It is tough to pinpoint the place precisely the shift took place, however sooner or later within the twenty first century, Disney made up our minds that it used to be not thinking about telling conventional “fortunately ever after” love tales. Perhaps the turning level used to be the meta-comedy of 2007’s partially-animated “Enchanted,” or perhaps the self-aware smirk of 2000’s “The Emperor’s New Groove” is to blame. We are saying “blame” like this shift used to be a nasty factor. It is not, essentially.
“The Hunchback of Notre Dame” is the place those winds of trade first began to blow. If you are accustomed to Victor Hugo’s textual content, you’ll be able to know that, love-sick even though he could also be, Quasimodo does not get the woman. Whilst in Disney’s take the result is decidedly much less morbid, Quasimodo’s flying solo holds true. On the finish of the movie, Esmeralda is fortunately paired up with the blonde, square-jawed Captain Phoebus, who suits the Disney Prince mildew in some way that Quasimodo cannot.
There may be in fact a forged thematic rationale for Quasimodo getting the chilly shoulder. The place Pass judgement on Frollo handles Esmeralda’s rejection through burning down part of Paris, Quasimodo presentations an admirable stage of emotional intelligence for any individual who grew up in a bell tower. When the truth of Esmeralda and Phoebus’ enchantment is made simple to him, Quasimodo provides himself a second to be disillusioned, after which he strikes on. You understand, like an grownup. And in point of fact, his emotional adventure is ready liberty, no longer romantic love. It makes best possible sense that he’d appreciate Esmeralda’s autonomy and simply be jazzed about his new-found freedom.
