If it’s a tragic tale of woe and want, complete with melodic choruses and despair that you desire, then it’s off to Wallenberg Auditorium this weekend. I implore any and all to see the wonderful, Oscar nominated film adaptation of the musical Les Misérables.

Having neither read the novel nor watched the opras, I viewed the film with no attachments to characters or certain performances as portrayed by on-stage favorites. As such, I was impressed with the main actors and their ability to convey emotion through song, some of whom I had never seen in musical roles before. Hugh Jackman (X-Men), for example, who plays the lead role of Jean Valjean, did very well as a vocalist, and I’d wager this was one of his more impressive roles.

Anne Hathaway (The Dark Knight Rises, The Princess Diaries) took home an Oscar for Best Supporting Actress. Her character Fantine—the mother to a child out of wedlock and forced into prostitution to care for her daughter—was portrayed perfectly.

Although her role in the story is short-lived, she is resonant throughout the movie and without a doubt stands out as one of the main characters in the plot as a whole; it is her dying wish that Jean Valjean seek out her daughter, Cosette, and take her in, thus propelling Valjean’s enduring purpose in life.

Jean Valjean, imprisoned for stealing a loaf of bread, is released after 19 years in prison. Forced by the law to obey his parole, Valjean wanders aimlessly until he is invited to stay at a church. After giving Valjean several pieces of silver, the bishop inspires Valjean to become an honest man.

The film jumps ahead some eight years, and we learn that Valjean has violated his parole and is now the mayor of a town. We meet Fantine in a factory while she has a quarrel with other women working. Fantine is fired and forced to find business at a nearby brothel. Fantine’s death leaves her daughter Cosette in the hands of Jean Valjean.

Meanwhile, Javert (Russell Crowe, Gladiator)—a policeman that ordered the parole on Jean Valjean all those years before—is ordered to work as inspector in Valjean’s town. Recognizing him after eight years of searching prisoner number 24601 is forced into hiding by Javert.

Also coming to the big screen in the most recent rendition of Les Misérables is Helena Bonham Carter (Harry Potter and the Order of the Phoenix, The King’s Speech) and Sacha Baron Cohen (Borat, Hugo). These two characters, famous for their character-introducing song “Master of the House” easily make their way into the cozy position of my favorite characters. A villainous, untrustworthy and conniving pair, they steal and only care about money. But the energy they bring when coupled is unique and unmatched throughout the film.

The film is beautiful—musically, cinematically, and visually. My only complaint is with Russell Crowe’s performance. I have enjoyed his acting in the past, but in this role he is not only emotionally shallow (as far as development is concerned), but also made to sing two octaves too high, cause for some occasional teeth-grinding dissonance. Overall, however, the vocal quality of the actors chosen is to be applauded. Les Misérables will have songs playing in your head on repeat, and you will be searching for it on stage. I award four and a half stars out of five.