Tag: JeanValjean

Eye, Eye, Eye!

Cosette keeps her feelings hidden, and Marius makes an ass of himself over and over. Hugo says it’s a rule that in these sort of courtships, “the girl never falls into any trap and the young man falls into all of them.” Valjean is convinced that Cosette has no clue who Marius is, so he starts looking daggers at Marius while Marius is making goo-goo eyes at Cosette. At one point, Valjean glares at Marius in a way that “even he could not fail to notice.”

It’s like an eye conversation.

Marius’ eyes (shouting): I LOVE YOU!

Cosette’s eyes (whispering): I love you too.

Valjean’s eyes (whispering coldly): Stay the hell away from my daughter.

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Alias Undercover

It takes most of a year for Marius to learn Cosette’s name. Once while they’re stealing glances at each other in the park, Valjean drops his handkerchief by accident. It’s embroidered U.F. for Ultime Fauchelevent (his current alias). Marius finds it, believes it’s hers, and decides her name must be Ursula.  Later, when he learns that her father’s name starts with a U, he’s despondent, because the one thing he thought he knew about her has been taken away from him.

Since identity is the one thing that Hugo seems to keep limited to POV, for hundreds of pages they’re referred to by Courfeyrac’s nicknames for the duo: Monsieur Leblanc (because of his hair) and Mademoisele Lanoire (because she usually wears black, or did when she was younger).

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Turning points

Becoming Cosette’s surrogate father is as major a turning point for Valjean’s soul as the incident with the bishop. This doesn’t come through in the stage musical at all, but they made it central in the movie, and Victor Hugo flat-out compares the two epiphanies in the novel: The bishop taught him virtue, while Cosette taught him the meaning of love. Hugo even ponders whether Valjean’s no-good-deed-goes-unpunished experience would have sent him back into bitterness if he hadn’t met her.

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It was deliberate!

Jean Valjean in the book is very deliberate. He rarely takes a big action without looking at the situation and thinking it through. He spends all night and the next day trying to decide whether to reveal his identity, even after he reaches the courthouse. He spends an hour at the inn observing how the Thénardiers treat Cosette vs. their own children, intervening on her behalf several times. He contemplates the message on Cosette’s blotter and stares at Marius’ reply for along time before heading off to the barricade.

But when there’s an immediate threat to someone, he reacts instinctively: the cart, the mast, or Madame Thénardier threatening to beat Cosette. No hesitation.

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An Extra Wrinkle

Completely skipped by the musical: Jean Valjean is recaptured, tried for robbing the chimney-sweep boy after his release, and sent back to prison. He offers no defense (he did take the coin), even though the prosecution claims he committed armed robbery with accomplices, which gets him the death penalty (though the king commutes it to life in prison). What he really did was step on a coin and refuse to move his foot.

Not long after he’s sent back to prison, he saves the life of a crewman on a ship that’s in for repairs, then “falls” to his apparent death in the waters below. No body is found, but who could survive that?

Honestly, the whole sequence doesn’t add much that we don’t already know, though it does give him a little anonymity in that he’s presumed dead until Javert figures out that he isn’t, making it even more of a one-man crusade to recapture him.

It also sets up a nice parallel between Valjean’s escape and Javert’s suicide, which the musical picked up on by using the same song for Valjean breaking parole and Javert breaking down.

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Who the heck am I?

On stage, Valjean’s debate over whether to reveal his identity takes a couple of minutes.  In the book, it takes about 50 pages of small print, from the sleepless night at home through the long, complicated journey to the courthouse in another town, though the hour he spends in the courthouse before he finally makes up his mind.

His two driving principles: redeem his soul and conceal his identity – have come into conflict for the first time. (Well, not really the first time. There was the incident with the cart, but that was only a minor risk.)

To take the chance fate has offered him, he has to do nothing. To make things right for the falsely accused, he has to go to great lengths just to get to the trial on time. He keeps deciding not to turn himself in, but taking another step towards reaching Arles, just in case he changes his mind.

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Those who falter…

Javert is so angry at being overruled regarding Fantine that he reports M.Madeleine as being Jean Valjean even though he still has no proof. So when he’s told that the “real” Valjean has been found, he not only feels that he’s been insubordinate, but that he’s done so for the wrong reason, and must be made an example of. He insists on being dismissed — simply resigning isn’t enough, because that would be honorable — because of the one-slip-and-you’re-out philosophy summed up in “Stars.”

This figures years later, when he allows Valjean to go free and feels he’s again in conflict with superior authority. But how can you resign from God?

This is one of those bits that wasn’t in the stage musical, but was added to the movie. I didn’t like it the first time through the film, mainly because of the execution (sorry, Russel Crowe), but after rereading the book, I agree with adding it. Even if it didn’t come off as well as it could have.

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