If I were a more well read man then perhaps I would know the
classics. Most certainly the name of Victor Hugo is one that I’m aware of, but
this familiarity comes to me via other media, which have adapted his novels for
their purposes. My next blog-posts I will address two of the more successful to
be done by cinema during the silent era.
Lon Chaney
Probably the most renown of these
is the 1923
version of “The Hunchback of Notre Dame”. My personal history with the Hugo
story is a little funny. Having never read the novel, I first became aware of
it thanks to the images of Lon Chaney as Quasimodo that I saw in Famous
Monsters Magazine. My gut reaction was that I thought he looked pretty damned
cool! A little later I did catch the Charles Laughton version, but aside from
one or two scenes that have stuck with me, I believe that I was bored by it. My
best "schooling" in the work came via the Classics Illustrated
adaptation drawn by Reed Crandall. I've never caught the Disney animated
version but I did see a live action show, based on that version while visiting
Disney-MGM about a dozen years ago. All this culminated with a vague
familiarity of the story. But recently I took in the silent film version.
Charles Laughton
Chaney is justifiably lauded for his
portrayal of the title character. Quasimodo's introduction is one of my
favorite scenes in the film. His bitterness and spite for the masses, whom he
views below from the bell tower, is expertly conveyed through Lon's acting
talents. Sure the make up looks a tad primitive 90 years later but it's still
quite effective. In our modern era it's almost unbelievable to realize that the
actor was responsible for his own make up, the binding system used to contort
his body and the stunt work. I had to smile at later scene where we visit the
"hall of miracles". In the story this is where the charlatan beggars
ease out of their fake contortions and into their normal appearance. In real
life, Chaney had to do this nightly! I'll also add that this performance
clearly was the inspiration for Jack Kirby's visualization of the Toad
character from the X-men.
This version the story was able to engage me
very much. I do have some beefs with a few points. The character of Maria is identified
in the inter-title cards as the "queen of the gypsies". Seeing how
vehement her hatred for gypsies was I wonder if this label
was meant to be sarcastic? In any event, I found the honorific a bit confusing.
Also, her "true identity" was telegraphed from a mile away. I also
didn't like her final treatment. To be honest I can't recall the Maria
character from the other versions that I know. I wonder if she in the original
novel or simply an addition to the screenplay? I was also uncomfortable with how
the character of Phoebus is suddenly transformed from a cad into a romantic
hero. The switch seemed too sudden for me. Finally, as I've found in a few
other silents, the ending is just so damned abrupt. There's not event a hint at
an epilogue, yet the story leaves so many threads dangling.
I saw this feature thanks to a 50 movie
‘mega-pack’ collection of horror films and the print quality wasn't very good.
Despite this fact I still give this a big ‘thumbs up’. The
actually viewing experience exceeded my expectations going in.
Pat
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