The general public responds to the grotesque with a curious mixture of shock, fascination and repulsion. In the 15th century, where society was too ignorant to understand the consequences of deformity, men like Quasimodo were shunned from the community, and considered evil influences as we approach modern times, it seems that people have changed little, as depicted in David Lynch's heartbreaking 'The Elephant Man (1980).' Despite the proud, if misguided, belief that humans judge each other based on their intelligence and personality, our basic primal instinct often proves dominant. Just as many recoil in horror at the misshapen features of the unfortunate Quasimodo, an entire audience is left entranced by the beautiful dancing body of Esmeralda (Maureen O'Hara), momentarily forgetting that she is of the reviled gypsy faith. Victor Hugo's 1831 novel, "The Hunchback of Notre Dame," has long been a popular source for cinematic adaptations, and William Dieterle's 1939 version is often considered one of the best, featuring an incredibly heartfelt performance from Charles Laughton as the titular hunchback of Notre Dame cathedral.
When he initially published his novel, Hugo titled the story "Notre-Dame de Paris." He was subsequently dissatisfied with the English translation of the title, since it implied that the Quasimodo was the story's main character, when, in fact, he had originally intended it to be a celebration of the cathedral itself, an attempt to "preserve" the famed monument. This objective is certainly an admirable one, but, as far as Dieterle's film is concerned, it results in a somewhat uneven narrative. Gringoire (Edmond O'Brien) and Esmerelda certainly serve the story adequately enough, but our thoughts and sympathies are forever with the tragic Quasimodo, and any scene that doesn't feature him seems insignificant perhaps further proof of our natural fascination towards the grotesque. Also playing major roles in the story are Frollo (Sir Cedric Hardwicke), Quasimodo's sinister mentor who falls in love and is tormented by rejection, and King Louis XI (Harry Davenport), the open-minded but rather naive French royal {a far cry from what history tells us of the real Louis XI}.
Though screenwriters Sonya Levien and Bruno Frank fashioned Victor Hugo's conclusion into what has been called a "happy ending," it nonetheless remains the most heartbreakingly tragic finale I've seen in a long while. Esmerelda may have been saved from hanging, but the true "hero" of the story is neglected and abandoned in the highest reaches of the cathedral. His final sentiment, expressing the desire to be made of stone, is delivered with incredible poignancy by Laughton, and speaks of a lifetime of unimaginable isolation and desolation. This final line stresses the terrible irony of Quasimodo's predicament: as a stone chimera, however gruesome, his artistry would be celebrated by thousands of admirers {as he briefly experienced early in the film, when a frenetic crowd informally crowned him "king"}. However, more importantly, being made of stone would simply bring an end to his unspeakable pain, to the incessant aching of a heart that desires a woman he could never, and will never, have for himself.
When he initially published his novel, Hugo titled the story "Notre-Dame de Paris." He was subsequently dissatisfied with the English translation of the title, since it implied that the Quasimodo was the story's main character, when, in fact, he had originally intended it to be a celebration of the cathedral itself, an attempt to "preserve" the famed monument. This objective is certainly an admirable one, but, as far as Dieterle's film is concerned, it results in a somewhat uneven narrative. Gringoire (Edmond O'Brien) and Esmerelda certainly serve the story adequately enough, but our thoughts and sympathies are forever with the tragic Quasimodo, and any scene that doesn't feature him seems insignificant perhaps further proof of our natural fascination towards the grotesque. Also playing major roles in the story are Frollo (Sir Cedric Hardwicke), Quasimodo's sinister mentor who falls in love and is tormented by rejection, and King Louis XI (Harry Davenport), the open-minded but rather naive French royal {a far cry from what history tells us of the real Louis XI}.
Though screenwriters Sonya Levien and Bruno Frank fashioned Victor Hugo's conclusion into what has been called a "happy ending," it nonetheless remains the most heartbreakingly tragic finale I've seen in a long while. Esmerelda may have been saved from hanging, but the true "hero" of the story is neglected and abandoned in the highest reaches of the cathedral. His final sentiment, expressing the desire to be made of stone, is delivered with incredible poignancy by Laughton, and speaks of a lifetime of unimaginable isolation and desolation. This final line stresses the terrible irony of Quasimodo's predicament: as a stone chimera, however gruesome, his artistry would be celebrated by thousands of admirers {as he briefly experienced early in the film, when a frenetic crowd informally crowned him "king"}. However, more importantly, being made of stone would simply bring an end to his unspeakable pain, to the incessant aching of a heart that desires a woman he could never, and will never, have for himself.