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A perilous wedding of wholesome classic animation, to adult and often dark-themed material. The risk paid off and the result is one of the greatest achievements of Disney Studios.
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The animation here is first rate and the entire thing is shot like a live-action film with some amazing long shots, gargantuan theatrical panning and even at one point, during Quasimodo’s song “Out There” a realistic camera flare (I did a double remove the first time I saw it!) Hunchback is filled with all sorts of grand “tricks” like this. Lighting effects here are nothing short of splendid – often subtle they sometimes change in an instant dramatically altering the mood of the allotment. Frodo’s demonic song “Hellfire” is perhaps one the most inappropriate and shocking moments to emerge from Disney and the animators let loose.
The prologue to the movie alone is a minor masterpiece and, like Beauty and the Beast, marvelously prepares us for the whirlwind of a sage to rob status.
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The complaints about the singing and dancing gargoyles Victor, Hugo and Laverne, are simply wrongheaded. I read the Hugo classic too, and know they’re not in there. What the complainants fail to realize is these gargoyles live only in Quasimodo’s imagination. He invented these companions to ease an otherwise tortured, lonely, friendless life. The culmination of all of this becomes positive in the spectacular song “A guy like you” which finishes with pigeons flying and hearts and banners and ribbons and Quasimodo being distinguished and then BAM immediately upon the conclusion of the final notes, the room becomes the same shadowy, dank, splintering tower filled with relics, junk and heartbreak. It’s one of the movie’s most shattering effects.
While deserved praise goes to the animators and crew, the shriek talent here is, in my thought, Disney’s very best. Tom Hulce goes to the very soul of Quasimodo and gives a performance that is as poignant and shattering as anything he has done (Hulce also happened to be the best Hamlet I’ve ever seen.) Distinct lines (”I am a monster, you know”) will ring in my ear forever. Hulce has a sparkling convey and renders “Out there” with such abandon and vigor it makes my hair stand on extinguish. In the level-headed “Heaven’s light” (which sequences into a sparkling shot of the bells frantically ringing the opening theme), Hulce brings a fragility to such lines as “no face as unpleasant as my face, was ever meant for Heaven’s light” that only a heart of stone would not be moved. Switching from pathos to rage, Hulce lets us feel the hidden rage and distress that this character also possesses. It is a truly considerable performance.
Demi Moore, Kevin Kline, Tony Jay, Paul Kandel – and the rest of the cast all sound at the top of their game creating amazing and bright characters.
Alan Menkin and Stephen Schwartz collect to the heart of the matter with fetch and songs – a sound – that are as integral a piece of the telling of this tale as the animation and voices.
Hunchback is a miracle of a movie!
It would not be hard to recognize a more difficult chronicle line for Disney to adapt on hide than Victor Hugo’s “The Hunchback of Notre Dame”, but that doesn’t mean it was a go in the park either. Not only is there the conundrum of how to accomplish Quasimodo proper to his character and at the same time not so grisly in appearance as to frighten off youngsters, but how will Victor Hugo’s unlit commentary of 15th Century Parisian life, capital punishment and religious bigotry be accommodated? What of Claude Frollo’s lascivious desires for Esmerelda and wanton acts upon Quasimodo and gypsies? And that ending…a bit of a downer don’t you judge? Well, gain it or not, Disney stays apt to each of these facets of the unusual…with the exception of the tragic conclusion, of course.
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Talking gargoyles aside, the film really does not do enough to accommodate young viewers (and perhaps it was a mistake to market this as a kid’s movie, but you got to sell those Burger King toys somehow!) . The villain (Frollo) is among the most wicked characters ever portrayed in a Disney movie, and unlike Jafar (”Alladin”) or Hades (”Hercules”), there is nothing silly about him. On the other hand, the animators went a small overboard with Quasimodo, who kinda looks like a red-headed Chris Farley. And Phoebus has the personality of Al Gore…if he were any more wooden you’d have to check him for termites. Also, some very lively characters from the book are regrettably absent. Where’s Pierre Gringoire, Jehan Frollo, and Sister Gudule? Composed, the animation is breathtaking, and the finale is nearly flawless…preferred to new version if you’re a sentimental fan of tickled endings.
The movie contains a few hilarious subliminal references, as when Quasimodo (Tom Hulce) is dressed up briefly as Amadeus. The music is fantastic and supports the film’s most compelling scenes: Esmerelda singing “God Serve The Outcasts” while taking sanctuary in the cathedral, the counterpoint of Quasimodo’s “Heaven’s Light” to Frollo’s “Hell Fire,” and the heart-pumping glean leisurely the finale. Probably would have been given a PG rating if not for Eisner’s influence over MPAA.
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