O Corcunda de Notre Dame

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.

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

The ending differs from Hugo's novel,but I guess it was necessary to bestow on the audiences a de rigueur happy end when the world situation was getting worse and worse.It' s also dubious that king Louis XI -who died in 1483- might have been aware of Christophe Colomb's plans ,because the latter only informed the king of Portugal-who refused to put up the money for his expedition- in ...1484!

These are minor squabbles.Because this movie is definitely the finest version of Hugo's classic ,much superior to the French one ,directed by Jean Delannoy(1956) with Anthony Quinn and Gina Lollobrigida.Dieterle's work is a feast for the eyes with numerous classic scenes ,very clever dialogue,superlative performances and complete mastery of the camera.

The opening-Louis XI visiting a printing house-sums up the turning of history:Gutenberg's invention will allow the knowledge and as the King watches the cathedrals ,he makes us feel that these books of stone are fast becoming a thing of the past.The Middle Ages are coming to an end,but a lot of people ,particularly the clergy do not want to lose the power they have on the populace.When Frollo sentences Esmeralda to death,because of his sexual desire,he puts the blame on the devil.He's a man of the past,diametrically opposite to Gringoire,who epitomizes modernity,and who understands the power of the pamphlet which the printing increases tenfold.

Charles Laughton is by far the best Quasimodo that can be seen on a screen:he's so extraordinary that he almost turns the happy end into a tragedy!He gets good support from a moving and extremely beautiful O'Hara as Esmeralda and from Harwicke as Frollo.

Peaks:the fools day,the cour des miracles -maybe showing some influence by Browning's "freaks"-,all the scenes in the cathedral.Dieterle is on par with the most demanding directors all along his movie:the movements in the crowd are stunning,breathtaking,often filmed from the church towers.Humor is not absent either:Gregoire's eventful night in the cour des Miracles is colorful and funny and scary all at once.

A monument,like the cathedral itself.

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

One of the great Hollywood films of 1939, this adaptation of Victor Hugo's novel is sumptuously put together, boasting a fine script, tight direction by German export William Dieterle, and a cast who fit their parts perfectly: Charles Laughton superb as the maligned Quasimodo; Maureen O'Hara in an early role as gypsy Esmeralda; Cedric Hardwicke as the pious Frollo; and Harry Davenport as the king, Louis XI.

The story is a version of Beauty and the Beast set within the confines of Notre Dame Cathedral and the dirt-strewn and prejudiced streets of Paris. Quasimodo, physically repulsive and deafened by the bells of the cathedral, nevertheless finds it in his childish heart to love the beautiful Esmeralda and to sacrifice his sanctuary for her. She however only has eyes for the dashing Gringoire (Edmond O'Brien) who she saves from the justice of the beggar thieves.

It is Laughton's performance that holds this film together - truly one of the greatest screen actors, capable of portraying pathos like no other. Contrast this film role with his Henry VIII or Captain Bligh and you begin to get an idea of his impressive range.