Can you hear the bells? Or perhaps the ominous cry of a corrupt judge having some trouble with a fireplace? Well, you must be in Paris in 1482, because you've stumbled upon...
The Hunchback of Notre Dame (1996)
Every time I watch Hunchback, it hits me like a rotten tomato — this is not a kids' film. Perhaps it's because Disney's output, on the whole, became gradually less sinister through the decades since Snow White and Pinocchio gave us all nightmares, but The Hunchback of Notre Dame is not for the faint-hearted. Lucky for me (although probably due to my parents' protection) I didn't discover this film until my teenage years, so I can appreciate that it's one of the most sophisticated and interesting films in the '90s renaissance.
 |
| The second 5.30pm hits |
From outset, The Hunchback of Notre Dame stakes its claim as a serious, heavy-hitting story. Before we see anything at all, the sound of the mournful bell and plaintive church choristers welcome us to an eery period of history with weighty moral conflict and religious power. 'The Bells of Notre Dame' opening refrain, with its powerful minor chorus, sets off alarm bells for death and destruction before we've even seen a single character.
This soon gives way to the whimsical yet distinctly sinister tone that pervades the film, with our narrator — the mysterious gypsy Clopin — guiding us through the streets of Paris and regaling us with Quasimodo's tragic backstory. In these opening five minutes, we're introduced to the unsettling atmosphere of the film, as well as the themes it will tackle — corruption of power, morality, human kindness, cruelty, passion, and loneliness. A cheery one, then.
 |
| Looking down on the party you were told was fancy dress |
At the centre of the story is the relationship between Quasimodo, the sweet-natured and timid bell-ringer, and his adoptive father, the severely misguided and cruel Judge Frollo. Like other evil step-parents before and after him, Frollo imprisons Quasi in a solitary life of servitude, emotionally abusing him to ensure he stays under his power. Playing on his insecurities, he makes Quasimodo believe that the outside world is a terrifying and hostile place that's out to get him, in order to keep him shut behind the cathedral doors. It's very much a French 15th century Rapunzel story, then.
Quasimodo's profound loneliness is painful to watch at times, particularly as his character is so gentle. His two musical numbers, the very warbly but romantic 'Out There,' and the tender 'Heaven's Light,' are full of longing and sadness, which I can't imagine children could comprehend. If Stephen Schwartz' gut-punchingly sad lyrics aren't enough ('No face as hideous as my face / Was ever meant for Heaven's light'), watching Quasi look down on the city below and recreate his own wooden diorama of Paris is sob-worthy.
 |
| The expression looking in the mirror every morning after you hit 30 |
Whilst the film does ultimately show glimmers of hope and kindness in humanity, it does twist the knife of cruelty a shocking amount for a family film. When Quasimodo does decide to escape from his tower for the 'Festival of Fools,' we're lulled into a sense of humour and frivolity when he appears to be accepted in the revelry, taking part in the carnival competition and hailed the 'King of Fools.'
The whimsical music and frenetic atmosphere carry the audience along on Quasimodo's high, making us believe that society is kind after all, as Quasi sheds an affectionate tear. However, a troubling ugliness soon surfaces when the citizens realise who he really is. The scene where Quasimodo is strapped to a podium while the revellers through rotten fruit at him never fails to make me wince with discomfort and indignation. The worst part is that, even though Frollo instigated the first couple of throws, the mob mentality still proves the villain's point that the world at large can be hostile and cruel to those that don't fit in.
 |
| Always a haunting image |
This complex portrait of human nature continues Quasimodo's relationship with the captivating gypsy Esmeralda. One of the most multi-layered heroines in a Disney film, her dynamic with each of the main characters reveals their best — and worst — natures. Her bravery in the face of adversity makes her integral to the film having any hope of a happy ending.
At the Festival of Fools, she's the only one that stands up for and protects Quasimodo, introducing a much-needed tenderness to the film. Naturally, Quasi falls in love with her, but it remains unrequited. Meanwhile, she falls for the swashbuckling ex-soldier Phoebus, who follows her lead to stand up for the poor and oppressed of Paris, refreshingly allowing the love triangle to become a trio of friends working together on the same cause. However, most dangerously of all, she also catches the attention of the cruel, manipulative, and now apparently extremely creepy, Frollo.
 |
| The first night out after lockdown |
Frollo's uncontrollable lust for Esmeralda, whilst at the same time wanting to kill her, is just about as dark as a Disney film can possibly get. His obsession over annihilating Esmeralda and her people results in one of the darkest and most intense final acts imaginable. As Frollo and his men literally set Paris alight on their hunt to destroy the gypsies, hundreds of human lives are at stake. And speaking of stakes, Frollo even almost burns Esmeralda on one.
It takes a lot of heavy lifting to bring the film to a satisfying resolution, involving Frollo getting a fittingly fiery death, plunging into the hell he's most afraid of, and the citizens of Paris recognising Quasi as a hero, with a cute little girl hugging him. However, it's so hastily done that we're left more relieved than happy when the credits finally roll with a more cheery reprise of 'The Bells of Notre Dame.'
 |
| When you've made it to Friday |
All in all, The Hunchback of Notre Dame is not the best choice for casual Sunday afternoon comfort-viewing. While the film isn't completely devoid of humour, the attempts are always overpowered by darkness. Quasimodo's gargoyle friends give an injection of old music hall-style comedy and showmanship, but even they are tinged with sadness as we know they only come to life through Quasimodo's lonely imagination. Esmeralda's love interest, the swashbuckling ex-soldier Phoebus, does give us a one-liner or two, but his quips do feel a bit inappropriate with the gravity of the situation he's dealing with. But if you're into moral ambiguity, hell metaphors, and ominous plainsong, this film is perfect for you.
Villain Rating: 9/10. Judge Frollo is, without doubt, one of the darkest villains in the Disney animated canon. Not only does he do terrible things, like manipulating Quasi into being his prisoner for years, and literally burning down the city, his motivations make him even more unsettling. He strikes genuine fear into others, much like classic Disney villains such as Cinderella's Lady Tremaine, or Snow White's Evil Queen, but rather than being driven by pure jealousy or malice, he's fighting inner demons and lustful thoughts that make him even more of a dangerous predator. Yes, he does have a villain song — but rather than camp indulgence, it's a tortured expression of his hateful and sexual thoughts about Esmeralda. Literally called 'Hellfire'. While Frollo is undeniably villainous, he loses a point for being just a bit too real.
 |
| Everyone getting rid of their masks once COVID is over |
Best Song: The songs in Hunchback are more sophisticated than most, and serve to tell a story rather than aiming to be kids' party classics. To that end, I'm choosing 'The Bells of Notre Dame.' Sung by the mysterious narrator Clopin, the opening song sets the tone for a sinister tale of complex characters. While the lyrics tell the tale of how Quasimodo came to be kept in the bell tower, it prepares us for darker plot lines, with Frollo almost killing the 'deformed' child, which in turn tells you all you need to know about the character. Menken's tune and arrangement perfectly combines darkness and whimsy, which intertwine throughout the film in its surprising twist and turns.
Disney Detail: It's a small country after all. During Quasimodo's song 'Out There', he looks down on the residents of Paris, and — would you believe it? — Belle is on a day trip from her castle. Perhaps she's picking up some more tea for Mrs. Potts.
 |
| With her nose stuck in a book |
Why It's A Classic: Hunchback, like Pocahontas, seems to be slightly overlooked compared to other '90s Disney films. I think for both, it's because they deal with more adult themes, with songs that are focussed on creating atmosphere and telling human stories, rather than creating catchy musical numbers that 7-year-olds can sing. ('Topsy Turvy' and 'The Court of Miracles' are bops though). Like many, I discovered Hunchback in my teens rather than as a kid, which is the best time to truly appreciate it for the sophisticated musical it is. Having said that, I know that it still holds a special place in many adults' hearts.
