The Hunchback of Notre Dame

No matter if critics seem to prefer the 1939 version of THE HUNCHBACK OF NOTRE DAME, I thoroughly enjoy this one. Anthony Quinn avoids taking the Laughton path and doing Quasimodo as a monster; his is a painfully realistic performance. Gina Lollobrigida is ever so beautiful as Esmeralda. Her gypsy is a young woman who is "a queen", as her fellow Court of Miracle friends know very well. She is sensual and yet decent and pure in her actions, even as she gives herself to Phoebus. The great cast includes several legendary French actors (Valentine Tessier, Alain Cuny, Madeleine Barbulee, among others). The final scenes are indeed touching, especially in the Italian version, in which Lollobrigida speaks in her native language. A must see.

This is a movie that has all the trappings of an epic, but isn't. But it is still a credible rendition of the Victor Hugo classic, with Gina Lollobrigida giving a strong performance as Esmeralda. The weak part of the movie is Anthony Quinn's performance as Quasimodo. Mr. Quinn's portrayal is not believable. Quasimodo is supposed to generate feelings of pathos; that does not happen in this movie. As a result, the plot becomes flat. The intensity of the relationship between Quasimodo and Esmeralda is lacking. Between Mr. Quinn's mumbling of his lines, and the treatment of the poet Gringoire as a buffoon, the movie teeters on the brink of cinematic collapse. Yet, it is saved by staying faithful to the original story and by good performances by some of the supporting cast, as well as by the essential power of the original story. The story of the hunchback and the gypsy girl is classic; read the book.

Non -French users may find it hard to believe it,but Jean Delannoy is despised by almost everybody in his native country.The NOuvelle Vague clique,on H.M. JL GOdard's service ,was always putting him down.That was (and is) certainly unfair cause Delannoy made two great "Maigret" and some of his works "la Symphonie Pastorale " Dieu A Besoin des Hommes" or "les Amitiés Particulières" are certainly worth a watch.His "secret de Mayerling" which is hard to find is certainly interesting too.

Lit classics were also one of his favorite genres: abetted by Jean Cocteau,he updated "Tristan and Iseut" (as "l'Eternel Retour" ).Later he would transfer Madame de La Fayette 's "La Princesse de Clèves" (1961) with commendable results -the critics slagged it off- Here he tackles "Notre Dame de Paris" ,with a big budget (wide screen , color and an international cast were not so common in 1956 in France).His version is academic ,as would be Le Chanois's -another Bete Noire of the Nouvelle Vague- "les miserables " (1958).It's icily impersonal ,and it's the actors who save the movie from tedium:although too old ,Lollobrigida has beauty,charm,sensuality and even wit going for her;Quinn is a good -but not as outstanding as Charles Laughton-Quasimodo;Robert Hirsh is excellent as Gringoire;On the other hand,Jean Danet is a mediocre Phoebus.

Although inferior to Dieterle's version ,Delannoy's work is more faithful to the novel (the ending notably) but there's a problem concerning Claude Frollo:why has he become a layman?Part of the reason might be found in the director's belief.Jean Delannoy is a true believer: in "Dieu a Besoin des Hommes" he showed spiritual concern.And recently,he released two religious movies in a row " Bernadette" (Soubirous) and "Marie de Nazareth".So maybe ,he changed Hugo's character because it was unbearable to him that a priest should desire a woman.

Alain Cuny,whose portrayal of FRollo is a bit monotonous, had a brilliant career ,from Carné's "Les Visiteurs du Soir" to Fellini's "La Dolce Vita" and "Satyricon".

The Hunchback of Notre Dame is a very hard film to make. Mostly due to the darkness and despair of the original work. If you've only grown up with the Disney version, prepare to be shocked. I truly liked this effort, as it got a lot of the complexities of each character down. Frollo is a man of religion but also science. His faith and logical mind battling it out as he experiences lust. Esmerelda is a victim of her own beauty, but also plays a hand in her own downfall. She doesn't understand her power over men which leads to her angering of the males. Quasimodo is portrayed as not so much an outcast here. He is known by all, but is awkward and unaware of his strength. This is a film where everyone is guilty for their actions, which also makes them all sympathetic. The design of the film is often too much. WIth so many colors and such production put in it comes across as an over the top school production. Less can be more, but with the final heart wrenching scene, you'll probably be left as an emotional wreck.

This version of the Hugo novel is more faithful in both tone and plot than is the earlier Charles Laughton version. That said, it's not nearly as much fun.

La Lollo is quite fetching and earnest as Esmeralda and gives an effective, if slightly bosom-heaving, performance. Quinn, with his simian features accented by makeup, is a good Hunchback. He doesn't milk the role for pathos, and let's the viewer see several sides to Quasimodo. Alain Cuny is dark and brooding as Frollo, but he doesn't register as vividly as Cedric Hardwick in the earlier version.

Then there's some pretty bad acting from others in cast, but the script is pretty flat and misses some good opportunities. In the earlier version, Laughton (his double, actually) swings across the plaza, scoops up Esmeralda (the gorgeous Maureen O'Hara) and swings back into the church. Quinn just shinnies down a rope and yanks Lollo into the church. More probable, perhaps, but not so exciting.

It's a gorgeous, colorful widescreen epic, nicely served by the DVD release. It's not a sentimental movie; neither is the novel. And it's worth a kind look.