The Hunchback Of Notre Dame

A gem that has several in truth visible flaws; yet, with these flaws, The humpback of Notre wench shines as the best from the Disney factory yet.

For, at first, the company concern and movie title didnt quite appear to sit whole near together. You dont marry the king of novel Gothic gloom (Mr. winner Hugo) with one of the worlds virtually beloved (if non healthful-favouredgest) animation companies and wear the usual world population to be at the answer; but expect even Mr. Walt Disney to pat himself on the articulatio humeri blade (or whats left of it) for allowing a hideous hunchback to be transformed into a Gene Kelly-Incredible Hulk combo casing of hero.

        This hero is Quasimodo (Tom Hulce), which by the way means half-formed.

Its approximately his kinky education (whoever teaches the alpha post using abomination, blasphemy, condemnation, damnation and eternal damnation ?), his humiliation (being crowned the king of fools), his first love and his big, big heart. Its well-nigh how our outward appearances should not matter (sounds familiar?). Its about believing in yourself but not being self-righteous. And its about reliving the magic of Oscar-nominated Beauty and the Beast, directed by Kirk Wise and Gary Trousdale (both, incidentally, were also responsible for Hunchback.)         Wise and Trousdale manifestly had a vision that didnt on the dot conform to your usual and they lived jubilantly ever after type of fairy tale. They employed a lot of artistic license when rewriting the plot. It was, after all, a cartoon; but they didnt allow it to become an excuse to split the poignancy and tragedy into cipherness. Quasimodo did not get the girl.

Nobody exactly lived happily ever after. There was an amazing do of implicit blood and violence. All that with Quasimodos unrestrained outburst bordering the end and the best animated celluloid representation of the snog contribute to the real emotions that flowed from the grammatical cases.

        Talking about being real, the drawings in Hunchback were simply breathtaking. The two directors and chief artists actually do their way to the famed Notre Dame cathedral in capital of France to experience first hand the magnificence and beauty of it. For go whole days, they walked finished, looked from, sat on, literally lived and breathed Notre Dame. The artists even swatched some dirt just to match the colour! The result was such(prenominal) artistry that even George Lucas and Steven Spielberg would h hoar up inadequacyed to call their own. The scenes in the market place, the panoramic view of the steps of Notre Dame and beyond all left me gaping in wonder and contract excitement that such representation could be possible through animation; its all thanks to computer animation.

        Computer or no computer, animation has certainly come a bulky way. From the days of 101 Dalmatians, Snow White and the Seven Dwarves and Cinderella to Hunchback (Disneys 34th full-length animated distinction film), there have been no lack of pilot burnerity. akin its predecessor, Hunchback is definitely original material destined for the Oscars. Like the directors functioning as visionaries, the stars that atomic number 18 being voice casted work like magic. Tom Hulce dribbles core group stage as Quasimodos voice, broad it a raw resentment and sounding appropriately un-handsome. A very plucky, wild and pyrogenic gypsy Esmeralda voiced very convincingly by Demi Moore. It is to the highest degree a reprisal of her recent role in Striptease as an exotic dancer (euphemism for stripper) , which censors here go forth not take to kindly. Kevin Kline did justice to the inclusion of the devistatingly handsome Captain Phoebus by giving him that wickedly humorous edge. All the voice actors gave such a brilliant performance that they didnt allow the celluloid to imprison their characters, kinda they added a very human dimension that made very cartoon pop right out of the screen.

        The animated feature film, though being a highly collaborative elbow grease (especially the case with Disney), hangs on one-third main factors to work well: the directors vision, the voice casting and the drawings themselves; all of which we have looked at previous(prenominal) to this. In the case of a Disney cartoon, however, the music also features as one of the facets of a Disney gem. What I would have considered a way out for Disney with the death of Howard Ashman has been filled by Stephen Schwartz; this is not to say that I am dismissing the Elton John-Tim Rice-Hans Zimmer team responsible for The Lion office.

The incredible sensitivities that Ashman had with his writing was what made the songs to Mermaid, Beauty and Aladdin so fecund and beautiful; John-Rice-Zimmers music to The Lion King worked well because it was sibylline to be grandiose and wild. And by roping in Schwartz for Pocahontas, Disney protected the audience the pain of having the tenderness of the script and characters shattered by inappropriate lyric and musical sensibilities.

        The same goes for Hunchback. I can see the amount of effort Schwartz took with every secondary word; even with the adaptation of the canto Gregorian chants. The echoing of Quasis incorrectly in allayed self-perception by making his first song lines I am deformed, I am ugly. The self-inflicted pun of being old and bent (hes a hunchback) in Out There. The partying earnestness he gets the audience into with Topsy Turvy. The trio of gargoyles Victor, Hugo and Laverne (Murphy Browns Charles Kimbrough, Seinfelds Jason Alexander and Mary Wickes of sister Act) doing a very Broadway A Guy Like You. Emeralda (singing voice provided by Heidi Mollenhauer) a very Christian theology Help The Outcasts. And the opening The Bells of Notre Dame by Clopin (my favourite character in the movie) all point to Schwartzs lyrical genius. Two lines that rattling stuck were And its the day we do the things that we deplore/ On the other three hundred and sixty-four from Topsy Turvy. The rhyme and convenience of deplore and 364 is nothing short of brilliant.

        The one song that stands out as the cotton up of the movie the brilliant juxtaposition of Quasis Heavens Light and Frollos Hellfire. The contact with Esmeralda sparking off two disparate reactions from two very various men; to borrow a phrase from the storyteller, Clopin (Paul Kandel doing a small and candid job), we all end up wondering who is the monster and who is the man.

        At the end of the day, The Hunchback of Notre Dame succeeds where well-nigh other Disney movies fail: to be a cartoon not for kids, but for grown-ups depicting grown-up problems. Hunchback will not porcine as much in terms of merchandising as The Lion King did. Its also a safe bet to say that kids will go back home without the usual boy meets girl, boy falls in love with girl, kills calculus that captured girl and they lived happily ever after feeling. Yet, I still applaud their efforts in daring to try something so veracious and yet still so enjoyable. It made me laugh, it made me cry, and most importantly, it made me think. For a long time to come, Hunchback will be seen as the movie Disney took all kids (8-80) on a field trip to this place called the real world.

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