When Victor Hugo published “Les Miserables” in 1862, the world looked nothing like it does today.
Barely a billion people roamed the Earth. Average life expectancy hovered around 41 years, and America was staggering through its Civil War. Railroads and light bulbs were relatively recent inventions, but several decades would still pass before the advent of automobiles, airplanes or telephones.
Yet the visionary Hugo infused “Les Miserables” with enough timeless themes about God, redemption and social justice that the epic story of Jean Valjean remains as vital and relevant today as 150 years ago.
The Deseret News recently screened the new movie “Les Miserables” that arrives in theaters on Christmas day and is an adaptation of the stage musical. The film remains true enough to Hugo’s original work that the enduring themes of the novel shine through.
'Committed to God'
Born in 1802, Victor Hugo managed to keep organized religion at arm’s length throughout his life even though he came of age at a time when the Catholic Church played a preeminent role in French society.
“Hugo wasn’t baptized as a child, and was baptized only so he could be married,” said Marva Barnett, editor of the anthology “Victor Hugo on Things That Matter” and a French professor at the University of Virginia. “He didn’t attend church even at a time when all French people were Catholic and it was very important to go to church.”
But Hugo’s lack of religiosity did nothing to diminish his faith in the divine.
“Hugo always believed in God,” Barnett told the Deseret News. “He was committed to God — you can see it in the (‘Les Miserables’) novel, and you can see it in his poems. He saw God in nature; he saw God in people. He wrote a lot of poetry where he said by loving people you are connecting to God.”
On at least two occasions during the plot of “Les Miserables,” Hugo clearly depicts divine providence as a powerful force capable of interceding in moments of personal crisis and despair. The first such instance occurs early in the book when Jean Valjean is caught stealing silver from a church — and the only thing that saves him from being sent back to prison is a wise priest who mercifully declines to denounce Valjean to the police.
Although the religious overtones are more overt in Hugo’s book than in the new film, a second allusion to God’s intercessory hand happens when Valjean and Cosette meet for the first time.
“(In the book) Jean Valjean appears miraculously in the woods and finds Cosette with the water bucket struggling to carry it,” said Kathryn Grossman, a Penn State University French professor who has written several books about Victor Hugo. “At the depths of her despair she says, ‘Oh God, my God.’ And then this hand comes down and carries the bucket. Clearly he intervened in her life as a kind of divine presence.”
How Hugo inspires
Barnett — who the French government recently recognized with the honorific title of knight in the Order of Academic Palms — taught a seminar course to 17 University of Virginia freshmen during fall semester about the enduring legacy of Hugo’s “Les Miserables.”
“About two-thirds of them love the staged musical,” she said. “The others took the course to read a great classic. They have been able to step back from their beloved musical version of the story and recognize what theatrical constraints have sometimes done to the story and in what ways the musical is faithful to and, in effect, reinforces the power of the novel.”
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