Quasimodo, the hunchback bellringer of Notre Dame's cathedral meets a beautiful gypsy dancer, Esmeralda, and falls in love with her. So does Quasimodo's guardian, the archdeacon of the ... See full summary »
Clopin bought Esmeralda from the gypsies when she was young. Dancing in the square at the festival, Esmeralda is spotted by Jehan, the evil brother of the good archdeacon Claude Frollo. When he sets Quasimodo out to kidnap Esmeralda, Phoebus, Captain of the Guards, rescues her and captures Quasimodo. The courts sentence Quasimodo to be flogged, and the only one who will give him water while he is tied in the square is Esmeralda. After Clopin forces Esmeralda to leave Phoebus at the ball, she sends a note to Phoebus to meet her at Notre-Dame. In the garden, Phoebus is stabbed in the back by Jehan. Esmeralda is accused of stabbing Phoebus, convicted by the courts and sentenced to hang. When Esmeralda again rejects Jehan, he tells her that Phoebus is dead, even though it is not true. Clopin, Phoebus and Quasimodo all try different ways to save Esmeralda. Written by
Tony Fontana <email@example.com>
A competition was held in 1923 through Universal through various Photoplay music (stock silent music) companies to come up with a theme song for the film. The winner was Maurice Baron, whose characteristic reverie "The Chimes of Notre Dame" was used as the main theme. The original cue sheet to the film came with a copy of the piece for piano, with the suggestion that it be used imperatively. See more »
After Esmeralda gives Quasimodo water (he's still chained down), the nose putty on Quasimodo's left cheek is coming loose - there's a noticeable gap between Lon Chaney's face and the nose putty used to make the fake cheek. See more »
Deaf and half-blind, THE HUNCHBACK OF NOTRE DAME, feared & rejected by the people of Paris, becomes the unlikely protector of a poor gypsy girl.
Lon Chaney, master of disguise, solidified his celebrity with his portrayal of Quasimodo, the deformed bell-ringer, who is forever cut off from any semblance of a normal life. Although his makeup is certainly horrific, Chaney's role is not really monstrous: he is a lonely human desperately misused by Fate. Chaney's face speaks for him, communicating the tormenting anguish of his soul. While not quite as poignant as Charles Laughton's interpretation 16 years later, Chaney still makes of the role a Silent hallmark which has stood the test of time.
There are fairly lengthy segments in which Chaney does not appear and plot elements not explored in the longer Laughton version. Here the story dwells on the gypsy dancer Esmeralda, played by Patsy Ruth Miller, and her burgeoning romance with the brave Phoebus, Captain of the Guard, played by Norman Kerry. Both performers do very well with their 'normal' roles -- her innocence contrasting well with his initial lust -- even though the viewer is doubtless anxious for the return of the Hunchback.
A handful of excellent character actors from the era add their assistance: gaunt Nigel de Brulier as the saintly Archdeacon, defender of the Hunchback; beefy Ernest Torrence as Clopin, King of Thieves, ruling over the Court of Miracles; prissy Raymond Hatton as the effete poet Gringoire; and feeble Tully Marshall as a suspicious Louis XI.
Special mention must be made of Universal's splendid attention to detail which they lavished on the film. Most especially commendable is the representation of Notre Dame's West Facade, the only real angle from which the Cathedral's exterior is depicted. To see Chaney clamber down, swinging from pinnacle to gargoyle to statue; or, to watch Quasimodo defend Esmeralda from the crowd of beggars he thinks has come to kill her, dropping stones, beams and molten metal on their heads below from the Cathedral's ramparts, is to enjoy two of Silent Cinema's great visual moments.
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