A Deeper Dive into the Hunchback of Notre Dame

As I have said before on this blog, I have always considered myself fairly well-versed in Disney. However, there are a few films I never saw as a child (specifically, I only saw half of both Pocahontas and Aladdin, and I never saw the Hunchback of Notre Dame or Fantasia). One of my goals with this class was to become more well versed in what I was unfamiliar with, as well as take a deeper dive into those that I was familiar with. A lot of this has been in quest to find My Favorite Disney Movie. My answer to that has always been either Mulan or The Lion King (I was extremely pleased that The Lion King got added to The National Film registry in 2016 because it reinforced that although the choice might be a basic one for my favorite Disney film, it is nonetheless valid), but what about those I don't remember very wel? Or have never seen? Those two films have always been in a tier of their own and I never thought another film could crack it... until now.

Having finally watched it, I can now say The Hunchback of Notre Dame has reached that upper eschalan I thought was oh-so-exclusive. The movie was so thought provoking that I felt extremely rewarded by giving it a chance.

The entire film was, essentially, an indictment of the The Catholic Church as a religious institution. The very apparent hostility and outrage from Disney toward a prominent institution (and a religious one nonetheless) shocked me. Not only did this attack on religion come as a shock, the movie broke so many patterns present in other Disney animated films that, having spent half a semester discussing the consistencies across Disney movies, it was almost a breath of fresh hair (granted, an extremely twisted and dark breath of fresh air, but fresh nonetheless).

The bad-assery of the female

The 90s renaissance is considered a turning point for the depiction of Disney princesses (Ariel is a bit more assertive, Belle bothers to pick up a book, etc). Many people though, would argue that the true progressive female isn't depicted until later, once Merida, Anna, Elsa, and Moana come into the picture. However, I would argue that Esmerelda fits in even amongst these 21st century princesses. She is, quite frankly, the most bad-ass female that Disney has ever depicted. In fact, the audience views every male action through the lense of Esmerelda's actions, and none of them are able to compare.

For example, Captain Phoebus is completely unable to defy Frollo at the beginning of the film. When Frollo demands Quasimodo to be tied down, Captain Phoebus complies, despite knowing in his heart that it is wrong. However, in perhaps my favorite scene of the movie, Esmerelda not only defies Frollo and cuts Quasimodo free, she also confronts Frollo and declares him unjust and corrupt. This confrontation is not done in a timid fashion. She confronts him in front of the entire Parisian community in an act of vocal, un-submissive courage. She is, essentially, attempting to spark a protest against the most powerful man in the city having no tangible power of her own.

There is no questioning her independence. There is no questioning her strength. There is absolutely no questioning the number of times she saves the main male characters throughout the movie. Esmerelda is a princess who breaks any previous patterns that Disney has set across all boards: attitude, action, class, and color.

The rebranding of masculinity

I loved the two male heroes of this story: Quasimodo and Captain Phoebus. These two, in contrast to the defining qualities of other male heroes in Disney films (strength, attractiveness, bravery, aggression perhaps?), are defined above all by their kindness. The film-makers made their goodness their most apparent characteristic by undermining the other traditional qualities a Prince would have. Neither Quasimodo or Phoebus are obviously brave at the beginning (they are both terrified to defy Frollo), and neither are extremely attractive (with Quasimodo being the most apparent as he is literally disfigured).

In one of the most heart-wrenching scenes, Esmerelda kisses Phoebus in front of Quasimodo, who has fallen in love with her. In witnessing this scene, Quasimodo cries. However, despite his knowledge that he will not be with Esmerelda, Quasimodo still leaves to go help her when she could be in trouble. This is one of the only times I can recall where it is extremely obvious that a girl will NOT be the reward for the hero at the end, but he acts despite this. This shows that not only is it acceptable for a hero to emote, he is able to still do the right thing, even if that action is done in knowledge of a "female accessory" being completely off the table.

Phoebus, at one point also comments "what a woman" about Esmerelda. He doesn't say this when Esmerelda is acting weak or submissive to him, or in light of her beauty, but rather he makes this comment after she beats him in sword fighting (without a sword!). By highlighting his admiration for her after his defeat, the filmmakers showcase two things - a woman can be admired for her strength, and a man does not need to be defined by his physical superiority.

This is a movie where what makes a "good man" and what makes a "bad man" is not confounding or confusing to the audience. Ultimately, despite appearances, reward, or boldness, both men are good because they are able to recognize the strength of a woman and act on what is right.

A criticism of The Catholic Church

The most apparent message behind this movie was the critique it offered of Christian religious establishments. It seemed to emphasize that religious institutions are built on a foundation of hypocrisy. Despite Jesus' own status as an outcast (brought up in the song ""), the church rejects those it views as unworthy.

Frollo was the embodiment of everything wrong with the church. He is power hungry, unjust, and cruel to those he views as different or inferior. He even plays the part of God, telling Frollo he is forgiven after trying to escape the tower of the church (which Frollo declares "a magnificent prison, but a prison nonetheless"). However, despite him playing God, in one of the largest attacks against the church, the filmmakers depict Frollo as unresponsive to Quasimodo is his time of need, when Quasimodo is begging for help. The Catholic Church provides a false sense of security. The God that the Church represents is really not God at all. Quasimodo thought Frollo cared but was proven wrong when he failed him. Frollo never truly loved Quasimodo but used him to gain power (as represented by Quasimodo calling Frollo "master" instead of "Dad"). Frollo, like the Catholic Church itself, never loved Quasimodo like a real father would, only abused him like a slave.

In contrast to Frollo, Esmerelda can be seen as what the church is supposed to be but has failed to be. She declares to Frollo, "You speak of justice yet are cruel to those most in need of your help." She also is the one person who saves those who are in trouble. Phoebus, in fact, is only inspired to save a family after witnessing Esmerleda's own actions. Quasimodo is only inspired to break free and accept himself in light of Esmerelda's acceptance. They are, in a sense, her disciples. They learn from her.

Esmerelda nearly dies at the stake because she refuses to listen to the corrupt leaders of the church. She never backs down from her lowly class as a gypsy (and likely a prostitute as evidenced by the line "dancing in the street for coins") and, though she is rejected by the religious establishment of the time, ultimately triumphs when Frollo is defeated. Esemerelda is a martyr for those who are under-represented. She is the film's Jesus.

By making the ultimate savior of the people a low-class woman, the film-makers are calling out what they see is wrong with the Catholic Church. It has forgotten the foundation of Jesus. It has failed to be what Jesus embodied: accepting and loving.

There is so much more that this movie has to offer. Such as, is Quasimodo schizophrenic (he has voices in his head manifesting as gargoyles!)? Is the Wizard of Oz ("fly my pretties!") reference almost too perfect? What message exactly does this movie send about the importance of beauty? Is the fact that we can see the first scene from Beauty and the Beast at 2:30 in this video the coolest thing ever?

Basically, the Hunchback of Notre Dame is an incredible, fascinating movie that I am now declaring CRIMINALLY underrated and under-discussed. The soundtrack and animation are both fantastic, and the plot line is perhaps the most metaphorical one Disney has ever produced.