Sarah Carlton
Despite being an approved family film with a G rating, The Hunchback of Notre Dame is profoundly mature and deeply religious. But that is exactly why I love it. The very first frames are a beautiful indicator of the nature of this story. A black screen with real Gregorian chants being sung alongside the haunting echoing of church bells. It sets up the film's tone perfectly. As if to warn parents and families that this is not the usual Disney fan fare that they're used to. Indeed, Hunchback delves into deeper and darker territory than any Disney film ever had before. And they are not likely to ever return to this dark place again. During the prologue of the film, we are given a riddle by one of the film's chief characters: "Who is the monster and who is the man?" This of course refers to the opposing personalities of the hero and the villain of the story. However, it's possible as children that the answer was not immediately obvious to us. I know it certainly wasn't for me. But to be fair, this is a very complicated question for a supposed "children's film" to be asking it's audience: what makes morality? Is it the face you wear? Or the deeds you do?Speaking of complexity, I've found that the more I re-watch Hunchback, the more I begin to suspect that this film was not made for children at all. Or at least I would believe this if not for the film's very appalling tone problem. Scenes vary between extreme highs and lows of Disney-esque wonder and excitement and then completely reverse into scenes of depravity and danger at the drop of a hat. Comedy is injected at inopportune moments, causing shifts in mood that are almost bi-polar and hard to ignore. However, this is the film's only glaring flaw. In it's entirety, it's a well written and well executed story that delivers glorious emotional moments that feel just as real and raw as any sequence from a live action film.The voice acting therein is some of Disney's best. Tom Hulce, Tony Jay, Demi Moore and Kevin Kline are all so genuine they seem to completely disappear into their characters. It is this that makes them feel all the more human and so tragically real. Visually, the characters are compelling and well designed. It becomes very enjoyable to catch the little micro-expressions and small facial quirks of the characters as they move and speak. This is without a doubt some of Disney's finest hand drawn work. In addition to it's visual majesty, Hunchback also has one of the best soundtracks of any Disney film, if not the best. The loud, Latin choirs are intense, epic and chill inducing. The strength the music alone lends to the film is phenomenally powerful. It is sinful that Alan Menken did not win an Oscar for the score. It would have been more than well deserved. Overall, the film is magnificent. It is a grand and exciting tale that feels just as huge and gargantuan as Notre Dame herself. Nearly every frame could be a painting. The craft and artistry that went into this film is without equal. Even with all of it's mature themes of religious symbolism, sexual desire and corruption of the church, it still manages to be a wholesome film of the Disney brand. At it's core, The Hunchback of Notre Dame is a story about heroism, justice and self-acceptance. Children and adults alike would greatly benefit from the messages and morals it has to tell.
joshuafagan-64214
Our main hero is Quasimodo, a supposedly hideous man who has been locked up in the castle by Frollo, whom we'll get to later. One of my problems with this movie is that Quasi is not nearly as hideous as he is portrayed. He's more of an ugly-cute. He's not attractive, especially compared to his costars, but 'the most hideous man in all of France' he is not. But my main problem is that this film professes a moral that it doesn't matter what you look like, yet what's Quasi's reward for being the hero. You and I both know that if he'd been more handsome, he would have gotten the girl (honestly a sexist concept in of itself, but that's for another day), the beautiful Esmeralda. But he doesn't. He merely gets to be accepted by the public and treated like a normal human being. What kind of a reward is that? Esmeralda ends up with the traditional blond, handsome prince, Phoebus, who is so forgettable I had to look up his name before I wrote this review. That's garbage. For all his hardships, Quasi basically gets the 'reward' of being the third wheel.The one bright spot among our cast of heroes is Esmeralda. Besides having a gorgeous name, she's entertaining, energetic, flirty, and cunning. I'm not really sure if she's that different from the other Disney Princesses (yes, I know she's not actually a princess, but Disney plays it fast and loose with the branding; if this movie had been more successful, you bet she would have been there), but she definitely feels different. She feels more experienced, more mature.Honestly, I wouldn't have minded if they took out the Hunchback and her prince and instead made it about her and Frollo, It really wouldn't have been an adaptation of the Hunchback of Notre Dame anymore, but it would have been a more interesting, better-told story than the one we ended up getting.Frollo himself is far and away the highlight of the movie. He's the kind of Disney villain that's scary when you're a kid and downright disturbing when you're an adult. Before I rewatched this one, I thought Scar was far and away the best Disney villain ever. Now I'm not so sure. If you asked me right now, I'd give the edge to Frollo. He may not have killed Mufasa, but he is wondrously, gloriously, terrifyingly insane.In fact, at the moment of writing, I'd even go so far as to call him arguably the best straight-up villain in film. That voice, that outfit, that authoritative, slimy charisma; it's impossible to look away when he's on screen. He steals every scene. He, plus the many, many wonderful shots in the film (including one in which the pattern on the main stained glass window of the Notre Dame is projected onto the ground on which Esmeralda is standing) are what elevate this film above its contemporaries and make it a truly great film and underrated in the massive Disney animated canon. I hope there comes a day when this film is fully able to come out from the shadow of The Lion King and Beauty and the Beast and really, truly stand on its own.For the first act or so, Frollo is just a captivating, impressive villain. Then comes Hellfire. Other than being the best song in the film and one of the best songs in the entire Disney renaissance, other than being partnered with a beautiful visual sequence that, like real destructive fire, is as painful as it is unignorable, it completely reveals Frollo's state of mind. This is his one moment of weakness, and it disgusts him. And what does a man like Frollo do when confronted with his weakness? He wants to destroy it and bring back the stony façade he regularly projects, for that is all a withered, black soul like himself has left.What is his weakness? He wants Esmeralda. And I don't mean he wants her to lock up in his castle or tie up on the train tracks. He wants her in a lustful, sexual, carnal sense. Of course, the film doesn't use those words, but it's as clear as the water on a bright sunny day. To see emotions like this expressed with the lush Disney bigness is as surreal as it is terrifying. Yet there's a certain current of reality to all this that immerses you in his crazy, twisted world.He refuses to accept this thoughts, and thus they go more twisted and perverted. He seeks to snuff them out and so wants to kill her or burn the city down trying. And that's exactly what he does. He burns half of Paris to the ground. We see him torch an individual home with his own hands. He tries to chop off Phoebus' head. And it's fairly clear that if he got Esmeralda alone to do whatever he wanted with her, he'd kill her, but not before raping her first.Yes, this is a G-rated kid's movie.And because of the nature of animation and Disney animation in particular to shape the environments around the emotions of the characters, you feel every bit of what I just described. It's well-done, evocative, and kind of unbelievable.While a mess of a film in some parts, the parts that are good are so good they more than make up for it. This is one of the great Disney Renaissance movies, and I hope Disney gets around to the live-action adaptation. It's truly unique.
