Quasimodo

Charles Laughton's boisterous portrayal of Quasimodo and Maureen O'Hara's charm as Esmerelda are two of the things that make this version of "The Hunchback of Notre Dame" a fine production that still works very well. Most of the versions of the story have been at least watchable, because the Victor Hugo novel provides so much good material to work with, much of it well-suited for cinema. This adaptation, though, is one of the best at making good use of what it offers.

It's interesting to compare this picture with the 1923 Lon Chaney version - not for the sake of ranking them, since both are fully worthy of attention in their own right, but because they offer somewhat different strengths, and because they emphasize somewhat different aspects of the story.

Chaney and Laughton are both quite effective as Quasimodo, each giving an interpretation of the character that corresponds to the actor's skills. Laughton brings out Quasimodo's feelings and perspective quite well. In this version, for example, the flogging scene is longer and more detailed, and it is one of Laughton's most effective scenes. Chaney is particularly good at reacting to the other characters and their actions. Both give the character a distinctive and memorable look.

O'Hara is also one of this adaptation's strengths. Patsy Ruth Miller was good in the Chaney version, but O'Hara has the advantage of spoken dialogue, and she makes the character of Esmerelda her own.

While the Chaney version especially emphasized the atmosphere, this one has quite a bit of action. The tumultuous climactic sequences are done quite well, and they leave a vivid impression. Overall, this is a very satisfying adaptation of the fine classic novel.

Considering that RKO was not renowned for epic film making, the production mounted for this version of Victor Hugo's classic story is surprisingly elaborate and effective.

The Paris set is a beautiful creation and possibly the greatest work by Van Nest Polglase, who with the producer Pan Berman is chiefly remembered today for the elegant art-deco designs for the Astaire-Rogers musicals.

The centrepiece of this remarkable set is the replica of Notre Dame cathedral which was only built to 50% height of the original; the towers above were added as an optical effect by use of a hanging miniature in some shots and by incorporating a glass painting in long shots. It's very convincing.

Dieterle was the perfect choice to direct this story. A student (and later collaborator) of Max Reinhardt, he marshals the huge crowd scenes (no CGi here - those thousands of peasants are all real people) with aplomb and his mastery of expressionistic imagery informs every frame.

Alfred Newman brought an intelligence to the musical score rare in Hollywood. His on screen credit "Musical adaptation and original composition by" reflects his skillful combining of original renaissance choral music by Tomas Luis de Victoria with his own work. He also uses a stirring Hallelujah chorus by uncredited Austrian Jewish émigré Ernst Toch (in Hollywood to escape the Nazis) for the memorable scene where Quasimodo rescues Esmeralda, reprised at the film's closing sequence as the camera pulls back from Notre Dame.

It's a great pity that a better restoration cannot be achieved for this beautiful film than is currently available on DVD. While the source print is serviceable, it is often poorly defined and suffers from many scratches. Perhaps it is the only print now extant? I would also love to see the original trailer rather than the re-release version.

While some may wish Basil Rathbone could have been released from contract at Universal to play Frollo, I think Cedric Hardwicke was ideal casting. As for Laughton, this may well be his signature role and a masterly example of great acting with hardly any dialogue at all.

As Mr Sinatra once said - "You can wait around and hope - but you won't see the likes of this again"

The 1939 version of Hugo's classic tale of beauty and the beast is definitely the definitive. It features a great performance by Charles Laughton as Quasimodo, dubbed the Hunchback of Notre Dame, because of his twisted appearance. It's pointless for me to talk about the story, because I'm sure everyone is familiar with it, it's one of the best works of literature ever produced. Id' just like to say this is a beautiful film about a beautiful person, cursed to be considered an out cast, "the king of fools"... Films like this and David Lynch's The Elephant Man really make you think a little differently about this so-called "beautiful" world. The Hunchback of Notre Dame has something for everyone to enjoy.

Though the French have done many versions of Victor Hugo's celebrated classic, this version starring Charles Laughton has certainly stood the test of time and is the best known and loved in the English speaking world.

Lon Chaney, Sr. did an acclaimed silent version of The Hunchback of Notre Dame and Laughton was following a great tradition. And he did it in the manner of Chaney, almost without dialog. Not that Hugo wrote too much dialog for Quasimodo in his story, but except for his time with Esmerelda in the tower after he rescues her, Laughton is almost speechless in the film. Of course his character in addition to being deformed is also deaf from the ringing of those cathedral bells.

Quasimodo born deformed as he was, was left as an orphan on the steps of the Notre Dame cathedral in medieval Paris. Raised in the sheltered atmosphere of the church, he derives some joy in his duties as the bell ringer in the tower. His mentor is the brother of the archbishop played by Cedric Hardwicke and the archbishop is Walter Hampden. Quasimodo's life is useful, but without love.

But Laughton is crushing out on Esmerelda the gypsy girl played by Maureen O'Hara in her American screen debut. Problem is that Hardwicke is also getting hot and bothered by her.

Hardwicke's role is the second best acted in the film next to Laughton's. He's a man with shall we say some issues. He's purportedly committed to the church and it's celibacy requirements. But Dr. Freud wasn't around back in the day of Louis XI to tell us about sex drives. Hardwicke's desires mean only one thing, Esmerelda has to have bewitched him. When he kills Alan Marshal who is also interested in Maureen and looks like he's about to round third so to speak, the blame goes on Maureen.

What I like about the story is how the lives of two very ordinary people, Quasimodo and Esmerelda, become the focal point for a whole lot of religious and political issues of the day. The church, the peasants, the just developing middle class, and the nobility all have an agenda as far as the Esmerelda murder case is going. The only agenda poor Quasimodo has is he's in love with her.

Maureen O'Hara who was a discovery of Charles Laughton back in the United Kingdom was pushed by Laughton for the role of Esmerelda and traveled with him to America to play the part. She was grateful to him ever afterwards for any career she had and can't praise him enough for getting RKO to sign her.

Harry Davenport probably plays the most benign Louis XI ever put on film. It sure is a far cry from Basil Rathbone in If I Were King or Robert Morley in Quentin Durward. He plays him like the kindly grandfather he usually plays on screen.

Thomas Mitchell as Clopin the king of beggars and Edmond O'Brien as Gringoire the poet are two other significant roles. O'Brien gets his first substantial role on screen in The Hunchback of Notre Dame and this was a banner year for Thomas Mitchell. In 1939 he was also in Mr. Smith Goes to Washington, Gone With the Wind and Stagecoach for which he won Best Supporting Actor. He could have though for any one of these films.

When all is said and done though the film belongs to Charles Laughton who was the screen's best portrayer of tortured humanity. Even beneath all of Bud Westmore's grotesque make-up we can feel his anguish. He's not a stupid man Quasimodo, he knows how repulsive he is to most of the human race. He's childlike though, something like Peter Sellers in Being There, another character raised in a secluded atmosphere.

To see Charles Laughton at the top of his game in my humble opinion one has to see The Hunchback of Notre Dame.

The best of the many versions of The Hunchback of Notre Dame, for my money, is this one, although Lon Chaney's is a close second. Despite a Hollywood tendancy to change the novel's ending so as not to depress the cash customers (although, pray tell, if you're going to change the ending, why does no one ever see Quasimodo sailing off to Tahiti with the girl? Rule # 1: strong, handsome poets beat out disfigured cripples every time, even if they're heroes. This is more true in real life than in the movies. Take my word for this, I know from painful experience *sigh*)

Charles Laughton is exceptional and Maureen O'Hara would make any man swoon and is perfect for the part of Esmerelda. The support includes the usual suspects-Thomas Mitchell, Harry Davenport and many other familiar character actors. Strike up the band and start the parade. Thunderous applause. Most highly recommended.