4.0. Provisional conclusions
This second part ends here not only because I reached the number of pages I agreed on with the editor (it has not always been possible, as in Part I, III and IV), but because after Milestone’s film we enter a new era where television overcomes cinema’s leadership in the entertainment industry.
The French version of Les Misérables directed by Jean-Paul Le Chanois (music by Georges Van Parys, with Jean Gabin interpreting Jean Valjean and, also, Danièle Delorme, Serge Reggiani, Bernard Blier and Bourvil, 1957) is not the first to have been realized both in versions of different durations for foreign television markets and in one ‘standard,’ but sometimes abridged, adaptation for the movie theater.
Possibly due to the appeal of Jean Gabin as the protagonist, Le Chanois’ film was post-produced and dubbed in a number of languages that includes Egyptian Arabic, Mandarin Chinese and Korean. Thus, Victor Hugo’s novel achieved the degree of ‘internationalization’ that its author hoped for and that media helped to increasingly bolster in the last and present century, as we will see in the next two parts of this essay.
. . . to be continued . . .
About the author
Retired Full Professor of History and Aesthetic of Music, Conservatory "Luigi Cherubini", Florence.
Formerly Adjunct Professor of History of Filmmusic, Florence University and University of Rome "La Sapienza".
Formerly Co-professor of Film Music with Ennio Morricone at the Accademia Musicale Chigiana in Siena.
Formerly Professor of Film Music at CSC, Centro Sperimentale Cinematografia in Rome.
Co-professor of Film Music with Franco Piersanti at the Scuola Civica di Musica in Milan.
Member of Editorial Board of Music and the Moving Image, New York University and University of Illinois.
Member of Editorial Council of the Electronic scientific magazine Mediamusic (Медиамузыка).
Articles, essays and manuals translated into English, French, German and Spanish.