Some years ago I saw the silent version of this story, starring Lon Chaney, Sr. in the title role of Quasimodo, and was completely taken with it, although I have to confess to not being particularly familiar with Victor Hugo's novel. This, of course, has a very different feel than a silent movie would have, and for sheer entertainment value I have to say that I preferred the 1923 version more. Having said that, I wouldn't at all want to suggest that this is anything other than a very good movie. Probably because of voice, it offers greater reflection on a variety of issues that were present in the 1923 movie (and, presumably, in the novel) but were less fleshed out just because of the medium.From the very beginning we're introduced to racism (or, at least, nationalism) as it's revealed that gypsies have been forbidden to enter Paris without formal permission. Some do make it in, of course, including Esmeralda (played by Maureen O'Brien), who becomes the main engine who moves the story forward, as she's either pursued or admired by a variety of men, including the Hunchback. There's the issue of sanctuary introduced, as both Esmeralda and the Hunchback enjoy the protection of the church. How many limits can be placed on the concept of "sanctuary" - and, if any limits at all are placed on it, is there really a concept of sanctuary? There's the obvious reflection on class struggles in 16th century Paris, as the nobility, the townspeople and the beggars find themselves clashing - ironically in the case of the latter two, who were really fighting for the same thing: the enforcement of sanctuary, which also gives us an introduction to the problem of a mob mentality, as people begin to be fighting for the sake of fighting. What's the role of the King (Louis XI, played by Harry Davenport) - a thought that came to me as the nobility prepared a document to "force" the King to have Esmeralda executed? Do they consider themselves above the King? 16th century France was not a constitutional monarchy like, say, 21st century Britain. If the King could be so easily controlled by the nobility then what was the purpose of having a King? And, of course, in the depiction of the relationships between Esmeralda and her various interested suitors, there are a variety of takes on love and what it means. As I said, most of this was present in the 1923 version, but could be fleshed out more fully in a "talkie."I enjoyed Charles Laughton's performance as Quasimodo. For me, Laughton's signature performance will continue to be Captain Bligh from 1935's "Mutiny on the Bounty" but he handled this role well, and made Quasimodo a sympathetic character - as he must be if the story is going to work. It was a limited role in terms of dialogue, but he captured it well - perhaps not quite the equal of Chaney's '23 performance, but quite good. His makeup was effective, and I understand that Laughton took the role so seriously that he actually went to great lengths to experience some of Quasimodo's pain as scenes were being shot. O'Hara (who I know primarily from 1947's "Miracle On 34th Street") also handled the role of Esmeralda quite well. Davenport's take on Louis XI was interesting - not how I would have expected the King to be portrayed. Much gentler, kinder and more concerned with the lower classes than I think would have been realistic. The movie also featured Thomas Mitchell as Clopin (not as effective as Ernest Torrence in 1923) and Cedric Hardwicke as Frollo, who offered a dark and almost creepy take on Frollo.Deeper and more reflective than the silent version, I still felt that it fell short of that version in entertainment value, but it's very good nonetheless. (7/10)

Quite a memorable adaptation of Victor Hugo's novel, written more than century before. I've seen it quite a few times over the years. Hugo's main purpose in writing this novel, which he titled simply "Notre Dame de Paris", was to promote preservation of surviving Gothic architecture, such as the Cathedral of Notre Dame, in and around which is the site of action in this film. Some changes were made in the details of the main characters and the plot: most notably the survival of the two main characters: Esmeralda: the beautiful gypsy girl about which all the drama centers, and the grossly deformed Quasimodo, whose very hunched back was but one of several physical deformities, making him generally regarded as a monster, to be shunned. In the book, Esmeralda is hanged as a presumed witch and murderer, and the grief-stricken Quasimodo commits to death at her gravesite. Presumably, this was thought too tragic an ending for a general film audience. Thus, the parting scenes have Esmeralda being carried off, in triumph, along with her poet husband Gringoire, while Quasimodo remains perched on the edge of his bell tower, uttering the line "Why wasn't I made of stone, like thee", talking to a grotesque figurine on the bell tower rim. Of course, he is lamenting his human desire for female companionship, specifically with Esmeralda.The main characters are nearly all members of one of two groups residing within Paris: the political and clerical elite, or various virtual outcasts, including Quasimodo, the gypsy Esmeralda, residents of the 'Court of Miracles', and the reform-minded poet Gringoire, who forms a loose association with the 'Court of Miracles' and Esmeralda, as possible accomplices in engineering reform. the 'Court of Miracles' was an actual large slum area in the Paris of the 15th century: the lawless abode of beggars, thieves, prostitutes and some students. It was so named because of the many residents who went to other parts of Paris, faking disabilities, returning home daily to discard their 'disability'. Thomas Mitchell plays their unofficial leader: rather like a pirate captain. These two general groups do not always act antagonistically in unison. For example, at one point, a group from the 'Court of Miracles' is preparing to hang Gringoire, saved only by Esmeralda's reluctant agreement to marry him, although she didn't then love him. By the end of the film, she claimed to love him as her husband. In the meanwhile, two members of the power elite have found themselves lusting after her: Captain Phoebus, who saved her from the clutches of the abducting Quasimodo, and Jehan Frollo, the sinister Archdeacon of Notre Dame. She fancies she's in love with the dashing Phoebus, who is already betrothed to the beautiful and wealthy Fleur-de-Lys de Gondelaurier. Presumably, his idea is that Esmeralda will be his secrete mistress. However, Jehan soon murders him from jealousy, then spitefully accuses Esmeralda of this deed, as well as being a witch in causing himself to lust for her. She is sentenced to be hung.Now comes a series of quite implausible actions by Quasimodo, trying to save Esmeralda from being killed. First, he swings down, Tarzan-like, on a rope from a scaffolding outside the Cathedral(a bell rope, in the book!), to grab Esmeralda off her hangman's scaffolding, and swing back up to the higher scaffolding! They then climb up to the bell tower for safety. However, Jehan has the sanctuary right of the Cathedral nullified. Thus, a crowd of 'citizens of Paris', apparently composed of artisans and merchants, gather outside the cathedral to protest the sanctuary nullification. But they are soon overwhelmed by a much larger mob from the 'Court of Miracles', who say they doubt the intentions of the first group. According to an excerpt from the book, this rabble was probably more interested in stealing valuables from within the Cathedral, should they succeed in breaking in. Unfortunately, Quasimodo gets the mistaken impression that the mob has come to hang Esmeralda. Thus, he maneuvers a series of loose stone beams or other heavy stone objects to the edge of the bell tower, to be dropped on the mob(Why were these loose stone objects present?). Then he tips a huge cauldron of boiling liquid(soup?), which runs out the mouths of the grotesque gargoyles, onto the crowd, scalding some to death.(Why was this cauldron present, and how did he heat it so??). Meanwhile, the mob is using one of the dropped beams as a battering ram to punch through the cathedral door, while Jehan is chasing Esmeralda around the bell tower, with the presumed intention of raping her, then taking her to be hanged. Quasimodo now joins this chase, as the king's soldiers arrive to disperse the mob. He catches Jehan and hurls him to the plaza. Gringoire now arrives with the news that the king has pardoned Esmeralda as innocent of crimes, and has decreed the end of gypsy persecution throughout France(with contemporary relevance to the persecution of Jews and gypsies by the Nazis and other groups in Europe).Charles Laughton is superb in eliciting a combination of repulsion and pity in the audience. Ironically, Quasimodo's lifelong guardian, Jehan, is a psychological monster, in some respects, complementing Quasimodo's physical monstrosities. The film doesn't bring out the fact that, in the book, Quasimodo was an abandoned gypsy, while Esmeralda was stolen by gypsies as an infant, thus explaining her non-gypsy appearance.

With the end of the 15th century and the end of the 100 Years War, the people can once again hope under the wise old King Louis XI. The gypsies are barred from entering Paris but everybody is infatuated with gypsy girl Esmeralda (Maureen O'Hara). Quasimodo (Charles Laughton) is crowned the king of fools by the crowd. Esmeralda seeks sanctuary in the church from the guards. Chief Justice Jehan Frollo (Cedric Hardwicke) tries to trick Esmeralda and sends Quasimodo to catch her. Phoebus Captain of the Guards (Alan Marshal) arrests Quasimoto and frees the girl. She falls for Phoebus and is taken in by the bombastic king of the beggars Clopin (Thomas Mitchell). Poet Pierre Gringoire (Edmond O'Brien) is kidnapped by Clopin's men and Esmeralda saves him from hanging by promising to marry him. Frollo rounds up all the gypsy girls in search for Esmeralda. Quasimoto is flogged in the town square and only Esmeralda shows mercy by giving him water. Esmeralda is invited to dance for a grand party. Phoebus is flirting with Esmeralda and then next, Phoebus is found stabbed to death. Jehan admits to the stabbing to his brother archdeacon Claude Frollo and railroads her for bewitching him. Esmeralda is convicted of the murder and sentenced to hang. Clopin, Gringoire and Quasimoto all try to save her.The movie comes alive whenever Charles Laughton's Quasimodo comes on the screen. He embodies so much humanity. He is so pitiful in the hands of the fickle crowd. Newcomer 19 year old Maureen O'Hara is beautiful and shows real power acting opposite Laughton. Cedric Hardwicke is a solid villain. The movie suffers a little whenever Quasimodo isn't on the screen. It's not as good but only by comparison. The production is grand with large crowds and sets. However it is one performance above all that elevates this movie.

Although many actors including Lon Chaney, Anthony Quinn and Anthony Hopkins have strapped on the hunch over the years, none have come close to equalling let alone surpassing Charles Laughton's performance as Quasimodo in the 1939 version. Along with impressive sets, moody black and white photography and a powerful Alfred Newman score, this film remains a formidable artistic achievement.Despite Laughton's makeup delivering plenty of shock value, his character retains sympathy. The audience is denied the comfort of seeing Quasimodo as a creature that could not exist in real life. He is neither a supernatural being nor a creation of a mad scientist. Laughton's Quasimodo is an afflicted but real human being - a kindred spirit of the true-life Elephant Man. Laughton is barely recognisable - those who know his work may recognise him by the mole on his left cheek. Irish actress Maureen O'Hara in her Hollywood debut plays the other key figure in the story, Esmeralda. She fairly glows in this film, and has an effect on men not unlike the effect Cameron Diaz's character has on them in "Something About Mary". Males of all ages, hunchbacked or otherwise, are attracted to her. Many scenes stay in the memory. When Quasimodo is caught watching Esmeralda dancing during the Festival of Fools, his head is pushed through a hole on a stage to be evaluated by the crowd. Although great advances have been made in makeup and special effects since 1939, the first sight of Laughton's Quasimodo still has the power to shock. In the film's most disturbing sequence, Quasimodo is whipped for attempting to abduct Esmeralda on the orders of his guardian. After his tunic is ripped away to expose his hump, he receives 50 lashes in a scene that is still brutal despite 70 intervening years of cinematic excess. The brutality is only relieved when Esmeralda steps forward to give him water. When Quasimodo attempts to hide his ugliness from Esmeralda in the bell tower of Notre Dame, it illustrates Laughton's ability to project a character through pounds of makeup. He also projected onto his character the way he felt about his own lack of physical attractiveness.Laughton searched within painful life experiences to inform his roles. He didn't have to look far for pain in this demanding film. Apparently the hours spent applying his makeup put a strain on Laughton's relationship with his makeup artists, and at some point, they humiliated Laughton by pinning him down and squirting soda water in his face. Laughton drew on such experiences to help him plumb the depths of Quasimodo's despair. In my opinion, through Laughton's inspired performance and superb production values, the 1939 film eclipses all the other versions. Despite many remakes, this remains the definitive film version.