The Hunchback of Notre Dame Review At Amazon.
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The Hunchback of Notre Dame Review At Amazon..
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That’s moral! 1939 is considered the greatest year of Hollywood films. Gone With The Wind (color), The Wizard of Oz (color), Mr. Smith Goes to Washington, Stagecoach, Wuthering Heights and The Hunchback of Notre Dame to name a few.
With this competition and a awe theme “The Hunchback of Notre Dame” was lost in the run.
In summary this masterful movie has been digitally restored and placed on DVD for apt recount & sound. Victor Hugo’s “Hunchback” was perfectly cast with Charles Laughton as Quasimodo the deaf & disfigured bell ringer of Notre Dame. The glowing Maureen O’Hara (US debut at 19) as the gypsy girl, Esmeralda. The villian Frollo (the Chief Justice of Paris) played expertly by Sir Cedric Hardwicke. The epic, the sets and castings chemistry rival any of the before mentioned films of 1939.
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To delight in Hollywood’s Golden Age and the acting talent which was at its Paramount seek and bask in this greatest film Classic of Victor Hugo’s “The Hunchback of Notre Dame (1939) “.
Even granting my dispute lack of objectivity in evaluating this Hunchback after luminous it for 45 years (during which I must have seen it cessation to 50 times, including two viewings in the past two weeks), it remains luminous in every respect. Laughton’s performance remains unmatched and the gold standard for Quasimodo interpreters. The 19-year-old Maureen O’Hara is as current and sparkling and humane as in my earliest recollections. Sir Cedric Hardwick (an wonderful handle for the Jean Frollo character, no? ) is a perfect, pinched-nostril’d villain. RKO’s production values are second to none, and Joseph August’s photography (coupled to Dieterle’s film sensibility and scene framing, so touched by German cinematic impressionism) is absolute perfection. So too is the heralded Alfred Newman obtain, perhaps the finest marriage of musical phrase to filmed sequence to that point in film history–swellingly Wagnerian at emotional highpoints, but lean, linear, and distinctly 15th-16th century when period atmosphere is called for (listen for Tielmann Susato and other renaissance masters, skillfully woven in) .
But, in the ruin, it’s Laughton and Paris and the brilliantly recreated cathedral that stand at the picture’s center. Unspeakably glorious and, in the raze, unbearably heartbreaking.
The DVD transfer, however, is something of a disappointment–only three stars for its quality, particularly in the first reel. But don’t regain me wrong–it’s more than simply “watchable” and looks as estimable as anything else from the period you you might accelerate across on TCM; it improves from the picture’s middle third on, and the sound is heavenly. The DVD extras are extremely primary for recounting many production details; indeed, what I had always concept to be spectacularly wrought matte shots were, I learned in the included production documentary, a 5-acre recreation of 15th century Paris, designed from traditional woodcuts and drawings. (The otherwise delicate documentary sadly omits all mention of cinematographer August, who shot a number of pictures–Gunga Din, They Were Expendable, The Informer, The Devil and Daniel Webster–that are as often remembered for their distinctive “watch” and as for their “film classic” plot.) And the Maureen O’Hara interview, for those of us who grew up smitten with her, is a sheer delight–more than a half-century later and as flashing and shapely as ever.
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Film buffs fabricate a gargantuan to-do over 1939 as “Hollywood’s Greatest Year.” Everyone else will agree once they gather a load of the filmography of 1939 that’s included here as an extra. It’s unbiased a list, but what a list.
Permesso…a biographical aside: Dieterle’s Hunchback, which holds a special position in my heart for a variety of reasons, but especially because it led directly to twin additions: to books, and to movies. As a microscopic boy, my esteem for this chronicle record naturally led me to read my first adult “chapter book”–a 35 cent Bantam translation of the Hugo unique. I’ve been book-addicted ever since, transposing my library browsing to the adult stacks and leapfrogging the entire body of classic juvenile literature that I eventually hurt up reading to my fill children. And movie-addicted, too–also as a boy, I hunted down the Lon Chaney Hunchback in a NYC repertory film house, saw the (sinful) Tony Quinn version in the theater, and since have seen, I say, every subsequent remake. And I also saw almost all of those amazing 1939 pictures, mostly on Million Dollar Movie, the ragged NY WOR program that showed a movie about 16 times a week (twice a week day and three times a day on weekends) .
Generally, a movie held as dearly in memory as I have held this simply cannot doesn’t withhold its recalled impact on re-viewing–it may seem dated, or trite, or visually uncompelling, emotionally vapid, saccharine, etc., to a contemporary film lover. But the Dieterle/Laughton Hunchback remains an well-known film, here presented in an outstanding package, and at a bargain trace.
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Willie Stark