In the realm of Quasimodo adaptations, this one opts for the sweet pathetic type. There is zero edge to him and that made him boring. Quasimodo in this version exists solely for the purpose of Esmeralda. He like-likes her, saves her and dies for her. While all that exists in the book Quasimodo doesn’t strictly die because of Esmeralda, he also dies because he killed Frollo. Adaptations forget that Quasimodo did love Frollo too and while he did kill Frollo for what he did to Esmeralda, he did so in a fit of rage. Honestly few versions really understand Quasimodo, they just see the pathos of his character but not his mind or half of his characterization.
As it’s stands with this Ballet, Quasimodo doesn’t have a strong attachment to Frollo and there is no backstory. The lack of the backstory is not a huge issue as it’s ballet, it’s forgivable but there is somethings that unforgivable. Quasimodo doesn’t seem to care about Notre Dame, like the cathedral is barely in the ballet. Fleur de Lys’ parlour has more stage time that Notre Dame. That just seems wrong. Also the Pope of Fools part was shoe-horned in middle of the ballet for little reason. It didn’t even makes sense after the whole kidnap attempt scene to have the Pope of Fools. The point of which is to show Frollo’s powers over Quasimodo and the then how the relationship is damaged after Frollo leaves Quasimodo to suffer for his crime. It would have been better not to have the Pope of Fools scene than messing up the order and their relationship dynamic.
One could argue that this Esmeralda’s story and messing with the dynamic of Quasimodo and Frollo is inconsequential to the emotional impact for her tragedy but that is misguided. You can’t show Esmeralda’s place in Quasimodo’s heart without the juxtaposition of Frollo or even Notre Dame in Quasimodo’s world.
Quasimodo in this version just exists for Esmeralda. It’s akin more closely to Disney Quasimodo’s schoolboy crush but in the guise of a tragic ballet.Follow thehunchblog