Customer Reviews

NOTRE DAME OF PARIS

5 star:		(25)
4 star:		(9)
3 star:		(1)
2 star:		(1)
1 star:		(2)

 

 

With the huge success of such grand musicals as LES MISERABLES and THE PHANTOM OF THE OPERA, it was perhaps obvious that sooner or later Victor Hugo's classic of love and fate, NOTRE DAME DE PARIS (AKA "The Hunchback of Notre Dame") would also get the musical treatment. Disney had already done it before as an animated film, but this time, the tragic story would be presented as a big operatic musical production. The end result would be somewhat mixed as NOTRE DAME DE PARIS became a theatrical box-office hit in both France and Canada, while underwhelming British and American audiences. (Part of this could be blamed on an English translation that proved to be both repetitive and banal.)

This DVD of NOTRE DAME DE PARIS presents the production in its original French with the option to access other language sub-titles, including English. There is also a 15 minute documentary covering the making of the musical. NOTRE DAME DE PARIS is indeed a sprawling production on a grand scale. It tells the story of the beautiful gypsy Esmeralda and of the three men who are enthralled by her: the soldier Phoebus, the priest Frollo, and Notre Dame's hunchbacked bell ringer, Quasimodo. When Esmeralda is accused of a crime which she did not commit, Quasimodo rescues and shelters her in the sanctuary of Notre Dame. However, things fall apart with tragic results.

Garou does a wonderful job of capturing the pain and humanity of Quasimodo. With his plaintive gravelly voice, his is a touching performance. Helen Segara makes for a wonderfully beautiful, if somewhat distracted, Esmeralda. Daniel Lavoie is appropriately tortured as the nasty Frollo, while Patrick Fiori is solid as the shallow Phoebus. Julie Zenatti makes the usually minor role of Pheobus' fiancée an effectively strong one, while Bruno Pelletier keeps things united as a poet/narrator. The costumes, which basically suggest the story's medieval timeframe, are only partially successful in that some of the modern touches are far too jarring for the story. The choreography also suffers since some of the numbers become far too sprawling and unfocused. There are wonderful touches throughout, however, including the sobering heart-felt finale which is true to the novel. (Something that most filmed versions of this classic tend to avoid.)

Despite its flaws, NOTRE DAME DE PARIS is definitely a show that respects its source material. As a result, it deserves attention and is definitely worth a recommendation.

When you discover the French musical "Notre Dame de Paris," you'll get the feeing that you've stumbled upon a rare and wonderful gem that nobody else has been lucky enough to know about, but you. Thankfully, the video of this fabulous musical is readily available for anyone to see, but this doesn't make it any less of a gem!

The story is that of Victor Hugo's "The Hunchback of Notre Dame," and as people here have mentioned before, this musical sticks incredibly close to the storyline of the novel. Unlike Disney or many Broadway shows, "Notre Dame" doesn't try to gloss up Hugo's tragedy or cover up its many controversial themes with happy endings or peppy little dance numbers.

The setting is the Notre Dame cathedral in Paris, and the time, pre-Renaissance. A poet named Gringoire is the storyteller as he opens and closes the musical with a song about the ancient cathedral and of the many conflicting new changes, inventions, and traditional values that seem to be causing unrest in Paris at the time. A band of wandering gypsies, led by Clopin, enter the gates of Paris in order to start a life in the city. Esmeralda, a young Spanish gypsy girl, catches the eye of Phoebus, a Parisian soldier, and is in turn attracted to him. Phoebus is engaged to a young firl named Fleur De Lys, and his heart becomes torn between the captivating foreigner Esmeralda, and his duty to Fleur De Lys and to the city. Meanwhile, inside the cathedral, both the priest Frollo and the deformed bellringer Quasimodo see Esmeralda, and fall in love with her. Frollo, unable to ever have Esmeralda as his own, becomes consumed by jealousy. Events reach a climax as there is a murder... a framing... and an innocent thrown in jail.

The most wonderful aspect about this musical is that everything is told in song and dance, with hardly a speaking line. The music is very distinct, dominated by mostly acoustic guitar, traditional instruments, and easy Andalusian beats that give you a flavor of the time and place, without sounding outdated. There are few huge, overwhelming, sweeping musical numbers, which makes the music much more character-centered. And also, because music and song dominate the entire 2 + hours instead of only having only five or six standout tracks to listen to repeatedly, none of the music ever "gets old," and you'll find that the tunes are just as fresh the thirtieth time around as the first. (Believe me on this one!)

The singing is amazing. My favorite singer is Bruno Pelletier (Gringoire) who has a clear, very powerful baritone. Another star is Garou (Quasimodo) whose surprising,emotional raspy growl is perfect for the role of the tortured Quasimodo. The two main women's voices are relatively softer than most Broadway musical actresses', but their softness fits perfectly in their roles as a kind gypsy, and a young innocent girl.

If you have even the slightest interest in musicals, please pick this one up. It might be on the expensive side, but believe me, the music, singing, and emotional storyline will stay inside your DVD player, and inside your memory for a long time to come.

I attended a live performance of "Notre Dame" in 2000 in Strasbourg, France (where I am from originally) and positively overwhelmed by the show, and more importantly, by the performers.

Unlike some critics, I think this DVD is absolutely awesome, as it is able to powerfully channels the lyric quality of most of the songs and dance numbers.

Also, I do not understand some of the gripes I have come across reading the reviews already posted on this website. Granted, the English subtitles will never be up to par with the original lyrics -expecially since most of the songs are in verse and actually rhyme-, but the language used pretty much stays level with the original meaning. Apart from a couple of historical facts lost in translation, what you can read on screen is by and large what is being sung -only less poetic.

Notre Dame's original cast is one of the finest I have ever been treated to. To decide whom is the "best" would be pure folly. Bruno Pelletier, Patrick Fiori, Garou, Luc Mervil, Daniel Lavoie, Julie Zenati and Helene Segara all have overwhelming voices that will sweep you away individually as well as when they perform together.

My only gripe would lay with the cinematography of the "dance" numbers, whose pure magic doesn't lend itself on a small screen. Part Broadway numbers, part Cirque du Soleil acts, the performers you will see in the background are an integral part of the "Notre Dame" experience. Beauty and fluidity of movement alike.

"Notre Dame" struck a chord with French audiences bcause one of its main themes (the fear of strangers, of what is different) was at the heart of French politics when the show opened ( a number of illegal immigrants bound for deportation found shelter in a church of Paris, only to be forcibly removed by Police after the church's doors were taken down). But one does not need to be privy to that particular bit of information to savor the lyricality of the show.

I was on a high for days after I watched this show. It is a profoundly moving, synergistic combination of music, acting and dance that has very little in common with traditional musicals as we know them. French musicals have always developed along a different path to the Broadway/West End tradition, and nowhere is it more evident than in the production of "Notre Dame de Paris".

Before getting into the production, a word about the story. This is slimmed down from Victor Hugo's original novel, but essentially faithful to the text. Even Hugo's major thesis, that the age of the cathedrals will be killed by modernity, is touched upon, although the emphasis is on the fear of the gypsies/foreigners. The only significant omission is the subplot with Esmeralda's mother: in this version, Esmeralda is indeed a gypsy, rather than a child stolen by the gypsies from her mother. The character is thus also altered somewhat from the book, although the essentials remain: she is a young woman who is as yet unaware of her own sensuality and finds herself the subject of the unwanted attentions of two men, while falling in love with a third. Helene Segara is peraps a trifle too deliberate in her flirting at the start, but she is stunning in the second act. Vocally, I prefer Noa's version on the cast recording, but this is a matter of taste.

The production itself is very modern, and very sophisticated. It is not a musical in the classical sense, although there are some elements of rock-operas like "Jesus Christ Superstar". Here, the story and themes are expressed through movement (modern dance) as much as music, and some of the numbers that sound fairly repetitive on the recording (Les Sans-Papiers, for instance) come to life with the choreography, which is clearly the intent. In fact, I'm not sure that choreography and dancing are even the appropriate terms -- it really is more like expressionistic movement.

The staging is modernistic, austere and industrial in theme; allusions are made, although never pounded in, to the plight of illegal immigrants in France and around the world. The costumes are very expressionistic as well, not exactly all-modern, more a mixture of what you'd expect to see (say, a priest's cassock) interpreted for the stage (Frollo's costume has strips of fabric on his sleeves that make him look like a bird of prey or an omninous death-without-his-scythe figure in silhoette; an image used very effectively).

The actors are remarkable, especially Daniel Lavoie as Frollo and Garou as Quasimodo. They use poses, gestures and hand movements to create character, sometimes very obviously and sometimes very subtly and it's extremely effective. The costuming is really not what transforms them, not even Quasimodo -- he somehow _becomes_ a deformed guy, you can completely believe it. Bruno Pelletier does not get to do quite as much acting as the poet-narrator Gringoire, but his vocal part is earth-shattering. (Listen out for his phenomenal encore after the titles, where he gets to show off a little bit without the backing music.) Julie Zenatti likewise shines in the small, but wonderfully rendered part of Fleur-de-Lys.

The final sequence, the execution, was just heart-rending. The stage is dark, and only a red light shines on Esmeralda as she dies. Then a light leaps across the facade of "Notre Dame" (actually a multi-purpose set built like a honeycomb of boxes) and the distraught Quasimodo sends Frollo tumbling from cell to cell through this honeycomb, in flashes of light. When Quasimodo puts Esmeralda on the ground and sings to her, shadowy dancers behind him carry their own broken girls, who float away and back, as if their souls were dancing in mid-air. It is beautiful and deeply moving.

Perhaps my only real compaint is the quality of the cinematorgraphy. The camera angles are choppy and intercut continuously, so that at times it is very difficult to get an overall impression of the stage as seen by the audience. Occasional moments of brilliance, such as the unexpected view of Esmeralda in her cell from the back of the stage, are offset by the jarring and too-frequent "special effects", along the lines of unnecessary freeze-frames at the end of every musical number and the occasional slo-mo sequence that is clearly out of place. However, I found I could get past that and just appreciate the production itself, and it was a wonderful experience. I only wish I could see this live!

I was not lucky enough to see the original production of this show. But, after listening to the 2 CD version over and over again, I finally bought this.

It's a wonderful show. I do think some of the camera work wasn't great. For instance, the acrobats and dancers are an integral part of this show. They aren't clear here, and are not given equal camera time here. I have heard this show is similar to Cirque de Soleil's shows, but it's impossible to see this when viewing the DVD.

Some of the criticism with this show was that the storyline isn't completely clear. I don't find this to be the case, but I'm familiar with the story. I do think most of it is clear, and viewing the show made me love the music all the more. All of the characters (save Esmeralda, who I'll get to in a minute) are multi-dimensional and, in the 1 1/2 hour showtime, you really get a feel for the anguish these people are all going through. Frollo, in particular, was a real surprise. Instead of being pure evil, one really sees his mental torture. He's even sympathetic at times, except you know all along he will do the wrong thing and cause death and destruction at the end.

Garou (Quasimodo) and Daniel Lavoie (Frollo) are just EXCELLENT. Lavoie's voice is amazing. Patrick Fiori (Phoebus) has a gorgeous tenor. They are all just a pleasure to listen to and watch. Bruno Pelletier, in his role as Gringoire, is perfect.

Fleur de Lys (Julie Zenatti) is wonderful in her small role.

The only real problem I had with the casting was Esmeralda. Her voice is beautiful and she conveys the right emotion in the music. However, part of the problem with this show is that she is supposed to be a gypsy who dances most sensually. It's talked about over and over again. . . the men literally become transfixed watching her. . .mesmerized. We never get to see her dance. Ever. She walks around stiffly and doesn't really move sensually at all. In one of the first numbers she has, "Bohemienne", there is a point where she raises her hands as if she will go into a gypsy dance, but then she doesn't. And, this is a bit of a let down. Is this the director's fault? Is this because Helene Segara cannot dance at all? If she can't dance, then they really needed to show a gypsy dance with one of the cast dancers playing Esmeralda for the interval. This one thing was noticeable enough for me to reduce the 5 stars this show would have received to the four that I gave it.

Also, I thought Helene Segara was made up to look a bit too old for the part. There was just so much makeup, that she didn't look young and innocent. She looked older and harder-- although she is supposed to be young and innocent and unaware of her beauty and the effect she has on those around her. She IS beautiful, yes. But, she she doesn't carry off the innocence at all visually. Noa, who sang Esmeralda on the CD version of this, visually could have carried off the role of Esmeralda even though she's less "classically" beautiful. She's more lithe and dark and has that sensuous body movement that Helene Segara lacks.

Regardless of my criticism here, this is an excellent show and one worth having on DVD.

I was pleasantly surprised to see that at least someone had the courage to stick to the original story and not make a kiddie-friendly, politically-correct fairy-tale out of it. The music is very dark, romantic, European, old-world, without a touch of giddy Broadway. The rendition of the characters is very faithful. Sure, I would like to see Esme a bit younger and more innocent, but Quasi is cast perfectly. I believe, Garou is the youngest actor ever cast in that role. I am not a huge fan of the movie versions with Lon Chaney and Charles Laughton, because both actors are in their forties. Garou is convincing as a bitter 20-year old with raging hormones. His voice is filled with anger and tenderness at once, a combination that liquifies your heart. Same goes for Daniel Lavoie, who plays Frollo. Lavoie is tall, slender, silver-haired. It's hard to believe that the heroine pays no attention to either one of those men. What can I say? I love the music, I love the cast. If you want to discuss this further, feel free to e-mail me at M_J_Neary@hotmail.com.

"Notre Dame de Paris" is continuing the French habit of turning Victor Hugo novels into world famous musicals. The music is haunting and powerful, a must for a sung-through musical, though some songs were obviously written for the dance exposition rather than anything which might be imparted in the lyrics. Any fan of modern dance and modern musicals will adore this musical. French with French, English, Spanish, and German subtitles.

I have yet to see this movie, but if it's anything like the performance I saw at the Paris hotel in Las Vegas, then it's totally amazing! I loved seeing the play in the theatre because the music is incredibly powerful, especially the opening song "age of the cathedrals." Being in that large room with total surround sound will give you goosebumps beyond reason! The characters give outstanding performances and you'll leave feeling totally inspired. I highly recommend this to anyone who loves musicals and broadway.

I bought a region 2 copy of this DVD and didn't find this one until after I bought an expensive region switcher for my laptop. But, I am sooo glad I found it. It is an AMAZING show. The making of special is also interesting to watch also. Don't worry, it contains English subtitles because it is completely in french. It's very interesting to watch this show after seeing the same thing here in Vegas performed in English. Notre Dame is wonderful........it will always be wonderful. The set rocks too!

This music hall is as strong as the Victor Hugo story. Lyrics and words, scenery and choregraphy are powerful. They wonderfully express the force and the emotion of the situation and characters. The choregraphy is modern but that does not hurt because the substance of the story is still of the present day. A great show!