Less well-known than its Hollywood predecessor is the television miniseries Les Misrables, starring Grard Depardieu and John Malcovich, originally produced by Fox. Although generally more family-friendly than the former, this production is more difficult to follow, moves at a slower pace, and keeps more in line with the original work with a somewhat bittersweet ending. My preference leans toward the earlier film, but I cannot gloss over the qualities of this one, which is the more family-friendly choice.

Les Misrables is the tale of a convicted felon by the name of Jean Valjean (Grard Depardieu). Having been jailed for stealing a loaf of bread from a shop window, he attempted escape many times over the course of his sentence and was finally released after twenty years of hard labor. Traveling through the French countryside to report to his Parole officer, all save the Bishop turns him away, fearful of his yellow passport, which marks him as a convict. In the night, Valjean takes the Bishops silver spoons and slips away but is caught at daybreak by a passing patrol. Upon returning him to the Bishops home and inquiring after the silver, the clergyman informs them it was a gift to Valjean. The convict is released and the Bishop tells Valjean that his soul has been redeemed from darkness and now he must turn to God. The years pass and Valjeans prior guard, one Inspector Javert (John Malcovich), has been sent to the French countryside to take up the position as head of police. His interest in the towns mayor is deeply rooted and he begins to suspect that he may be a convict who never reported to his parole officer, one Jean Valjean. The sentence for breaking parole is a lifetime in prison, but he has yet no proof. The mayor is above reproach, loved by one and all, a compassionate and well-versed man of distinction with no notable past.

As Javert searches the pages of time for some link to confirm his suspicions, the mayor (who is truly Jean Valjean) learns of Javerts sentencing of a prostitute, Fantine (Charlotte Gainsbourg), to six months in prison. One of his former workers in his factory, he feels responsible for her moral decline and insists that she be freed. Taking Fantine under his wing, he strives to heal the tuberculosis that is ravishing her weak body and promises to bring her daughter to her. Cosette has been living with an Innkeeper and his wife who are using her as a slave. But then word comes that Jean Valjean has been caught and is to be sentenced. And Valjean must make the ultimate choice whether or not to reveal himself and in doing so sentence Fantine to death and Cosette (Virginie Ledoyen) to a life chained to her wicked keepers or to allow some poor, innocent wretch to suffer for him. Les Misrables spans many years, from Valjeans time in the rock quarries to the Rebellion in France and Cosettes married life.

But it is ultimately a story of forgiveness, of the all-consuming power of Gods grace that has transformed a man from the wicked beast he once was into a truly praiseworthy soul. And the many characters we meet along the way are merely glances into the world of which Victor Hugo wrote. Fox Family Channel produced a four-hour miniseries with French Television. With the time extension and freedom of miniseries, as well as the common boundaries that come with television, a masterful adaptation was made that much more clearly adheres to the original novel. It delves into the side plot with ponine and the Thnardiers, which is much skipped-over in the Hollywood version. It also sticks stubbornly by the original ending of the novel, which is somewhat sad but touching, and Javerts own decision is made more demurely with less show. In addition, it handles Fantines decent into prostitution more delicately but has not the intensity between the leads that the roles demand. 

Malcovich I may have a bias against, but I believe his portrayal of Javert was too laid-back and unemotional. Geoffrey Rush, on the other hand, oozed hatred and condescension from every pore. The one bright spot in the cast of the miniseries is that of young French actress Virginie Ledoyen, who gives a true passion and interest to Cosette not found in Claire Danes. She is also much more beautiful and has a more acceptable wardrobe; Danes dresses down too much for her position of wealth and society.  It demands patience and at times can be confusing to those unfamiliar with the novel itself. (I often had to fill in my family on characters and situations.) Both are masterful but with their own minor flaws. If you are a lover of the novel and desire to see very little deviation from the book, I would say that this miniseries is the ideal choice. If you are willing to let a few loose ends go and enthrall yourself in a more swiftly-moving and passionate adaptation, the Rush/Neeson version would be my first choice. Whichever you ultimately choose, you will never forget the story of Jean Valjean.