PHENOMENALITY: *uncanny*
MYTHICITY: *fair*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *psychological, sociological*
Many critics before me have
observed that though certain films starring Lon Chaney Sr. had a huge influence
on the American articulation of horror-films in the sound era, most Chaney
roles tend toward suspense or melodrama rather than pure horror. Chaney’s famed HUNCHBACK OF NOTRE DAME is
something of a borderline case. One can
easily imagine the story writing out Quasimodo, or substituting some less
grotesque character, at which point the story would become pure historical
melodrama.
For that matter, it might be
possible to render a version of Hugo’s story in which the hunchback’s tragic
freakishness was given the same naturalistic treatment seen in other melodramas
about teratological unfortunates, such as David Lynch’s ELEPHANT MAN. To be sure, Hugo’s treatment of his deformed
antihero is more naturalistic than one sees in many mainstream horror
movies—not least Chaney’s next great exploration of physiognomic contortion,
THE PHANTOM OF THE OPERA. But even without
the use of the tropes of horror-narratives, I’d still consider that Hugo lends
an air of strangeness to Quasimodo, which qualifies both the original novel
and Chaney’s treatment of it for my category of “the uncanny.” I’d like to think that when I include the
Hunchback in the pantheon of metaphenomenal monsters, I’m not being unduly
influenced by how often Quasimodo appeared in monster-film magazines, but I
can’t deny that could be an influence.
The main plot-thrust of the film
follows that of the novel: the real struggle is less that of the hunchback
Quasimodo and his tormentors than the large-scale conflicts between the court
of French King Louis XI, the Catholic Church, and a quasi-proletariat that
rises against Louis’ injustice, led by “Clopin, the King of Beggars” (Ernest
Torrence, who played Professor Moriarty
in the 1932 film SHERLOCK HOLMES). The novel had two villains: Claude Frollo, the lustful archdeacon of Notre Dame, and his nasty brother Jehan. The film gives Claude a saintly makeover and promotes Jehan to main villain, making him a Machiavellian type of plotter fomenting conflict for his own ends. Jehan takes over Claude's role in manipulating Quasimodo, though the hunchback's reasons for obeying Jehan are obscure since Jehan isn't a father-figure to Quasimodo. He also takes charge of lusting after the
gypsy-girl Esmerelda and stabbing Phoebus, the young lord who pursues the girl. Esmerelda is consistent as an innocent drawn into
these complex plots, horrified by Quasimodo’s ugliness but capable of taking
pity upon the tortured hunchback.
Esmerelda’s mother, who loses the girl as an infant to thieving gypsies,
appears in this film-version, and makes such a brief appearance that I wondered
why she was included. Some adaptations
don’t bother with the mother, and in truth she doesn’t really have much a role if one
doesn’t plan to adapt the uncompromisingly tragic ending of the novel—which the
1923 HUNCHBACK does not do.
I won’t plan to
address the plot in much detail. It’s familiar to many readers from multiple
adaptations, and I must confess that whenever Chaney Sr. wasn’t onscreen, I found the direction
by Wallace Worsley stately but faintly boring. Chaney’s performance is the centerpiece, and
even aside from his peerless makeup, he throws himself into the role with great
energy and athleticism. Many of Hugo’s
subtler sociological points are lost, but the film successfully puts across the
image of Quasimodo as an accursed “Fool of God,” whose very existence places
the existence of a loving Creator in doubt.
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