Until recently, I couldn't tell you three things about Disney's The Hunchback of Notre Dame except that I saw it in theaters and I'm pretty sure it was set in France. Hunchback was released 15 years ago to tepid reviews, and was quickly locked in The Disney Vault to be dismissed as a B-side release. Low earning potential meant that it would likely never see a wider re-release, which only made me more eager to see it again... if I could only find a copy of the damned thing.
The damnable copy was found recently at Costco of all places, and I snatched it up with a perverse glee unwrapping it as I drove home. The term perverse would be redefined once I sat down to watch it because, holy hell, this movie is way darker than I ever remember it being.
This song (Hellfire) serves as the best example of the mature themes which Disney did not shy away from when scripting this movie. Sure, much of the plot from the original book is changed (Frollo is a magistrate (not the archdeacon), Phoebus is the chivalric ideal not a patsy with a taste for dark meat, Esmeralda lives, etc) but all of the salient themes of Hugo's novel, namely religious hypocrisy, discrimination, racism, lust, and class struggles are addressed by Disney all while preserving the "G" rating of the film. Bravo.
If you haven't watched the above Youtube clip do so, and you'll forever change your opinions of other, lesser Disney villains. In this song, the antagonist launches into an impassioned and desperate supplication to the Virgin Mary as he attempts to reconcile his falsely perceived moral superiority with the feelings of lust that Esmeralda has stirred in him. The depth of the crisis of faith is so compelling, and so perfectly interwoven with familiar passages from the standard Latin mass (Kyrie Eleison, much of The Confiteor, etc.) that you may well forget that this is taken from a cartoon intended to be watched by children.
For example, in the course of his appeal to the divine for guidance, Frollo exemplifies the human condition all too well by transferring the blame for his failings on others. In this case, Satan...
"It's not my fault (Mea culpa)/ If in God's plan (Mea culpa)/ He made the devil so much stronger than a man. (Mea maxima culpa)"
After which point he decides to go for the gold medal of villainy by asking The Virgin Mary to either murder Esmeralda for seducing him and send her immortal soul to hell, or to transform her into his completely subservient sex slave. Y'know, whichever is easier. Thy will be done and all that...
"Protect me, Maria/ Don't let this siren cast her spell/ Don't let her fire sear my flesh and bone/ Destroy Esmeralda/ And let her taste the fires of hell/ Or let her be mine and mine alone."
In terms of establishing a villain as a villain, there's really nothing more that Disney needed to do than include this song rendering his earlier attempt at infanticide superfluous. Arguments can be made that Frollo is simply acting within the zeitgeist of 15th century France, but even so I doubt anyone in the audience expects him to make it to the end credits alive. To that end, while most viewers will be waiting for Frollo to meet a fitting, if terrible (and all-too-common) fate as a result of his megalomania, they probably aren't expecting him to be consigned to hell by the face of Satan after one of the most clear-cut examples of sanctimony to be committed to film.
It is completely understandable that most of the Disney fans have chosen to forget about The Hunchback of Notre Dame, a film which struggles to reconcile its adult themes with the juvenile audience which it is targeting. Several of the sillier moments of the films, namely the trio of comic relief gargoyles (lead by Jason Alexander), seem like hollow attempts to distract the audience from the darker moments of the plot. To the network comedy watching hoi polloi, Jason Alexander is amusing enough but he is too poorly utilized to lighten the bleak, brooding atmosphere that Hunchback establishes and never moves away from.
If the movie scrapped the zany musical numbers, or the hellfire and damnation themes, I think it would be stronger and better received, though I'm not quite sure how you'd produce a purely secular version of The Hunchback of Notre Dame. The Hunchback of a Large, Municipal Structure Which Employs Non-Ecclesiastical Bells as a Means of Broadcasting Chronological Standardization Across a Medieval Hub of Commerce doesn't quite have the same... ring.
As an afterthought, it is nice to hear that Square-Enix is including Hunchback as a playable world in the new Kingdom Hearts 3DS title Dream Drop Distance since this may help the movie enjoy a well-deserved, and much needed, resurgence in popularity. In the world of Square-Enix, one can imagine the hypocritical and genocidally inclined Frollo finding a fast friend with the mass-murdering, nihilistic megalomaniac Kefka Palazzo.
Now that would be some yaoi I'd pay to see!
The damnable copy was found recently at Costco of all places, and I snatched it up with a perverse glee unwrapping it as I drove home. The term perverse would be redefined once I sat down to watch it because, holy hell, this movie is way darker than I ever remember it being.
This song (Hellfire) serves as the best example of the mature themes which Disney did not shy away from when scripting this movie. Sure, much of the plot from the original book is changed (Frollo is a magistrate (not the archdeacon), Phoebus is the chivalric ideal not a patsy with a taste for dark meat, Esmeralda lives, etc) but all of the salient themes of Hugo's novel, namely religious hypocrisy, discrimination, racism, lust, and class struggles are addressed by Disney all while preserving the "G" rating of the film. Bravo.
If you haven't watched the above Youtube clip do so, and you'll forever change your opinions of other, lesser Disney villains. In this song, the antagonist launches into an impassioned and desperate supplication to the Virgin Mary as he attempts to reconcile his falsely perceived moral superiority with the feelings of lust that Esmeralda has stirred in him. The depth of the crisis of faith is so compelling, and so perfectly interwoven with familiar passages from the standard Latin mass (Kyrie Eleison, much of The Confiteor, etc.) that you may well forget that this is taken from a cartoon intended to be watched by children.
For example, in the course of his appeal to the divine for guidance, Frollo exemplifies the human condition all too well by transferring the blame for his failings on others. In this case, Satan...
After which point he decides to go for the gold medal of villainy by asking The Virgin Mary to either murder Esmeralda for seducing him and send her immortal soul to hell, or to transform her into his completely subservient sex slave. Y'know, whichever is easier. Thy will be done and all that...
In terms of establishing a villain as a villain, there's really nothing more that Disney needed to do than include this song rendering his earlier attempt at infanticide superfluous. Arguments can be made that Frollo is simply acting within the zeitgeist of 15th century France, but even so I doubt anyone in the audience expects him to make it to the end credits alive. To that end, while most viewers will be waiting for Frollo to meet a fitting, if terrible (and all-too-common) fate as a result of his megalomania, they probably aren't expecting him to be consigned to hell by the face of Satan after one of the most clear-cut examples of sanctimony to be committed to film.
It is completely understandable that most of the Disney fans have chosen to forget about The Hunchback of Notre Dame, a film which struggles to reconcile its adult themes with the juvenile audience which it is targeting. Several of the sillier moments of the films, namely the trio of comic relief gargoyles (lead by Jason Alexander), seem like hollow attempts to distract the audience from the darker moments of the plot. To the network comedy watching hoi polloi, Jason Alexander is amusing enough but he is too poorly utilized to lighten the bleak, brooding atmosphere that Hunchback establishes and never moves away from.
If the movie scrapped the zany musical numbers, or the hellfire and damnation themes, I think it would be stronger and better received, though I'm not quite sure how you'd produce a purely secular version of The Hunchback of Notre Dame. The Hunchback of a Large, Municipal Structure Which Employs Non-Ecclesiastical Bells as a Means of Broadcasting Chronological Standardization Across a Medieval Hub of Commerce doesn't quite have the same... ring.
As an afterthought, it is nice to hear that Square-Enix is including Hunchback as a playable world in the new Kingdom Hearts 3DS title Dream Drop Distance since this may help the movie enjoy a well-deserved, and much needed, resurgence in popularity. In the world of Square-Enix, one can imagine the hypocritical and genocidally inclined Frollo finding a fast friend with the mass-murdering, nihilistic megalomaniac Kefka Palazzo.
Now that would be some yaoi I'd pay to see!










