THE HUNCHBACK OF NOTRE DAME, 1923
Movie Review

THE HUNCHBACK OF NOTRE DAME, 1923
Movie Review
Directed by Wallace Worsley
Starring Lon Chaney, Patsy Ruth Miller, Norman Kerry, Kate Lester, Winifred Bryson, Nigel De Brulier
Review by CJ Brooks

SYNOPSIS:

Clopin bought Esmeralda from the gypsies when she was young. Dancing in the square at the festival, Esmeralda is spotted by Jehan...

REVIEW:

In 1831 Victor Hugo completed his great classic, Notre-Dame de Paris. Future translations to English would rework the title as The Hunchback of Notre Dame. Hugo had always detested this title as it would lead readers to believe that the book focused on Quasimodo, the hunchback, instead of its true focal point, the cathedral itself and its role in post-Revolution France. The title, however, stuck and nearly all film adaptations of his novel have used The Hunchback in its name.

It would then be of no fault to the viewer if they became disappointed while watching the 1923 adaptation starring Lon Chaney and Patsy Ruth Miller that Quasimodo has an important albeit limited role. In fact the film would be more aptly titled The Gypsy of Paris as its interests lie more in the romance between Esmeralda and Phoebus. However, Chaney’s performance is so enthralling and his make-up downright perfect that the film is worth watching simply to see him play. This is not to say that the film is bad by any means. Although it is not the most enriching adaptation, Wallace Worsley’s film is certainly an enjoyable one and, except the denouement, remains rather faithful to the novel.

The film opens on Notre Dame in 15th century Paris, as Hugo would have appreciated. The townsfolk gather in the cathedral square to celebrate the Festival of Fools, “the one day of the year when the people, crushed by tyranny, gave themselves to unrestrained pleasure.” On this day, among the revelry, they elect a King of Fools. Quasimodo, the deformed bell ringer of the cathedral, is the heir to this throne. They mock and ridicule him as a beast of nature and show him no pity; his hatred for them has no end.

His master, Jehan, has become enamored with a gypsy he finds dancing at the festival and demands Quasimodo to kidnap her. The plan is botched when the handsome Phoebus, captain of the guards, rescues her. Quasimodo is apprehended and subsequently whipped at a public demonstration where Esmeralda, the gypsy, takes pity upon him and offers him water. Her sympathy is enough to melt his heart. But Esmeralda’s affection is for Phoebus and him alone. When Jehan learns of this, he stabs Phoebus who is all but certain to die. Esmeralda is framed and sentenced to hang but out of gratitude Quasimodo comes to her triumphant rescue.

The film was a commercial success and became one of the most profitable films not only for the year but in the history of silent films. Universal was much thankful for the box office results as it had placed all of its eggs into the Hunchback basket. Much of the budget went into building the cathedral which is one of the most remarkable aspects of the film. It’s almost hard to imagine when taking sight of the Notre Dame on film that it was nothing more than a movie set on a Universal Studios lot. Granted, in some instances the set’s grandeur is but a special effect but, nonetheless, it was one of the largest sets built in it’s time.

Chaney, once again, must take much of the credit for the success of this film. His performance rescues the picture from what would otherwise be a rather unremarkable chemistry between Esmeralda (Miller) and Phoebus (Brandon Hurst). Raymond Hutton as a self-indulging poet provides moderate comical relief but not enough to stay anyone’s attention. Cinematography is restrained and simple, the costumes are unassuming. All the more radiant does Chaney seem when we first see him in all his disfigured glory. Be it his excellent make-up work, his honed acting chops or a mixture of both, Chaney pulls off the only real sympathetic character found in this film. Perhaps this is an intention of the director or a result of the story, but it’s a shame that the character arc for Quasimodo (and the screen time for Chaney) isn’t larger when he delivers the most pointed emotional attachment in the film. Chaney fans (and those of the novel) will undoubtedly be delighted by this film and cinephiles will find it a treat. The average modern viewer may be less enthused by the feature but it is certainly worth looking at, if for nothing else than the riveting climax between the hunchback and the Parisian locals. The question that remains is would Victor Hugo have liked it? The movie title would likely have bothered him but Worsley spends a considerable amount of the film focused on Notre Dame itself as “a spiritual haven in a brutal age…a sanctuary where the persecuted could find protection” and an “enduring monument of a mighty faith.” Words that Hugo could very well agree with.

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