The family and I went back home for Thanksgiving, and we stayed with my grandmother while we were there. This is a picture of her wall. The more I look at it, the more I like it.

Juliette and the kids are out of town for a week. I figured I might as well take the opportunity to try something different, photographically speaking.

My grandmother makes a prime rib every year for Christmas dinner, a tradition we've continued when we do the holidays at our own house. This year I was in charge of the roast; I made a bit of a mess in the prep.

I don't know how the cool kids feel about Les Mis these days, whether they hate it for being too schlocky and mainstream or whether they love it because it's kind of cool to hate it. No matter; it's a rare occasion that I'm accused of being cool.

I've seen two stage productions of Les Misérables: an abridged school production when I was in high school, and a traveling production at LA's Ahmanson Theater when I was in college. I've also listened to the 10th Anniversary concert album about a hundred times. I know the songs so well that I used to pass the time in the filing room by singing the entire thing to myself, back when I had a summer job at a title company.

So, you know, I guess I'm a little biased.

Here's the thing: I know that Les Misérables is melodramatic and overwrought. I know that the music is sentimental as all get-out, and that the lyrics are often clumsy. I can't help it, though—I still get a lump in my throat when I hear Fantine singing about the dream she dreamed.

I wasn't sure exactly what to expect from this movie. On the one hand, as I've mentioned, I do enjoy this musical and I was intrigued by the trailer, which showcased the way they recorded the actors' vocals in scene, rather than having them lip-sync. On the other hand, I wasn't sure about some of the casting, especially Russell Crowe as Javert—sure, I respect him enough as an actor to know that he could do something with the part in a non-musical, but here he'd have to sing. It had also been over a decade since I last saw the play performed, and I wasn't sure if my opinion might have changed as I aged.

As it happens, many of my concerns were borne out, but I still enjoyed this movie.

Some of the vocal performances were, indeed, a bit heavy-handed. Russell Crowe, in particular, had a near total lack of nuance to his singing, with every number sounding thin and boring in the same way. I was reminded a bit of Pierce Brosnan in Mamma Mia!—oddly, both movies had Amanda Seyfried in the ingenue role. Seyfried, herself, was a bit uneven—her pitch was fine, and actually her soprano range was quite impressive, but there was an odd warble to her singing that made me think of the Disney Snow White—something that I don't recall coming out when she was singing a bit lower in Mamma Mia!—and she, too, didn't have quite the emotional range that I would have liked. Samantha Barks' Éponine was OK if a little overwrought, but then I imagine most anyone would have a hard time living up to Lea Salonga, so I'll give her a pass.

Still, one thing that film gave this production that the stage can have trouble delivering was the opportunity for softness. On stage, even with mikes, actors tend to have to project out to the last row, but on camera they can be a little more subtle. Hugh Jackman was a bit hit-or-miss, but when he was good he was very good; I wished for less belting in "Bring Him Home," but thought he brought something pretty special to "Who Am I?" and "Valjean's Soliloquy." Eddie Redmayne's performance of "Empty Chairs at Empty Tables" was as good as any I've heard, maybe better. Even some of the minor roles found some interesting ways to play their parts—the foreman in "At the End of the Day" was refreshingly devoid of bluster while managing to be exactly as sleazy as he needed to be. And it was a nice surprise to see Colm Wilkinson—who played Valjean in the original London and Broadway productions—show up as the Bishop.

But the real star—and surprise—for me was Anne Hathaway. I knew that Hathaway is a capable actress, having seen her tackle some complex roles in Brokeback Mountain and Rachel Getting Married. And I knew she could sing from things like Rio and the Oscars. But it was that last one that made me wonder whether she could do both at the same time, since her performance as Oscar host was needy and quite the opposite of subtle. So I was quite impressed with how dynamic she made her performance of "I Dreamed a Dream," despite the fact that most of that number was filmed with a static camera, up close, in one long shot. (A lot of the big numbers were filmed that way, which I imagine was largely due to the fact that they were recording the vocals live—most likely that meant that everything had to be done in one take. That puts a lot of pressure on the actor to make it interesting.) She really nailed it; I got choked up.

The non-vocal parts of the production suffered from the same unevenness. The camera work was at times odd and distracting, with odd angles and weird cuts—or lack thereof. As I mentioned, the long shots were very demanding for the actors, not all of whom lived up to the challenge. But at the same time, I also felt that cinematographically, a lot of the movie was quite beautiful, especially the close-ups—if those shots had been stills, they'd have made some really interesting portraits.

There were also a number of changes to the songs, some of which were very strange. I understand that in order to fit the entire musical into a film of reasonable length—and at 2 hours and 37 minutes, this one was pushing it—some cuts were going to have to be made. But why add a whole new song, then? And why cut out just certain parts of some of the duets? Leaving Javert to sing parts of "The Confrontation" alone, for example, when Crowe could only have been helped by having Jackman take some of the focus off his weak voice. Director Tom Hooper made some choices that just felt weird to me, but perhaps I'm nitpicking.

This isn't a perfect film, and most likely isn't the best version of Les Misérables ever produced, but there were enough things done right that I feel comfortable giving it a good recommendation to anyone who enjoys musicals.

Viewed: 2013-01-01 | Released: 2012-12-25 | Score: B-

IMDb Page

If I were, I suppose, a less realistic fellow, I would probably make a New Year's Resolution about staying on top of my reviews, instead of letting five months go by before getting down to it. But, to borrow from the inestimable William Goldman: "We are men of action; lies do not become us."

Let's get down to it then, shall we?

Books:

Little, Big, by John Crowley: As regular readers may know, one of my favorite authors in any genre is Gene Wolfe. So when I heard that John Crowley, and particularly his book Little, Big, were important to understanding Wolfe, I immediately put it on my list. Having finished it, I can see a lot of similarities to Wolfe; there are also echoes of Steinbeck and Gabriel García Márquez. It took me a long time to read it, it was difficult and took work to understand, and even having finished it and having had several months to think about it, I'm sure that there's a lot I missed. Yet just like a Wolfe novel, the prose was beautiful, the story was layered and profound, and the experience, though challenging, was deeply rewarding.

Little, Big is the story of Smoky Barnable, who at the beginning of the book meets the beautiful and enigmatic Daily Alice Drinkwater, and goes on a journey to fulfill a prophecy and marry her. It's also the story of the complicated history of the Drinkwater family, their roots and their destiny. It's also the story of the strange house that the Drinkwaters live in, which sits on the edge of two worlds. And most of all it's a fairy tale, but the older, darker, twistier sort of fairy tale. It's a beautiful though often puzzling story, and filled with little pearls, some of which have stuck in my brain. This one, for example:

"Cloud had said: it only seems as though the world is getting old and worn out, just as you are yourself. Its life is far too long for you to feel it age during your own. What you learn as you get older is that the world is old, and has been old for a long time."

I am certain that I'm going to revisit this book some day, and I'm equally certain that when I do, I'll discover all sorts of nuggets I didn't notice the first time. It'll be a while before I'm ready to put in the time again, but when I do, it'll be worth it. (Read 4/11/2012 - 7/9/2012.)

The Sharing Knife, by Lois McMaster Bujold: It seems to be a bit of a pattern for me that what I like most about Bujold's books is the setting. This series, comprising four novels (Beguilement, Legacy, Passage, and Horizon), follows an unlikely couple on a series of adventures exploring their world and its magic. Fawn is a young woman who leaves her farm to make her own way in a nearby town after her boyfriend gets her pregnant and then leaves her. Dag is a Lakewalker, a member of a roving patrol dedicated to keeping the land safe from malices—ravening monsters who feed on life energy.

I've heard that this series was intended as Bujold's experiment with blending the romance and fantasy genres. For me, the strength of the series is as usual for her writing: an intriguing and well-imagined world with a rich (if sometimes frustratingly unexplored) backstory; a novel system of magic, the consequences and details of which are well explored; and a (mostly) interesting cast of characters. Where I personally felt it lacked compared to Bujold's other work was in the more romance-y parts—Dag is a little too competent, Fawn is a little too much of a diamond in the rough, and much of the character tension felt a bit melodramatic. Still, I read the entire series in just a few days, so you can tell I was entertained. (Read 7/13/2012 - 7/18/2012.)

The Particular Sadness of Lemon Cake, by Aimee Bender: What if you could taste the emotions of whoever made the food you were eating? What insights would it give you into the people around you, and would you be able to bear it? In Aimee Bender's book, this is exactly what happens to the protagonist, Rose Edelstein, on her ninth birthday. We follow Rose through her childhood and early adulthood, as she learns to cope with this affliction, as well as to deal with what she inadvertently learns about the people around her. It's a beautiful book, lyrical at times, and with a haunting ending. Fantastic stories give us the opportunity to explore the familiar experiences of life in new ways, and The Particular Sadness of Lemon Cake does it better than most any story I've read in a long time, fantasy or otherwise. Highly recommended. (Read 10/12/2012 - 10/16/2012.)

Summerland, by Michael Chabon: I think Michael Chabon may just be the perfect writer for me. Perhaps not, but in any case he clearly thinks about and loves many of the same things I do. In The Adventures of Kavalier and Klay he showed his interest in the 1940's and the golden age of comics. In Manhood for Amateurs, his anecdotes about being a father, a son, a husband, and an American felt so familiar that it almost felt like he could have been talking about me. And now with Summerland he shows that he loves a fable, a fantasy, and a coming-of-age story just as much as I do. Summerland is a fairy tale drawn from the legends of many cultures—including Norse, Irish, and Native American myths and folklore—but told in a deeply American way. It's a YA novel, but like the best YA it holds up just as well for more mature readers. I absolutely adored this book, and I can't wait for my kids to be old enough for it. (Read 10/31/2012 - 11/6/2012.)

The New American Economy, by Bruce Bartlett: This book is somewhat inflammatorily subtitled "The Failure of Reaganomics and a New Way Forward." So I was a bit surprised at how much of it the author dedicates to defending the basic principles of supply-side economics. On the other hand, he also spends a good deal of time explaining and defending the roots of Keynesian economics, as well, so it does seem fairly even-handed, at least from a historical perspective. To sum up the general thesis of the book, Bartlett argues that both Keynesian and supply-side economics were developed to respond to very specific economic problems, and while each was very good at dealing with those specific problems, both encountered difficulties when they were expanded beyong their initial intentions. In the last chapter, Bartlett goes on to explain why he feels that spending cuts alone will be insufficient to solve our nation's fiscal issues, and why he believes that consumption-based taxes—and particularly a VAT—is the best way to raise new revenues. I'm not sure that I buy every aspect of Bartlett's argument, but if nothing else I found this book to be clearly written, easy to understand, and it gave me an interest in doing further research of my own. (Read 11/8/2012 - 12/19/2012.)

Films:

The Odd Life of Timothy Green: Back in August, Juliette and I had a rare date night and decided to go out for dinner and a movie. Unfortunately, the movie we planned to see—I can't remember which it was—was sold out, so we ended up seeing Timothy Green instead. There's not a whole lot I feel I need to say about it. The writing was mediocre and the acting wasn't much better, but even so, it was fine. Not particularly good, but not terrible, either. (Viewed 8/17/2012.)

The Campaign: This may sound like thin praise, but this was probably one of the better Will Ferrell movies I can recall. Of course, that was largely due to the presence of Zach Galifianakis, who imbued his performance with an earnestness that was quite surprising. I know that that may sound a bit hyperbolic—after all, the movie overall is a pretty broad and crass comedy. Still, there was something kind of touching about Galifianakis' Marty Huggins, without which I don't think the movie would have worked nearly as well without it. (Viewed 9/1/2012.)

Argo: I'm sure that by now everyone has heard all about how amazing this movie is, how skillfully the tension was built, how masterful the performances were. Certainly I heard all of that before we went to see it. I kind of wish I hadn't, because I'm pretty sure that there's no way that any movie could have lived up to the hype showered on this one. Mind you, I thoroughly enjoyed it, and I certainly thought it was well done. But to hear some people talk about it, Argo was a tour-de-force, a masterpiece, and while I liked it quite a bit, I don't see myself coming back to it in the same way that I regularly revisit, say, Casablanca, or even The Big Lebowski. (Viewed 10/19/2012.)

Wreck-It Ralph: Given the importance of video games in my childhood—especially the games of the Atari and 8-bit eras—you'd think that Wreck-It Ralph would have my name written all over it. It didn't quite push all the right buttons—though not for lack of trying—but I did enjoy it pretty well. Moreover, I got to see it with Jason, and getting to share a movie experience with my son always improves it for me. The nerdy/retro game references were fun for the most part, even if they felt a bit shoehorned in at times, but what really worked for me were the scenes between Ralph and Venelope—there was an honest cuteness and nice chemistry between the two characters and their voice actors, which I quite liked. In any case, I'm sure that we'll be buying this one when it comes out on disc, since Jason loved it so much. I won't mind when we do. (Viewed 11/17/2012.)

Silver Linings Playbook: The last movie I saw this year turned out to be the best. David O. Russell's mixture of mental illness and rom-com tropes was one of the most refreshing and interesting takes on the romantic comedy genre I've ever seen. It was funny without being forced or clichèd, the humor stemming from genuine interaction and fully realized characters. It was also emotionally rich—heartbreaking at times, joyous at others. The performances were outstanding, including, of course, Bradley Cooper and Jennifer Lawrence as the leads, but Robert DeNiro very nearly stole the show with his portrayal of the protagonist's obsessive-compulsive father. I'm so glad to have ended the year on this movie, because it was just about perfect at what it did. (Viewed 12/22/2012.)

In 2012, I shot 2759 frames of personal photography. That is, I kept that many frames—I actually shot a great deal more. Most likely that's too many, and it would probably be wise for me to go back through the year's photos and trim the collection a bit. Before I do that, though, I thought it would be fun to take a quick walk down memory lane with a selection of my favorites from the past year.

As it happened, going through my photo library, I found rather a lot that I loved. I tried to keep the set as concise as possible, but I still ended up with 35 pictures that I adored too much to leave them out. Perhaps my internal editor still needs more discipline, but then, this isn't meant to be the set of my best photos of the year, just of the ones I liked most. Some of these I've posted before, some I haven't. I hope you enjoy them as much as I do.

In roughly chronological order: