Big Screen, Big Crucibles IV: Les Misérables

Warwick Fairfax:
That gift would lead Valjean to being a man of grace and mercy. Grace and mercy was shown to him, and he indeed showed that to others. He looks after Fantine’s daughter, Cosette, after Fantine dies; he shows mercy and forgiveness to Javert, a man who would never show any mercy and forgiveness to Valjean or anybody.

Gary Schneeberger:
You’ve heard us talk a lot over the years of Beyond the Crucible about the power of forgiveness, and that’s one of the core themes of our discussion this week of Les Miserables: the fourth film in our summer series, Big Screen, Big Crucibles. Everyone in the movie experiences a crucible, but those who receive and then extend mercy and forgiveness to others are the ones who find lives of significance.
Those too rigid to see the best in others or in themselves, like the Prison Guard and policeman, Javert, wind up as one of the American translations, of the film’s title puts it, The Miserable Ones. Welcome, friends, to another episode of Beyond the Crucible. You are in the midst of our, we are in the midst of our special summer series, Big Screen, big Crucibles, where we examine films and the crucible experiences in films that characters go through to help you navigate your own crucibles.
We’re doing this again. You may remember, if you think back, this is the third time that we’ve done a summer series on movies, and so for eight weeks this summer, we’re going to do it again. This is week four, so we’re halfway through with this episode. We’re taking a look at films with a wide variety of crucibles: insightful lessons they can teach us about how not only to bounce back from those crucibles, but on casting a vision for charting a course to move beyond those crucibles.
Our film this week is, and I ask you forgive, I beg your forgiveness before I say it, because Warwick has a very cool accent, I have a Midwestern accent, so when I say our movie, it’s not going to sound nearly as cool coming out of our mouth. Stay tuned, Warwick will make it sound great, but our film this week, in all seriousness, is Les Miserables. The movie came out in 2012, and here’s the synopsis of the film.
In 19th century France, Jean Valjean, who, for decades, has been hunted by the ruthless policeman, Javert, after breaking parole, agrees to care for a traumatized factory worker’s daughter. The decision changes their lives forever. That sounds pretty interesting, doesn’t it? It is. Stay tuned. Warwick, first question, as always on the summer series to you is, as I said, this is the third time we’re back at the theater.
We’re looking at movies again, why? What is it about film that is so revelatory about our crucible experiences and what are you hoping that listeners and viewers get from this series in our discussion here?

Warwick Fairfax:
Yeah, Gary. We both love movies, and we’ve enjoyed looking at movies from a Beyond the Crucible perspective. Movies typically portray a protagonist who is facing significant challenges which they seek to overcome. We’ve covered movie heroes, action heroes, sports heroes, and we’ve also looked at last summer, at the American Film Institute’s top 100 movies.
This year, we thought we’d look at movies that were some of the best ones that showed people overcoming often unimaginable crucibles, obstacles you would think that there’s no way back from. Not only did they get beyond their crucible, they also led a life of significance, a life on purpose dedicated to serving others. The movies we’re going to be doing this summer and looking at are truly great movies with incredible lessons for us all.

Gary Schneeberger:
Folks, before we get started, it’s important for you to know a couple of things before we dive into the discussion. First, interestingly, this is the only movie we’re discussing in our series of eight that is not based on a true story. It’s based on a successful stage musical that was itself based on the 1862 French novel, Les Miserables, by Victor Hugo. Now, having said that, it depicts real life events, like the French Revolution, but the individuals who are in the film, they are fictional.
It’s just kind of interesting, that out of eight movies, without even knowing it, we picked seven based on a true story. This one is based on true events in history, but it is fictional. That’s interesting. It’s also good to note, for those listening in watching who don’t speak French, like me, that over the years, the title for American audiences has been tweaked a bit.
Les Miserables has been presented to American audiences sometimes as the Miserables, sometimes as the wretched, sometimes as The Miserable Ones, The Poor Ones, The Wretched Poor, the Victims, and The Dispossessed. That can sound depressing. Let me tell you, please, in all seriousness, let me tell you this, as this discussion goes on, as you hear more about the movie, as you watch the movie, if this encourages you to watch the movie, it ends on a very high note, and there are true moments of joy and elation in this film.
That’s my disclaimer. We get our first glimpse work of the misery and wretchedness, the crucibles, in our terms, of the central character in the opening scene. It’s 1815, the onscreen graphic tells us, 26 years after the French Revolution. We see scores, maybe hundreds of emaciated men, doing hard labor in a downpour. The one the camera focuses on most intently is the chief protagonist of the film, who we will come to know as Jean Valjean. He’s spent 19 years in prison, five for stealing a loaf of bread to feed his sister’s sick child, and 14 for trying to escape.
Through song, important to note, all but a few lines of the entire narrative are sung, not spoken, makes it a very interesting movie, we see him taunted by a prison guard named Javert. Warwick, this scene, this first scene lays out the devastation of the crucible that Jean Valjean has been through, and he will continue to go through if Javert has his way. We talk a lot at Beyond the Crucible about the power of hope and forgiveness, but that’s not what we see when we meet these two central characters, is it?

Warwick Fairfax:
This is certainly a low point in Jean Valjean’s life. He has been in prison for 19 years, and for what? Stealing a loaf of bread to help his sister’s sick child who was close to death? That sure seems like maybe you deserve some punishment, maybe some rap on the knuckles, but 19 years? I guess it was five years, and then plus another 14 for trying to escape. It’s just…

Gary Schneeberger:
The punishment does not fit the crime here, for sure.

Warwick Fairfax:
Oh, absolutely. We see these lines of men with these long ropes, try to pull this massive ship into dock. It just seems almost impossible. We learn in this early scene, that he gets paroled, Valjean gets paroled by Javert, who will be his nemesis. In theory, that means he’s free, but not really. Yes, he’s free, but the papers that he carries with him, they basically say that he is a dangerous man, and he’ll have to report regularly or he’ll be arrested immediately.
Javert says that these papers are a badge of shame that he will wear until he dies. Doesn’t really feel like freedom. Freedom kind of, but maybe it feels like purgatory, but doesn’t really feel like he’s fully escaped. As I said, this is really a badge of shame that he’ll wear the rest of his life. It seems that in these early scenes, we get a bit of a picture of Javert, and it sure would seem like Javert does not believe in forgiveness or in redemption.
Javert’s attitude throughout the movie is once a criminal, always a criminal. Redemption is not possible. You’ve committed a crime, and that’ll follow you the rest of your life. That’s the code that Javert goes by.

Gary Schneeberger:
Yeah. His efforts to break Jean Valjean’s spirit extend the fact that he doesn’t call him Jean Valjean. He calls him by his number, 24601, throughout the movie, as you’ll hear, these two, their paths crossed throughout the movie, but he always refers to them as 24601. You’re just truly just a number. It also struck me, Warwick, that Javert thinks crucibles are a life sentence.
Imagine how for us, how tragic that would be, if all the guests we had on thought that way. If you thought that way after your crucible, if I thought that way after mine. It’s definitely not the truth that crucibles are a life sentence, right?

Warwick Fairfax:
Yeah, it’s so true, Gary. If we were talking to Javert, he would say, “Your worst day does define you. Your worst day will be with you for the rest of your life. Certainly, if you’ve committed a crime and made a mistake, there is no redemption. It will haunt you the rest of your life. You make this kind of a criminal mistake, you’re no longer human, you’re just a number. You’re subhuman, you’re not worthy of redemption.”
“You should be in prison, or hide away somewhere where decent people of society don’t see you. You’ve made a mistake, and you’ll forever pay for that mistake. Redemption doesn’t exist. You are definitely defined by your worst day. It’s sort of etched on your soul. There is no hope, there is no forgiveness, there’s no grace, no mercy, no redemption.” That is Javert’s code.

Gary Schneeberger:
In his own way as he gets his freedom, Valjean sort of feels the same way initially, not about himself per se, but he definitely is full of hate and anger. He’s carrying his crucible with him outside of the crucible experience of being in prison. He muses about what will life have for me, and what will this new life have for me?
It seems like Valjean has trouble with forgiveness himself at this juncture, and he finds out very quickly, so do all the people he seeks a second chance from, doesn’t he?

Warwick Fairfax:
Yeah. At this point, Valjean is on parole. Yes, he has to check in regularly with his, I guess, parole officer, but it seems like he has freedom. These papers that say that he’s a dangerous criminal, the badge of shame, wherever he goes, whether it’s to try to get a job, or to find a room to rent, a place to sleep, nobody will let him in. He can’t get work. He has no roof over his head. It really is, these papers really are a badge of shame.
He truly is a miserable, wretched person at this point, and he is no reason for hope that life will get any better, and no reason not to be angry and bitter. It’s very clear that he sings, as you mentioned, that’s the way the characters speak in this movie, he says that he’ll never forget the years he has lost, and he will not forgive them for what they have done.
He, at this point is, “I will not forgive. I will not forget, I’m angry and bitter. What happened to me was absolutely unfair and wrong, and I’m never going to get over it.” That’s his attitude at this point of the movie.

Gary Schneeberger:
Then something truly miraculous happens to him. He visits, he drops by one of the people he stops by to see, looking for shelter, is the Bishop of Dean. This is the kind of man Warwick, whose radical grace changes the trajectory, of Jean Valjean’s life, isn’t it?

Warwick Fairfax:
Gary, this is profoundly true. The bishop asked Valjean to come into the church and give him a bed, and some food, and wine. Here is the beginnings of drops of grace. The first person that Valjean comes across, he says, “Come in, come into the church. I’ll give you something to eat, a place to sleep.” He tells Valjean this bishop does, “to rest from pain and wrong.” The bishop is so kind to him.
Valjean is so full of anger and bitterness that it seems like at this point, it’s impossible for him to receive any grace and kindness from the bishop. So much so, that what is Valjean’s response to this kindness and grace that he’s getting? He ends up stealing the silver from the church. Well, he gets caught, and he is brought back to the bishop and Valjean says, “Well, yeah, the bishop gave me the silver.” I guess he’s got to try something.
What’s amazing is the bishop says, “That’s true,” which it wasn’t, but obviously, he says that’s true. The bishop says, “In fact, Valjean left the best of the silver behind.” Not only does he forgive him for stealing the silver that he has, he gives him more silver, the stuff that he hasn’t stolen yet. The bishop says there is a higher plan, and that Valjean must use this silver to become an honest man.
I don’t know, the Bishop may see something in Jean Valjean. Maybe he sees some goodness that can be redeemed. I don’t know what possesses the bishop to do what is, even for a minister, is just almost unthinkable, to not only no consequences. He could have said, “Okay, Greg, give me back the silver and be gone.” He doesn’t do that. That would be grace enough. Grace upon grace is you can have the silver. Use it to get yourself lots of money. That’s more than grace. That’s just astounding.
Valjean is overwhelmed by the bishop’s kindness and grace. He says that God has raised him out of darkness. The minister has saved his soul for God. He says he’s done with being a thief. He asks if there is another way then hate. He wonders why he allowed the bishop to touch his soul. What this bishop did for him, it absolutely touched and transformed his soul. He says one word from the bishop, and he would be back in prison. He wonders if there’s another way to go.
In essence, he says that his past is nothing now, and another story must begin. Valjean has said, in essence, I’m going to turn the page. I’m going to become a different man. This whole episode, where the bishop shows the profound transformation that radical grace and kindness can have, this one episode, it is the turning point in Jean Valjean’s life, and it transforms him from somebody full of hate and bitterness, to a person that can be redeemed, and be full of love and grace and mercy.
This one act of radical grace is, it’s unbelievable in the act, but it’s unbelievable, the transformation that it has for Jean Valjean.

Gary Schneeberger:
After this moment, this very meaningful and moving moment, Les Miserables then jumps eight years to 1823. Valjean has made good on his promise to serve God by helping others. He’s a respected factory owner and mayor of Montroy. He is startled, though, when Javert arrives as his new chief of police. Very ironic, right? Now, Javert works for Valjean. That’s an interesting deal right there.
Witnessing Valjean rescue a worker trapped under a cart makes Javert suspect Valjean’s true identity, but he’s not sure yet. Meanwhile, one of Valjean’s workers, Fantine, is fired by the foreman of his factory when she is revealed to have an illegitimate daughter, Cosette. She has been mocked and chided by her female coworkers, Fantine has. She’s been sexually harassed by the foreman. She is reduced on the streets to selling her teeth, selling her hair, and selling herself.
It’s at this point that she sings the most famous song in the soundtrack of Les Miserables, I Dreamed A Dream. Let’s take a look and listen to that song right now.

Fantine:
There was a time when men were kind,
And their voices were soft,
And their words inviting.
There was a time when love was blind,
And the world was a song,
And the song was exciting.
There was a time when it all went wrong…
I dreamed a dream in time gone by,
When hope was high, and life worth living.
I dreamed that love would never die,
I dreamed that God would be forgiving.
Then I was young and unafraid,
And dreams were made, and used, and wasted.
There was no ransom to be paid,
No song unsung, no wine untasted.
But the tigers come at night, with their voices soft as thunder, as they tear your home apart, as they turn you dream to shame.
[inaudible 00:20:53] by my side. He filled my days with endless wonder. He took my childhood and destroyed.
He was gone when autumn came.
Still, I dream, he’ll come to me, that we live the years together. There are dreams that cannot be, and there are storms we cannot weather.
I had a dream. My life would be so different from all this hell I’m living, so different from what it seemed.
Oh, life has killed the dream.
I dream.

Gary Schneeberger:
Warwick, I worked on publicity for this film when I was living in Hollywood and doing PR in the film industry, so I know the movie well. When I saw and heard Anne Hathaway in this scene, just as an example, it was during a screening, was somewhere, and I said to a studio executive, “Bad news for anybody else up for a best supporting actress Oscar this year,” because she was just so good in that scene. It just grabbed people so, so much.
Watching the film for the first time from a Beyond the Crucible context in particular has brought it to me in a fresh light, even though I’ve known that song in this movie for years. It’s really a song about the bottom of the pit, as we talk about, which is caused by the pain of crucibles. We say it all the time. You’ve reached the bottom of the pit. This is where Fantine’s at singing this song, isn’t it?

Warwick Fairfax:
Absolutely. Fantine is at the lowest ebb of her life. Fantine’s song is so incredibly sad. She had dreams of a happier life, and they’ve been destroyed. That life that she lives now is so different than what she had hoped for. She believed she is literally living in hell. To have dreams that have been destroyed and be in a place of shame, and agony, and pain is about as deep a pit as a person could be in.
Not only is she in agony, but as bad as agony is, just to be at a point of shame where she’s shunned by everybody, and she’s forced to be reduced to a prostitute, she has no respect for herself. She’s in agony. She literally feels like she is in a living hell. It’s just an incredibly sad scene, and just a haunting song that she sings. It’s just devastatingly sad, that Fantine finds herself.

Gary Schneeberger:
Yeah, the last line, right? “Life has killed the dream I dreamed,” right? That is truly the bottom of the pit. Unfortunately for her, the bottom of the pit is going to get a little bit deeper, because Javert arrests her when she attacks an abusive customer. Valjean recognizes her and takes her to the hospital, much to Javert’s suspicion and anger.
Learning that a man has been wrongly identified as him, Valjean reveals his identity to the court, and this is a decision he wrestles with quite a bit to admit who he is will save the other man, but will put him back on the run, at least in prison under Javert or people like him at worst. Valjean ultimately turns himself in. It’s the high character move for him to do. The one that doesn’t just focus on helping himself, why is such honesty? Honesty that might cause us pain, so critical to Valjean, continuing to live his life of significance?

Warwick Fairfax:
Valjean is first torn. Part of him is relieved that they have caught someone they think is him, because then finally, Javert might stop looking for him. As he sings, because as we know, everything is right with his song, he sings this. If he says something in court, he’ll be condemned. If he does not speak up, he’ll be, in his words, damned, so condemned versus damned. That’s a pretty tough choice.

Gary Schneeberger:
Yeah. That is not a good decision to have to make.

Warwick Fairfax:
He wonders if he can condemn this innocent man and he sings, “Who am I? My soul belongs to God. Who am I? I’m Jean Valjean. Now, I wonder the man who was before he found that bishop, so full of anger and bitterness, I wonder if that man has said, ‘Look, life is not fair?’ I feel sorry for this guy, but I deserve to break. God or the universe who is up there, I deserve to be free, and this is a gift from God. Look, I can’t help the whole world. He’ll have to figure it out himself.”
We don’t know, but this Jean Valjean, the after that bishop showed him so much kindness and grace. He is a different man. By saying, “My soul belongs to God,” it’s very clear that he will do the right thing. This man is innocent. I am Valjean. The lesson here is that when you’re beginning to turn to a different path, lying can erode your soul. Honesty is the path of new life and freedom. If he had started lying, he may have been free in the physical world, but in his soul, the change would’ve started coming back on him.
His conscience would’ve bothered him. He would’ve been in prison if he’d done the wrong thing and hadn’t told the truth. It really shows that he is on a different path, and it’s really something that we should all listen to and take a lesson from, that doing the wrong thing: lying, cheating, stealing, betraying, it puts your own heart and soul in prison. It’s not the way out. Never is.

Gary Schneeberger:
No. Ironically, though ,the court doesn’t believe him when he says that he’s a Jean Valjean. The court doesn’t believe him. Regardless, he’s spoken the truth and it’s a sign that his character has indeed changed, as you said. He must then head out on the run again, but only after doing two things. The first is he returns to the dying Fantine, promising to care for her daughter, Cosette. Talk about that scene, because it’s a very touching, very sad, but very touching one as well.

Warwick Fairfax:
It surely is. Valjean consoles the dying Fantine. She sings, the light is fading, and Valjean says that she should be at peace, peace evermore. He’ll protect her daughter Cosette. He tells her that her daughter will want for nothing. Fantine says, “He came from God in heaven.” Valjean actually feels guilty for the situation Fantine finds itself in, because as we’ve mentioned, he was the owner of the factory where Fantine worked in. He feels responsible in some way for Fantine being fired by the foreman that was sexually harassing her.
I don’t know that he was fully aware of what going on, but regardless, it was his factory and his mind, this new mind, this new heart, is that it’s his responsibility. In a sense, by taking care of Cosette, he feels he’s trying to right a wrong that he feels responsible for, for allowing what happened to Fantine to happen. This is really another indication of a remarkable change that is happening in the character and soul of Jean Valjean.

Gary Schneeberger:
Right. One of the things that we talk about a lot here at Beyond the Curseable is the idea of doing soul work. We saw it earlier in the film, when he was singing, “What should I do? What do I do? Who am I? Who am I?” It’s safe to say that Jean Valjean did some soul work in this film, didn’t he?

Warwick Fairfax:
Absolutely. That’s a great point, Gary. He is taking positions that many people wouldn’t. They might feel sorry for Fantine, but it’s like, “Look, I can’t be everywhere at all times. I’m not responsible for what the foreman did. Okay, maybe I’ll fire him, discipline him, do something, but Fantine made her choices, and life’s tough, and it’s not my responsibility to sort out everybody’s life. There’s a lot of poor wretched souls in this world, and why am I responsible for fixing everybody’s life?” That’s what the old Valjean would’ve said.
The new one says, “No, it’s my responsibility, and I’m going to take, not just help out Cosette, but take care of her for his whole life, and that she should want for nothing.” He could have put her up in an orphanage somewhere, or maybe even a nice one, paid some money. Maybe she should have some decent living. She might be poor, but at least somewhat well-treated somewhere, maybe. Although orphanages back then are reminded of the movie Oliver, they were not too good back in the 19th century.
I don’t know if there were any good orphanages back then, but regardless, he could have done something but not what he did, which is basically take Cosette in as his own daughter, if you will, so that she would want for nothing. That’s remarkable grace. It’s almost like he’s learned this remarkable grace from the bishop. That’s not normal grace. That’s not normal philanthropy. It’s just remarkable.

Gary Schneeberger:
No, he’s definitely a man who, in our modern vernacular, is not afraid of getting his hands dirty when it comes to helping others, living that life of significance, a life on purpose dedicated to serving others. He’s truly walking that out in all that he does. His crucible remains from Javert, because he and Javert have a confrontation. The inspector tells him this, “Men like you can never change.” There he is. He’s changed. We’ve seen him change. He knows he’s changed, and yet here’s his voice, whispering in his ear, not whispering, but sort of barking at his, barking in his face.
“Men like you can never change.” We learned a little bit though in this scene, Warwick, about Javert’s own crucible life, and how it informs the harshness he carries, don’t we? We see, I don’t know if it causes us to feel sympathy for him or not, but we understand a little bit of where his harshness comes from, right?

Warwick Fairfax:
Yeah, indeed. Valjean at this point is committed to fulfilling his promise to the dying Fantine to look after her daughter, Cosette. Then when he sees Javert and Javert confronts him, he tells Javert that this dead woman, Fantine, left a child, and he needs three days to make arrangements for the child. He’s not saying “I’m going to run away forever, I just need some time to get things sorted out.”
Javert says, “A man like you will never change.” Javert will not listen and seems to have no compassion whatsoever. Javert says that he, Javert, was born in prison and is from the gutter, but he has learned very different lessons, and the lessons he is learned is basically one of a life of harshness with no possibility of grace and redemption.
For Javert, there are only laws in order that must be kept, no redemption, no grace, only laws and regulations, no way back, no redemption, almost like eternal damnation. That is the lessons that Javert seemed to learn from his very harsh upbringing.

Gary Schneeberger:
Valjean then visits the dishonest innkeepers, and Warwick, I apologize in advance as someone who speaks French, I’m going to get this wrong, but I’m going to try, the [foreign language 00:34:32]? Close?

Warwick Fairfax:
I think that’s very good.

Gary Schneeberger:
All right. The dishonest innkeepers, we’ll just call him the dishonest innkeepers from this point on, whose bit of the plot is mostly comic relief, and takes Cosette to protect her as his own. Warwick, he realizes, Valjean does, that love, the kind he feels from Cosette, has given him his true life’s purpose. We talk about that a lot here at Beyond the Crucible. That’s a moving realization, isn’t it?

Warwick Fairfax:
Absolutely. When Valjean first sees Cosette, he says he made a promise to Fantine, her mother. He says he was blind to someone in need, Fantine. In other words, he didn’t realize what was going on in the factory. He feels responsible, but he says to Cosette that her suffering is over. Later, he sings that he’s not alone now, and that something has begun. He sings, the world seems a different place full of grace and full of light. So much hope is held inside. “How was I to know that happiness can come so fast,” he says, “Never more alone or apart.”
Cosette has won his heart and brought the gift of life to him. He says, “I suddenly see what I could not see.” This is part of the redemptive arc of Valjean’s life. His life has purpose and meaning now. He wants to, in some ways, redeem Fantine’s tragic life by caring for his daughter. Before, he had no purpose, no life. Now, he has purpose, life, and hope by redeeming Fantine’s legacy, and by giving her daughter, Cosette, a life she could not have had otherwise, a life of hope and promise.
Valjean has, as part of his redemptive arc, he has purpose, and life, and hope. Joy is beginning to come into his life. There was no joy in that opening scene in the movie, where he and the other men were pulling that long rope lines of pulling that heavy ship into the dark. There was no hope. There was only anger, bitterness. Now, we see hope and love and joy. It is truly remarkable what we see in Jean Valjean.

Gary Schneeberger:
Yeah, that he leans into his character. We have another series going on on the actionable truths of the brand, and character is one of them. The character, he acts on that. He acts on that. He acts on that. Then here comes the joy. That’s vintage Beyond the Crucible. Character, if you lean into your character, you can pursue that joyous life of significance. This movie could have been written by us, maybe.

Warwick Fairfax:
Very well said.

Gary Schneeberger:
Valjean and Cosette find safe in a convent, and avoid Javert who’s still chasing them. The convent’s groundskeeper is the man, if you remember, that Valjean saved from the wood that had fallen on him earlier. Javert vows to keep his pursuit of Valjean. He sings, “Those who falter and those who fall must pay the price.” That’s Javert’s worldview.
That’s a hard world, isn’t it, Warwick, for anyone who’s been through a crucible to live in? Javert represents everything that’s hard about turning trial into triumph, doesn’t he?

Warwick Fairfax:
Yeah, as Valjean flees with Cosette, Javert is in pursuit. We learned something about Javert’s theology and belief system. He sings about a fugitive, fallen from God and fallen from grace. It’s as if when you’ve fallen from God and fallen from grace, in Javert’s mind, there is no way back. Grace is lost forever. Javert will never yield until they come face to face.
He sings, “Mine is the way of the Lord. Those who follow the path of righteousness.” He talks about it as if when people fall as Lucifer fell, they will get the flame and the sword. He says, “Those who fall must pay the price.” He sings, “Lord, let me find him safely behind bars. I will never rest until then. This I swear by the stars,” meaning he has his own theology and belief system all worked out.
He definitely has a belief in God and the Lord, but a very different belief system than Valjean, or certainly the bishop. Javert has this harsh theology, one of judgment and rules, where there is no grace, none whatsoever. He is committed to his path and his way of looking at the world and God, and he will never relent. It is hard to move beyond your crucible when you’re being pursued by men like Javert, who believes there is no possibility of redemption or mercy.
As we said before, Javert’s belief system is you were defined by your worst day, certainly, when you committed a crime. There is no way back. There is no life of significance. You’re not even human. Subhuman people that are criminals, there’s no redemption, there’s no life or significance. There’s only eternity of pain and suffering. That’s what you deserve when you’ve committed a crime. When you’re at the bottom of the pit, the pit is never ending, and there’s no way out.
There’s no light at the end of the tunnel, only eternal darkness, and that is as it should be. That’s what you deserve. That is the belief system, this horrific and horrendous belief system that Javert has.

Gary Schneeberger:
To flip it on its edge, our series on the actionable truths, right? All that Javert is about is actionable falsehoods. He’s acting on these falsehoods, that there’s no grace, there’s no redemption. You can’t get better. If you’ve done this, once a thief, always a thief. He’s constantly acting on those things. He’s not just saying them, he’s acting on them. That really makes life challenging, to say the least, for Jean Valjean. Well, as Les Miserables want to do what [inaudible 00:41:27] jumps ahead again after this.
The movie jumps ahead nine years in the next point, and Valjean has become a philanthropist to the poor in Paris. A new French Revolution is brewing. General Lamarque, the only government official sympathetic to the poor, dies. The revolutionist group, friends of the ABC, plot against the monarchy. Marius Pontmercy, how’s that? Was that good? Pontmercy?

Warwick Fairfax:
That was really good.

Gary Schneeberger:
Oh, thank you. All right, I’m going to live on that for another two weeks, folks. Marius, we’re going to call him from now on. Marius, a member of the Friends falls in love with Cosette at first sight, and asks his best friend, Eponine, the wicked innkeeper’s daughter, to find her. He and Cosette meet and confess their love.
Eponine, herself in love with Marius, is heartbroken. In a movie full of crucibles, Warwick, this is a more minor crucible that we don’t see a lot of, but this is definitely a crucible for this young woman who’s known many of them, isn’t it?

Warwick Fairfax:
Yeah, so absolutely. We see Marius, who is a student revolutionary, but he’s from a wealthy background as we see in one scene, where his grandfather tries to stop him from getting involved in the revolution. Marius sees Cosette, and he’s instantly drawn to her, as she is to him. It is almost cruel when Marius, not quite understanding what’s going on, he asked Eponine to find Cosette. Eponine tells Marius that she knows Cosette, they grew up together.
What’s so sad is while Marius just considers Eponine a friend, Eponine dearly loves Marius. She considers herself his girlfriend, even though he doesn’t quite see it the same way. When Eponine agrees to find Cosette, it is an act of both great tragedy and incredible love for Marius. She realizes that Marius is just besotted with Cosette, and she can see there’s just this deep feelings, attraction to Cosette.
The last thing that she wants to do, humanly speaking, is to satisfy that desire, because if he is with Cosette, he won’t be with her, which is the last thing she wants. She loves Marius so much. She’s willing to do something for him that will cause her immense pain. That is an act of supreme love that’s hard to describe. When Eponine hears Marius talk of his feelings toward Cosette, it is like a dagger in her heart. Yet she moves ahead to try to find a way to unite Marius with Cosette. It is remarkable act of love and selflessness.

Gary Schneeberger:
Fearing that Javert is near Valjean plans to flee to England with Cosette, Cosette, wanting to be near Marius, though, is hesitant about the idea, but when Valjean ignores her pleas, she leaves Marius a letter, which Eponine hides from him. During Lamarque’s funeral procession, the revolt begins, and barricades her built across Paris.
Javert poses as an ally, that’s the kind of character that Javert has, he poses as an ally to spy on the rebels, but the street urchin, Gavroche, exposes him as a policeman. The revolutionaries hold him hostage. Valjean, who’s joined the resistance to keep Marius in sight, because of Marius’s love for Cosette, asks to be given Javert.
Warrick, this is a, for me, the second most moving scene in the film. Valjean has his tormentor captive. The resistance is urging him to kill the man who betrayed them. That’s not who Jean Valjean is, is it? What does he do with Javert in this situation?

Warwick Fairfax:
You’re right, Gary. This is one of the most remarkable scenes in the movie. Here, Valjean asks the rebels, “Hey, I’ll deal with Javert.” He takes him away and he draws a knife. At this point, Javert is thinking, life is over. Valjean’s going to kill me. What does Valjean do? He uses the knife to cut Javert’s binding, and tells him to flee, and he doesn’t want revenge. This blows Javert’s mind. He does not understand. This is not in Javert’s belief system.
Javert says to Valjean, “Once a thief, forever a thief.” He says that if Valjean lets him go, he will have to answer to Javert. Valjean says, “Javert has always been wrong.” He says, “He, Valjean, is no worth on any man,” and that Javert is free. There are no bargains. He does not blame Javert. Javert has done his duty, nothing more. That’s what Valjean says. Valjean even tells Javert his address. That’s incredible.

Gary Schneeberger:
Right, so he can go find him later if he wants to.

Warwick Fairfax:
Yeah. He doubts that they paths will ever cross again, and he fires a shot to pretend to have killed Javert, and Javert flees. Valjean shows grace and mercy to Javert, which Javert would never have shown to Valjean. When Valjean frees Javert, it’s like, “This makes no sense. He should not be doing this to me.” As we’ll find, it’s sort of gnaws away his soul.
He cannot understand what Valjean has done to him or done for him. Yeah, I actually said, it’s funny I said that. He did it for him, but as he will find out, he ended up doing it to him. We’ll put a little teaser for what we’ll talk about in a moment.

Gary Schneeberger:
That very well done, Warwick. You’re very good at dropping those little breadcrumbs along the path. Stay tuned, folks, because there is some good stuff, even strong stuff coming later on. In the battle that follows, the outgunned evolutionaries are besieged. Many die. Marius is wounded. Even Javert is touched, this one hits me. Even Javert is touched by the carnage he witnesses, pinning his medal on the young boy Gavroche, who was killed.
Valjean carries Marius away to save his life, and Javert sees him and threatens to shoot him if he takes one more step, but he doesn’t shoot him when Valjean doesn’t listen to him, and does take one more step to get Marius out of there. What Valjean has done for him, what he has not done to him, shatters Javert, doesn’t it? He has no room in his worldview for an act of mercy on that scale.
I think this makes him, Fantine’s story very sad, very devastating, but these are things that happen sort of to her. I think this makes Javert perhaps the most miserable of The Miserables, as is translated in the US, because this is all coming from within. Is that a fair assessment?

Warwick Fairfax:
Yeah, it’s a great point, Gary. Here, we have Javert holding a pistol at Valjean as he’s carrying Marius. Marius was wounded. They were crawling through the sewers to try to escape. At first, Javert tells them, “One more step and you die,” but then Javert drops his pistol, and he speaks of almost a spell that Valjean has put on him. Javert can’t stand that Valjean could have killed him, and yet he gave him back his life.
Javert is in the debt of a thief. He cannot stand being in the debt of a thief, of a criminal. It just eats away at his soul. Javert says, “There is nothing that we share. It is either Valjean or Javert.” Javert is standing on the edge of the bridge, high over the waters. It’s a long, long way down. He wonders if sins can be forgiven, and whether crimes can be reprieved.
There is a glimmer of trembling at perhaps a slight breaking in Javert’s heart of stone. His belief system is beginning to slightly crumble, and Javert says, “Does Valjean know that granting me my life today, this man Valjean, has killed me?” He stares into the void and says, “I’ll escape from the world of Jean Valjean. There is nowhere I can go. There is no way to go on.” Then Javert leaps to his death. Javert is indeed a miserable and a wretched person.
His was a belief system of rules, regulations, and harshness, with no possibility of grace and redemption. Valjean’s supreme act of grace and mercy, by sparing Javert’s life completely, undoes Javert. Because of Javert’s belief system, somehow, Javert seems to allow the grace and forgiveness from Valjean to kill him. When I said before, the grace of mercy that was done to him rather than for him, it’s actually true, because Javert cannot process grace, and forgiveness, and redemption.

Gary Schneeberger:
Yeah. Now, the stage is set for Cosette and Marius to get married. Though he’s happy for Cosette, Valjean flees before the wedding, he tells Marius about his past, his crimes and his prison term, and he worries that Cosette will face repercussions for his sins, even though earlier, she asked him to tell her about his past, which he did not do. He takes refuge again at the convent.
When Marius learns, it was Valjean who saved him when he’d been shot, something Valjean in his humility never told him, Marius tells Cosette her father is a saint for his actions. The newly married couple track him down to the convent. Talk about that final scene between Valjean and Marius and Cosette work, and why it’s so meaningful in the context of what we’ve seen in Les Miserables.

Warwick Fairfax:
This is such a beautiful scene. It’s really a scene of redemption, of love and grace. We see Valjean dying, and as he’s dying, he sees an image of Fantine singing to him. She sings to him, “You raise my child with love, you will be with God.” Valjean says that Cosette is the best part of his life. Marius says that Valjean saved him, and says to Cosette, as you pointed out, that her father is a saint.
With Cosette with him, Valjean says that he can die in peace, because his life is now blessed. For Valjean to say that his life is blessed, I think probably at the beginning of the movie, he would’ve said his life is cursed.

Gary Schneeberger:
Right.

Warwick Fairfax:
It is a remarkable transformation in attitude. Valjean writes his last confession of his story of someone who turned from hating and learning to love when Cosette was in his care. Valjean gives this letter of confession, which basically describes everything that happened to him, and everything that he did, and the whole arc of his life, he gives this letter to Cosette to open after he died. At this point, Cosette really doesn’t know who her adopted father truly was and what he’d been through.
Fantine, or at least her image, then sings to Valjean, “Come with me, where the chains will never bind you Lord in heaven, look down on him, Valjean, in mercy.” Valjean’s last words are, “Forgive me all my trespasses and take me to your glory,” and then he dies. It is truly remarkable. The arc of Jean Valjean’s life has completely changed. Previously, he was a man that was angry and bitter, who’d been imprisoned for so many years for doing so little, stealing a loaf of bread for his sister’s sick child.
Now, he’s become a man full of mercy and grace, who spent his life caring for Cosette, and in some sense, redeeming the life and legacy of Fantine. Valjean showed great mercy and forgiveness to his nemesis, Javert. Valjean’s life was truly a life that became one of love, grace, and redemption. At the beginning of the movie, to think that his life could be a life of love, grace, and redemption, it would be inconceivable. His life is completely turned around.
He dies a man feeling blessed, who felt like he did some good in the world, who, he had some redemptive influence. Jean Valjean dies as a man completely at peace. It’s just remarkable.

Gary Schneeberger:
There’s one thing, as I hear you talk about it, that makes me, I think there’s one big mistake that Valjean makes. We talk about it at Beyond the Crucible, your worst day doesn’t define you. He believes, by withholding his last confession, by worrying of how Cosette will react to it, he believes right up until he passes away that what he’s done before, his sins that he’s so moved past and lived a life of significance, are going to cause problems, are going to haunt going forward.
Talk a little bit about just, we haven’t talked about this before, but not on this show, we’ve talked about it many times on other shows, why it’s so important to, when we’ve repented of our sins as they’ve caused our crucibles, and we’ve moved beyond them, and we’ve left them behind us, we shouldn’t live in that space, that we should not let our worst day define us.

Warwick Fairfax:
It’s an interesting point, Gary. He is really living a life of grace, and mercy, and forgiving others, but it’s unclear how much he feels he is worthy of grace and forgiveness. He wants Cosette to know his story, but he’s unwilling to tell Cosette the full story while he’s alive. Maybe he thinks she would be shocked and would turn away from him, would be repulsed by what he’s gone through, and being imprisoned and all.
He doesn’t want her to think less of him. Maybe because he finds it challenging, perhaps, to forgive himself, he worries that Cosette may not forgive him, but yet, there must be a part of him that believes she will and she could. Otherwise, he never would’ve given that letter to Cosette to say, “Here’s my confession, here’s what happened.” I guess maybe it’s 50/50, maybe it’s like, he’s hoping that she’ll forgive him, but just in case, he doesn’t want to really see her face while he’s alive.
Yeah, he’s not fully there, believing. He’s not fully forgiving himself what he’s been through and his mistakes.

Gary Schneeberger:
Yeah, interesting. Again, watching this movie through the lens of Beyond the Crucible was just fascinating and really illuminating to me. We’ve arrived at the end of the movie. Valjean has shown after death, he has shown after death, singing a song with all the revolutionaries who were killed, as well as Fantine. There’s a beautiful scene at the end, where they all kind of, their spirits really sing together, a song of triumph.
That leaves me to ask you one last question, Warwick, and we’ve talked about a lot of stuff here. This is a dense movie, and I don’t mean dumb. This is a packed movie. This is a movie that’s packed with lots of both high joy and very low, low, low devastation. Let me ask you this. How does Les Miserables offer hope and inspiration to move beyond our own crucibles? What would you say is the greatest point about the movie?

Warwick Fairfax:
Les Miserables is a story of grace, mercy, forgiveness, and redemption. Jean Valjean starts off as a man in prison for years, for a crime that was so small, stealing a loaf of bread for his sister’s sick child. He starts off being so angry and bitter for what he sees as an injustice. In one sense, he could say he has every right to feel angry and bitter. He was just so mistreated. He faces a man in Javert who is, in a sense, who is all about rules and harshness, where mercy and redemption are impossible.
Through an act of supreme mercy and forgiveness by the Bishop of Dean, Valjean’s life is fundamentally changed. The Bishop could have turned him in for stealing silver. He could have said, “Okay, I’m not going to turn him in, but be gone, and enough with you.” Instead, he gave him all of the silver and then some, and it was such a gift, so that he really had this vision, this bishop, of Valjean becoming an honest man. That gift would lead Valjean to being a man of grace and mercy.
Grace and mercy was shown to him, and he indeed showed that to others. He looks after Fantine’s daughter, Cosette, after Fantine dies. He shows mercy and forgiveness to Javert, a man who would never show any mercy and forgiveness to Valjean or anybody. Valjean’s life has truly been redeemed. He has gone from living a life of anger and bitterness, to a life of significance, a life on purpose dedicated to serving others. This movie shows that we can indeed have a second chance.
It shows us that the way of anger and bitterness leads to destruction. It leads to misery. A life with rules and regulations without grace and mercy cannot stand, as is shown by the life of Javert. Eventually, his life comes falling down like a house of cards. His belief system, it cannot stand. No matter how crucibles and what we have done, what has been done to us, this movie shows, there is always the possibility of hope and redemption.

Gary Schneeberger:
With that, folks, you may have noticed the house lights have gone on. It’s time to gather your popcorn buckets, and your empty soda containers, and throw them out as you leave. We are done for another week of our summer series, Big Screen, Big Crucibles, and next week, we will be back with another one. Scott, wake up. If we put you to sleep, wake up in there, Scott, because next week, will be talking about, and I need a drum roll right now.
Excellent. Next week, Warwick and I will be discussing the pursuit of happiness. Until then, folks, please know we understand how tough your crucibles are. We also understand that they can be overcome. They don’t define you for the rest of your days. Until we get together to talk about our next film in this series, remember, we’ll save you a seat.
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