The Hunchback of Notre Dame

Losy in the monatge of 1939 films ...somewhat is a film I believe is more enriching and florid than " Gone With The Wind" and possibly just as romantic as " Wuthering Heights"

Laughton's performance is one of the most astonishing put on film ever. A Stellar cast is in place from O' Hara to O' Brien..What can I say , Thomas Mitchell who probably graced more films than any other actor is superb.

Hugo,s timeless classic is brought to life in black and white and with sets that make you feel ..you are there.

The great Cedric Hardwicke potrays the tormented one and for sure ..its 116 minutes of pure film making ..and it all takes place on fools day....

CP

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.

A sweeping claim? Perhaps. But despite the presence in Hollywood over sixty subsequent years of Ford, Wyler, Kubrick, Coppola, Scorsese et al, The Hunchback of Notre Dame remains as fresh, as emotionally resonant and yes as powerfully artistic as the day it was made. What constitutes 'art' is of course a personal matter, just as the Breughel-like compositions of Hunchback might be as mystifying to someone whose favourite film is A Clockwork Orange (Lichtenstein?). But what makes Hunchback so satisfying as art is precisely that its makers didn't set out with art in mind. Dieterle and his co-creators embarked on the project with the aim of telling a great yarn, making it look authentic, and above all ENTERTAINING the audience. It is to this end that the Grand Guignol excesses of the novel were trimmed or altered, and the Hollywood bittersweet ending imposed. Audiences filed out with their Kleenex in hand having witnessed a three-ring circus of a movie, then went home to read the war-soaked newspapers.

Virtually every frame of this movie could be taken in isolation, made into a poster and hung on a wall. Examples include Gringoire cradling the dying Clopin as a rivulet of lead trickles past in the background, the voyeuristic eye of Quasimodo peering through fence palings at the dancing Esmeralda - I could go on and on. And pervading it all is the magnificent score of Alfred Newman, surely his finest ever.

Rather than sing its obvious praises, the film can simply speak for itself. As narrative, as character, as cinema craft, it is totally successful throughout. The Hunchback of Notre Dame is my favourite film of all time, bar none. Ten out of ten

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.

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.