading him to go to make sure the man does not take the fall for him, and leading the film to one of those sequences that seems an odd place to spend a lot of time in. This being the trial of Valjean's doppelganger Champmathieu, I suppose the easiest explanation is the filmmaker wanted to grant a greater showcase for Baur, which we do get.

This as we get a drawn out scene of Champmathieu on trial, even before Valjean gets there. This seems to be here mainly for Baur to work out his comic chops a bit, as he is amusing in portraying the simple and somewhat daffy manner of the man. This that is completely innocent and completely alien to his work as Valjean. This as an effective comic turn, though I'm not sure we needed so much time devoted to it. Nonetheless we then get the scene of Valjean taking charge of the courtroom to exonerate the man. Again the scene seems oddly drawn out, however Baur uses it well in terms of portraying a self-actualized Valjean. This in that he carries that grace of the good man, but with this sense of understanding of his harder life. This as he portrays it as the man wields it as a strength in a way as he speaks only in truths as he technically condemns himself to save another. This though with a greater conviction than ever before, and Baur carries himself with a strict confidence. As with most versions, after this point Valjean's role becomes more reduced as the observer of the more substantial actions of others. This though with the pivotal moment in his actions that change the course of the lives for others. Baur delivers on this by carrying the man who in a way becomes this force for good. This whether fighting off criminals, protecting his now adopted daughter Cosette, or trying to help her eventual love in Marius. Baur's performance captures the sense of duty within the character as he carries this purity of belief and intensity within that conviction to honoring what the Bishop had done for him. Baur's physical work is notable here in that he brings such striking emotional quality within every scene by virtue of his presence, as nothing merely happens around Valjean, rather you really get the sense of how the man takes it all in. His best moment though comes though in his one major scene of talking to Javert, after he has spared his longtime pursuer, and now Javert is left with whether to do the same for Valjean. The strength of this moment really makes me wish they hadn't largely wasted Javert as Vanel and Baur are great in realizing the dynamic of the character's that is largely missing. This being in the man of justice being so suspicious in the goodness of the criminal, while Baur brings this fundamental honest in his brilliantly blunt delivery of the man explaining his actions are without lies or trickery, just blunt charity. Baur gives a strong rendition of Valjean as his work naturally realizes the true transformation of the criminal to the hero, not making a simple step, but a real journey for the man.

Updated Overall

Next: Continuing with the backlog, but please offer your recommendations for 43 lead/supporting.