For the last part of this series on the 2012 Les Misérables, I want to finally talk about it as an adaptation, and the way it uses elements of both Boublil and Schonberg’s musical and Victor Hugo’s novel. This is an aspect of the movie for which Tom Hooper and screenwriter, William Nicholson, don’t get nearly enough credit, I think. When something has become a beloved institution like Les Mis, the thought of making changes to it makes fans nervous. (For the record, I was a fan of the ...
