Despite it’s classic name and high reputation within both animation and film in general, Walt Disney Pictures is a studio that has been notorious in the past for simply recycling the same formula from film
to film. Sure, there may be great songs, good animation, and even cool
characters but more often that not, Disney is quick to pull out its
obvious pick of used-up tricks: damsels in distress, idyllic Prince
Charmings, and cute little animals as comedic relief. This is the
pattern that the “happiest place on Earth” has shoved down our throats
for decades, and all for the reason that they know that we will eat it
up each and every time. Despite its annoying repetitiveness, we are
spellbound every time one of those Disney films come out and go out in
droves to see them no matter how contrived it is. Occasionally though,
Disney will do something new, something creative, and daresay something
unique. Films like Pinocchio and Beauty and the Beast explore
areas never previously explored in animated territory, creating
wondrous and imaginative worlds with great characters and even better
stories. I love it when one of those Disney films come around, which is
the exact reason why I loved The Hunchback of Notre Dame.

This simplified version of Victor Hugo’s classic story centers on the deformed bell-ringer Quasimodo (Tom Hulce), who resides in a state of isolation at the top of Notre Dame Cathedral. Having the age-old
desire to escape his isolation and join the thriving city of Paris
below for one day, Quasimodo has abstained from this per the orders of
his master Judge Claude Frollo (Tony Jay), a self-righteous persecutor
of gypsies who has mentally twisted Quasimodo in believing that he is a
monster, and as such should remain in the bell tower. At the behest of
his imaginary (and only) gargoyle friends, Victor, Hugo, and Laverne
(Jason Alexander, Charles Kimbough, and Mary Wickes respectively),
Quasimodo decides to disobey his master and attend the Festival of
Fools: a gathering of immense celebration and craziness that comes to
Paris but once a year. Upon arriving, Quasimodo finds himself the
target of ridicule and humiliation due to his appearance, but his saved
by a kind and beautiful gypsy girl named Esmerelda (Demi Moore). With
that meeting, Quasimodo finds himself pitted against his master Frollo
as he not only defends Esmerelda from Frollo’s assaults, but becomes a
key player in saving the entire gypsy population from Frollo’s
genocidal persecution as well.

This film is easily has the darkest tone of any Disney animated film, and thrives because of it. The Hunchback of Notre Dame ventures into new territory and themes not explored within their entire previous history, such as persecution, tolerance, and even religious bigotry.
Unlike previous films which only seeks to tell the same “happy ending”
story over and over again, this film elucidates its story with purpose
and maturity, containing a rather strong message at its core without
simultaneously beating you over the head with it. This is all
brilliantly done, and reflected the best when examining the antagonist
of the film: Judge Claude Frollo. Frollo is easily the best Disney
villain ever created, as he is more than just a scheming maniac or a
scornful witch. He is a dark and hateful man, seeing corruption within
the entire world around him and seeking to eliminate it all costs;
justifying his actions by his devotion to the word of God. He commits
murder, burning, persecution, and imprisonment of Quasimodo for two
decades all in God’s name, and honestly believes himself to be a good
man. This character took the film in a much more mature and intricate
direction, just as the film did with its overall tone and story.
Because of that, the film is new, fresh, and exciting to lay your eyes
and ears on.

Speaking of eyes and ears, this film is a wonderful film to look at and is a great reminder of just how amazing the Disney Renaissance was. From the sweeping facades of the Notre Dame Cathedral, to the
splendidly detailed animation of Quasimodo’s facial expressions and
body movements, the visuals of this film are utterly fantastic and
stand as a milestone for animation as a whole. Looking at this film by
itself, it’s hard to believe that there ever was a time that Disney cut
corners with their films through such tricks as cutting the number of
animated frames and using stock footage. No, The Hunchback of Notre Dame,
is not like that at all as it pushes itself to the visual limit and
more. Every frame and every shot are composed beautifully and to the
utmost detail that the months of time and effort the animators spent
studying France really shows. Paired with these glorious visuals are
the original soundtrack, which holds some of the best Disney songs ever
written and produced. Unlike most musicals, there is not a single bad
song on the entire setlist, as they are all solid and memorable at the
very least. They carry a great emotional variation to them at touches
upon all spectrums. From the hopeful song “Out There,” to the jovial
“Topsy Turvy Day,” and the appropriately juxtaposed “Heaven’s Light”
and “Hellfire,” the film’s soundtrack is extremely well-thought out and
executed beyond even my expectations. By themselves these songs are
great, but together they are more than that. They are wonderful.

This is easily one of the best films that Disney has ever created, and in my opinion belongs at a level surpassed by none other than possible Beauty and the Beast. Even though it deviates from
the original source material, it never talks down to you or treats you
any less intelligently than you are. It’s greatly written,
extraordinarily executed, and pleasing to the eyes, ears, and mind. It
is a fantastic film and one that you should definitely check out if it
somehow passed you by.