THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Tuesday, June 25, 1996 TAG: 9606260501
SECTION: DAILY BREAK PAGE: E1 EDITION: FINAL
TYPE: Movie Review
SOURCE: BY MAL VINCENT, MOVIE CRITIC
LENGTH: 86 lines
DISNEY'S 34TH animated feature is a bold, innovative and sophisticated musical drama that ranks among the best in the studio's illustrious past. It is proof positive that the new Disney studio, a rebirth of animation that began with ``The Little Mermaid,'' will not be content to merely remake past hits.
Here, the animators take a daring risk and, for the most part, it pays off. It is an instant classic that can be seen in different ways by different ages.
It's almost too bad that it is called ``The Hunchback of Notre Dame'' and is based on Victor Hugo's dark, foreboding 1831 novel, which, among other things, was about bigotry, hypocrisy and poverty with a liberal dose of criticism for the Catholic Church thrown in.
But to condemn Disney's musical version for not adhering to the original seems a little like condemning oranges for not being apples. Does any literate person believe that the long-running hit Broadway musical version of another Hugo novel, ``Les Miserables,'' reflects the original? Yet it is adored, or tolerated, for what it is - and has made the novel more popular.
``Hunchback'' is likely to experience the same success. It is, from libretto to staging, the essence of the Broadway theatrical tradition.
But will it play to children?
Yes, there are intense scenes. Yes, there are scary moments. But, after all, generations of children have survived, albeit traumatized, the death of Bambi's mother.
For the most part, children will enjoy the wisecracking gargoyles, Victor, Hugo and Laverne, and will be enthralled by the deep, lustrous colors and action.
But they will not enjoy it as much as ``The Lion King.'' It doesn't have those kinds of vaudeville belly laughs.
Quasimodo, the deaf and disfigured bell ringer of Notre Dame cathedral, is now a lovable misfit who longs to be accepted - a feeling familiar to all children. Tom Hulce brings a vulnerable quality to both his speaking and singing voice.
Esmeralda, the Gypsy dancing girl given voice by Demi Moore, is a bit much - too aggressive and flamboyant. Phoebus, the officer who takes one look and mutters ``What a woman!'' has the self-mocking voice of Kevin Kline. He is less stiff than most Disney heroes, but still, the comic possibilities are largely missed.
I would have liked a good deal more of Djali the goat, a Disney character if there ever was one. The gargoyles, too, could have been more witty, given that their only assignment was to provide comic relief.
There are little asides that will delight adults, such as a reference to the flying monkeys in ``The Wizard of Oz.''
The music, generally, is not up to the par of some recent Disney outings. Stephen Schwartz's lyrics are a good deal better than Alan Menken's music, but both may be improved by repeated hearings.
``Out There,'' Quasi's longing for an outside world, is the best song, but one gets the idea that ``Topsy Turvy,'' the upbeat festival number, was meant to be. It's not in the same league with ``Be My Guest'' or ``Under the Sea.'' The opener, ``The Bells of Notre Dame'' is more exposition than melody. Esmeralda's ballad, ``God Help the Outcasts'' seems rather bland, although it will get a big pop push by Bette Midler.
Most interesting, and most rewarding on an adult level, are the companion pieces ``Heaven's Light'' and ``Hellfire'' - contrasting viewpoints of Esmeralda as sung by an adoring Quasi and the villainous Frollo. The latter song is particularly sophisticated in its phrasing. The influence of Gypsy and liturgical music is much present.
The villain, Frollo, is surely the most complex in the Disney canon. He is sexually and morally repressed in an introspective way, and wonderfully played by Tony Jay.
As for the computer effects, the crowd scene, purported to picture 3,000 figures, is something of a dud. Hopefully, the hand-drawn, old-fashioned animation will predominate.
``The Hunchback of Notre Dame,'' both musically and dramatically, plays effectively on different levels, which, after all, is what a classic must do. ILLUSTRATION: Color photo
Walt Disney Pictures.
Graphic
MOVIE REVIEW
``The Hunchback of Notre Dame''
Cast: Voices of Tom Hulce, Demi Moore, Kevin Kline, Jason
Alexander, Tony Jay, Paul Kandel, Mary Wickes
Directors: Gary Trousdale and Kirk Wise
Music: Alan Menken, lyrcs by Stephen Schwartz
MPAA rating: G (some drama intense for the smallest ones)
Mal's rating: Four stars by CNB