As the saying goes, some things never change.”Les Miserables” doesn’t appear to be one of them.The essence of the film, as well as most of the story line, remains the same as always, powerful and a little unsettling. However, some of the finer points have taken a different track in the new film from Columbia Pictures.In 19th-century France, Jean Valjean is released from 19 years of hard prison labor to realize the world is just another ugly place to hurt and judge people. Upon his parole, Valjean meets a kind bishop, whose generosity serves as a steppingstone to a new start.Valjean eventually makes something of himself and encounters Fantine, a poor woman who lives only for her illegitimate daughter, Cosette. The young girl lives in a different town to be cared for while her mother works to support her. Fantine dies without seeing her child returned, and receives a promise from Valjean to protect the little girl.Valjean becomes Cosette’s guardian and spends the next decade hiding from his past. This would not be so hard were it not for police inspector Javert, who is chasing Valjean for skipping parole. Javert has made Valjean’s recapture and imprisonment his life’s ambition. Javert barely misses fulfilling his dream on numerous occasions, as Valjean continually slips through his fingers.In all fairness, let me say I went in with a somewhat biased mind. I’ve seen the musical and read the (abridged) book, so I know my way around the block. Many audience members may be in the same situation.Yet I also tried to keep an open mind. Every piece of work must have its own identity, and this film proves no different. The surprises, while at first quite distressing, should be interpreted as distinguishing factors to set it apart from previous versions.A few surprises (without too much detail to ruin the movie) are a more developed relationship between Fantine and Valjean, a missing character, and a slightly violent Valjean. There are also many smaller variations, such as changes in locations or reduction of minor characters.Although French characters speak with British accents for no apparent reason (call it artistic license), the performances are otherwise truly well-done. Uma Thurman beautifully portrays Fantine in all her selfless devotion to daughter Cosette. At each fork in the road, we can sense Fantine’s helplessness and need to protect the most important person in her world.Liam Neeson, as Jean Valjean, later takes up this all-encompassing dedication when he assumes the role of Cosette’s protector. Neeson convincingly shows the turmoil of a man torn between trying to hide what he is and attempting to be true to old promises. Whether fending off Javert or deferring to Cosette’s wishes, the words flow from Neeson as if he truly were Valjean.As the teen-age Cosette, Claire Danes bursts onto the scene in all her “My So-Called Life” glory. Picture a repressed Angela Chase in 19-century fashion and you have the image. However, as her character develops, she more easily assumes the role of a confused girl who yearns to accept the love that awaits without disappointing the man who raised her.Geoffrey Rush also delivers as the compulsive Javert, causing the audience to be both indignant on Valjean’s part and yet drawn at the same time. His Javert is driven, single-minded and remorseless, carrying out each decision with no second thoughts or hesitation.True to “Les Miserables” form, the themes blend to prey upon almost every facet of the heart and soul. Revolution, love, and loyalty serve as counter accents to questions about what makes a man honorable, how people can redeem themselves, and when it is time to give up what you’ve always wanted.Valjean speaks at one point of clean slates, which is exactly what is needed to view this film if you are familiar with another version. Go into the theater expecting questions about right and wrong, obsession and duty, and law and honor. Just don’t expect to leave unaffected.