The only thing that can stop a bad guy with an accordion is a good guy with an accordion.
"I had read Hugo’s novel a lot from childhood onwards, and I had suggested a certain number of ideas to my screenwriters, Novarese, Steno and Monicelli. As always, we shared our visions of the novel. In my opinion, adapting Hugo was rather easy because he is a great screenwriter: the characters and dialogue are there, and the sets are described. On the whole, I was faithful to the novel, at
least in the story’s evolution. But I felt Valjean was…