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| | Film as Art: Danél Griffin's Guide to Cinema |
 | | Thus, the tale of Notre Dame’s gloomy, deformed bellringer Quasimodo and his love for the beautiful gypsy Esmeralda is not unfamiliar to me, and while I cannot to compare this Hunchback, a low budget 1982 made-for-TV production, to Hugo’s book, I am in the position to compare it to these earlier, great films. |
 | | Both films are considered classics, and deservedly so: They had stirring performances from two brilliant leads, and both carefully took the time to create the characters of Quasimodo, his crush Esmeralda, the lustful priest Frollo, and the other key cast members. |
 | | In addition, both contained epic scopes, showcasing ancient Paris in grand set pieces, including Notre Dame and its twisted gargoyles, the godless "religious" courtrooms that accept torture as a means of confession, and the dark, anarchic alleyways of Clopin’s homeless kingdom—the true face of France and its corrupted politics. |
| uashome.alaska.edu /~jndfg20/website/hunchback.htm (1198 words) |
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