Any consideration of the philosophy, characterization, or even dramatic qualities of Victor Hugo being potently beyond the scope of the motion picture critic, the reviewer of "Les Miserables", which is now playing in Boston at the Colonial Theatre, must confine his observations to matters of production, acting, and dramatic effect.

Let if be said, however, before turning to particulars, that "Les Miserables" qualifies with "Don Juan" and "The Hunchback of Notre Dame" to a place in that small and select group of movies which have successfully recounted one of the classic themes of literature. In the first place, "Les Miserables" was produced in France with an entirely French cast so that we are spared the painful experience of seeing Hollywood blondes in the role of early nineteenth century Parisian beauties and handsome Anglo-Saxon heroes in the part of Latin apaches. In the second place, there is scarcely a flaw in the artistic perfection of the producers' achievement. Scenes, costumes, and settings are consistently as they should be; anachronistic details do not crop out to disrupt the atmosphere of a distant time and place.

And then most of the performances are adequate; with the exception of Mlle. Andree Rolane in the part of the child Cosette (you would swear that the youthful actress couldn't be more than ten years old) few of the cast could be called exceptional. On the other hand the general standard is high, and the performances of M. Gabriel Gabrio as Jean Valjean, of M. Jean Goulont as Jawert, and of M. Saillard as Thenardier are thoroughly, convineing.

No review of this picture would be complete without some mention of the