Hello everyone!!
Thank you for you click into this blog!
It is a blog about Enjolras and Marius!
A fan page who ships Enjolrius(Enjolras x Marius)
I am not a native English speaker.
If I have wrong about grammar, please tell me!
Alas, my Muse has heard the words “Enjolras and Marius as a pairing”, and couldn’t be restrained, especially since I didn’t have that pairing in my collection yet. The worst is, I could totally see it work. Be ready for a bit of content before I get distracted and jump on something else.
LINEART JUN DOE | COLOUR MAXX DICK
(feel free to remove text from this point on if reblogging)
Les Misérables changed the course of my life when I first read it at the overly impressionable age of 9. I have a more fractious relationship with it these days, but its immensity to the development of my person cannot be overstated. Marius was the villain of my little world, I have scarcely detested a fictional personage with such venom since; I naturally thrilled to Enjolras, who proceeded to set the template for every other favourite character I’ve had thence. The book had been read in preparation for the sole run of the musical here, which I duly memorised and adored, but the necessary overdetermination of the portrayal ensured that while I continued to appreciate the character, I never really associated him with the book Enjolras - the book and the musical were simply different entities; the revolutionaries were still my favourite portion, but Wilkinson, Quast, and Henshaw were my musical trinity. I had lit cred dammit. I could analyse all this with adroit awareness.
Then the friggin’ movie had to happen, a film that devastated my lifelong anticipation with ham-fisted directing and inadequate leads. The friggin’ movie, where Eddie friggin’ Redmayne had the bright idea to, against all canonical characterisation, make Marius actually goddamn cool. The friggin’ movie, where Aaron friggin’-what-is-that-they-call-him-liferuiner-or-something Tveit played the closest Enjolras to the book I’ve seen yet - save a horrifically endearing vulnerability. The friggin’ movie where they couldn’t keep their hands off each other. Years of legitimacy thus destroyed.
I threw down lines for this early on, an injoke of sorts for Maxx (the colourist), when I was still clinging to the shreds of my dignity and refusing to succumb to the siren call, not especially aiming for actors’ resemblance, just something that would hopefully make the version obvious. Had I only known then. I can’t even remember what I’d intended the context to be, just some sort of intimate tactical discussion. But with how the expressions turned out, all I think when I see it these days is the possibility of Eddie leaning in to make some sort of ribald remark, Aaron’s face carefully blanking out to preserve the integrity of the filming. The camera rolls on for a few seconds more before Tom Hooper heaves, “Cut,” with a wry sigh.
“Care to share what you said with the rest of the class, Mr. Redmayne?”
“Oh, I couldn’t possibly repeat it, Tom - but I’m sure Aaron could?”
LINEART JUN DOE | COLOUR MAXX DICK
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In flavors ‘fake screencap’ and 'awkward crop’. Sometime ago I was suddenly struck by the desire to do a rakugaki, that Japanese invention that translates roughly to 'scribble’, that I personally utilise to indicate 'casual piece done without critical attention to any friggin’ thing, ideally in a sort of animu style because that is so much easier to me’. It started off being respectably rakugaki-ish - look at the subject matter, for cryin’ out loud - and then…well, a week’s worth of wretched scrawling time stolen here and there afterwards, evidently I fail at rakugaki, and it became yet another digital line-piece that Maxx whisked away to colour. I must try again. :T Marius is loosely ref’d, but Enjolras was only crosschecked after, and I sort of regret that, but at the same time it’s a pretty specific sort of pose, so I’m not sure I could’ve gotten a good ref for likeness, anyway. SHAMELESS FLUFF.
Book III Volume VII Chapter XI
The Distance Between Point A and Point B as Measured in a Fiacre
Enjolras had fallen asleep in an upright position, but the rhythmic motion of the fiacre had gradually shifted his form to one better described as against Marius. There was nothing so artful in Marius’ response that it would be accused opportunism, but he was not entirely hesitant in moving his hand across a slumped shoulder to carefully arrange his companion properly onto himself. The bloom of golden curls obscured his view of the sleeping face, but nevertheless he imagined that, touched by the moonlight that filtered in through the windowed sides, it must be unspeakably angelic, and the thought beat an enveloping emotion in his chest that spilled out onto the surface as a helpless smile.
[…]
Marius became regretfully aware that the fiacre was approaching its destination, and, mindful of his situation, spent the better part of the journey’s last hour gently and gradually inching the slumbering frame back into its original pose, ramrod straight against the stiff carriage seat. As the horse clopped to a standstill, Enjolras awoke punctiliously, precisely as he had begun the ride. The manoeuvre was successful; he suspected nothing.
For the duration of the demonstration, Marius looked away to hide the involuntary quirk of his lips every time he caught sight of the imprint of his lapel upon the otherwise marble cheek.
“Somewhere in the red, I see your eyes”: The Movie!Marius/Enjolras Analysis
Or WHY WE SHIP MOVIE!MARIUS/ENJOLRAS AND WHY YOU SHOULD TOO IF YOU VALUE ADAPTATION CANON BUT WE ALREADY KNOW YOU PROBABLY WON’T AND THAT’S OKAY WE’LL ALWAYS HAVE PARIS.
A >5000w analysis of Marius/Enjolras throughout the entire Les Misérables (2012) lies under this cut…