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The other versions are capable as well, including Lon Chaney’s tranquil epic; Charles Laughton saving Maureen O’Hara from burning Hollywood; and Demi Moore in her greatest performance in the Disney musical. But for my money, this is the version to seize and like. Filmed in France for Frenchmen, and secondarily for the international market, HUNCHBACK was criticized at home for failure to cast French actors in either of the leading roles. It’s not as if France in 1956-7 didn’t have dozens of vast stars, and wouldn’t you have enjoyed seeing a version of this Victor Hugo account with, say, Jean Gabin as Quasimodo, and Brigitte Bardot as Esmeralda? Instead the producers went elsewhere, arguing that in the new, of course, Esmeralda’s “foreignness” was an important share of the fable, and the same for Quasimodo. Gabin was, indeed, a very loyal possibility, for he was director Jean Delannoy’s Inspector Maigret in several films and the two clicked together on a personal level as well.
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Thus we have Anthony Quinn as the tortured church servant, and Gina Lollobrigida as Esmeralda. She plays up the Gypsy aspect quite a bit, and in general cavorts like she’s Demi Moore trying to have a noble time, but something of her fate seems to be hanging over her heavenly, tousled head, and the shadow of the gargoyles is like the guillotine–a factor of doom. Lollobrigida had impartial finished filming TRAPEZE and was given only four days’ holiday before reporting to Paris for the arduous, twelve-week NOTRE DAME DE PARIS shoot. (Gape how buff her arms are in those sleeveless peasant blouses, that’s a holdover from her training for TRAPEZE.)
Lovers of French film will rejoice to leer Roger Blin in s smallish part: Blin starred in everything from Cocteau’s ORPHEUS to Clouzot’s LE CORBEAU, and in NOTRE DAME DE PARIS he’s very stylish, though badly dubbed into English.
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Best of all is the shiny color photography! Because this was a production partially financed by the French government, well-liked by Minister of Culture Andre Malraux, the production was allowed to film directly in the Cathedral itself, so every time you ogle an interior shot, or so it is said, you are peering into the mysterious Notre Dame itself. The long shots of Quasimodo pouring molten oil over the battlements were recreated largely in the studio. Look for the renowned bateaux-mouches parading lazily up the Seine, which has never looked more beuatiful. This film was nominated for a “Cesar,” the Oscar of France, but somehow lost to a smaller product. The day of the “unique wave” was at hand and it wouldn’t be long before the names of the moment would be Louis Malle, Jean-Luc Godard, Agnes Varda, Chris Marker, and Francois Truffaut. When the bells ring in the passe cathedral, they’re ringing out the waste of an era, and ringing in a current dawn for French film.
Strangely, there has never been a terrible film of Victor Hugo’s classic anecdote, and while this is indeed less successful than Laughton, Chaney or Disney’s versions, this French peril is unexcited a surprisingly estimable and distinguished under-rated film. To obtain the most out of it, you have to absorb in mind that Hugo did not write a anxiety epic but a narrative of unrequited cherish and misfortune. There is puny of the Gothic on indicate here; rather, everyone is trapped by a desire for what they are denied. This is great more ‘Notre Dame de Paris’ (the novel’s real title) than ‘The Hunchback of Notre Dame’: Quasimodo probably gets less mask time here than in any of the other films, only dominating the drama in the last third. Instead, as with Hugo, it uses the cathedral of Notre Dame as the thread that binds all social stratas – Kings and beggars, thieves and soldiers, gypsies and alchemists, playwrights and aristocrats – giving a quick-witted portrait of a time and space half imagined, half staunch.
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Quinn is more of a brute than we’re venerable to seeing in our Quasimodos: unlike Laughton, he’s no poetic soul trapped in a broken body but an animal who is given an inkling of what it means to be human. Lollabrigida fares better than usual as Esmerelda, and if their relationship is never curious, the ending, for once taken directly from the modern, is genuinely touching.
There are problems: the dubbing is at times irritating (and there is no French-language option on the disc), while Jean Danet is quite the most embarrassing Phoebus imaginable, stilted, impossibly smug and objective humdrum odd-looking. Some key scenes are poorly staged, most notably Quasimodo’s rescue of Esmerelda, while the hunchback is not given a strong entrance. But, if you’re willing to rob a chance and notice it with an initiate mind, the reliable surprises outweigh them. While not the most lavish version, the scale and colour of the film, particularly in scenes such as the Court of Miracles, gives us a sense of a world around these characters, the addition of CinemaScope and some impressive sets helping to broaden the scale. Delannoy’s direction is occasionally imaginative, with a helpful recognize for the Scope frame. The script (co-written by ‘Les Enfants du Paradis’ Jacques Prevert) is often witty and doesn’t unnerved from the darker tragic tone of the modern. Georges Auric’s secure, though ill-served by the recent sound recording, is also a handsome anguish.
The transfer is pleasurable, with only a few edge enhancement problems, although it seems very slightly cropped in some shots, and the failings of the early CinemaScope lenses do result in an occasional loss of detail in some shots. The DVD even includes one brief torture sequence that has long been chop from many prints, as well as the modern theatrical trailer.
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Kept out of distribution for years (Disney bought the rights around the time they were working on their version and shelved it), the film has not been able to come by distinguished of a reputation. Indeed, it continues to salvage short shrift from many critics – ‘Time Out’s film guide is particularly hostile. But, as they say in Britain, ‘Time Out hated it, so it must be genuine.’ And it is – not vast, but certainly pleasing top-notch.
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