King Louis XI is a wise and old king and Frollo is the Chief Justice. Frollo gazes on the gypsy girl, Esmeralda, in the church during Fool's Day and sends Quasimodo to catch her. Quasimodo, with the girl, is captured by Phoebus, Captain of the Guards, who frees the girl. 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. Later, at a party of nobles, Esmeralda again meets both Frollo, who is bewitched by her, and Phoebus. When Phoebus is stabbed to death, Esmeralda is accused of the murder, convicted by the court and sentenced to hang. Clopin, King of the Beggars; Gringoire, Esmeralda's husband; and Quasimodo, the bellringer, all try different ways to save her from the gallows.Written by
Tony Fontana <firstname.lastname@example.org>
A Revealing Mistake says: "Quasimodo's misplaced eye never moves or blinks, despite the fact that it is a prosthetic." But this deformed eye would not reasonably be expected to blink or move - because it IS deformed and misplaced! Further, the very fact that it is a prosthetic would further explain why it never moves or blinks. See more »
What a great film! I've seen bits and pieces of it throughout my life, but never paid it much attention because I figured it was just another old monster movie. Not true! For whatever reason, I paid attention when I caught it on cable this afternoon, and I was MESMERIZED! It's so complex, and well-acted, and enlightened. The story revolves around a beautiful Gypsy woman, pleading for the rights of her people against pervasive anti-Gypsy prejudice--a problem in the Middle Ages as it was when the film was made in 1939. (In real life, Hitler was just a couple of years away from attempting to exterminate the Gypsy people, which would leave some 200,000 to 300,000 Gypsies dead by the time this film was six years old.) She is loved by practically every man who meets her, among them a grotesquely deformed bell-ringer, a starry-eyed itinerant singer/poet/writer, a dashing police captain, and the bitterly warped Chief Justice Frollo. The acting is great, the characters are three-dimensional. Laughton, with just a few grunts and grimaces, conveys all the sorrow and pathos and innocence and madness behind hunchback's mask-like face. And one can feel sorry--almost--for the evil Frollo; there is indeed a human being down there somewhere, just as Esmeralda says. The passions of the mob are realistic, as they vacillate between merciless sadism, sentimentalism, and a thirst for justice. All these characters, and all the social and political forces of medieval Paris (and 19th-century Paris, and 1930's liberal Hollywood) come swirling together, and it's not always clear who's right and who's wrong, and the results are fascinating!
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