Oppression and WWII Allegory in Hunchback of Notre Dame (1939)

Introduction: A Novel's Themes Meet a World at War

In 1939, the world stood in the immediate throes of what would become one of the deepest, darkest, and deadliest periods in human history. With the escalating violence of World War II and the Holocaust, the period proved a particularly suitable context for the cinematic adaptation of Victor Hugo's The Hunchback of Notre Dame. Though based on a novel published in 1831 and revolving around a plot set in the late fifteenth century, it is remarkable how well the film succeeds as an allegory with relevance not just to World War II but also to life in the present day. Most particularly, the themes of oppression, prejudice, and authoritarian cruelty depicted in the film translate with tremendous relevance to these later periods of history. As one watches a film that reveals many of the limitations of the cinematic form in its time and place, one remains directly affected by a set of themes that truly encapsulate something more permanent and universal about the human condition.

Particularly, in the figures of Esmeralda and Quasimodo, we are presented with both a victim and a martyr. The two figures draw us directly into a broader class conflict, serving to demonstrate the stark experiential differences between life as an aristocrat and life as a social "other." The film, directed by William Dieterle, appears to amplify the relevance of many of these themes — perhaps because of their adaptability to the big screen, or perhaps because of their mounting relevance at the time of the film's release. According to Miller (2010), "fifteenth century Paris is a city of contrasts with an aristocracy living in glittering luxury while the poor endure almost unimaginable squalor, and all the while the church offers spiritual salvation while its leaders wallow in corruption and decadence" (Miller, p. 1).

Corruption, Class, and the Church in Fifteenth-Century Paris

This corruptive wallowing is perhaps best embodied by the character of Jehan, who is both brother to the archdeacon Claude Frollo and close confidant to King Louis XI. Here, the viewer encounters a loathsome character who most fully embodies the hatred, exploitation, and hierarchical oppression of the aristocracy while maintaining inextricable ties to both the Church and the Crown. Through Jehan, the viewer gains an understanding of corruptive power as a driving theme in the film. The fact that Esmeralda's gypsy ethnicity is used as the basis for allegations of witchcraft is especially significant when considered in light of the global conflict raging at the moment of the film's release.

The theme of authoritarian abuse was coming into sharp visibility as fascism swept through Europe. The France of Hugo's novel was now surrounded by the totalitarian rule of Spain, Germany, and Italy. In all of these contexts, an aggressive suppression of personal liberties was supplemented by a multifaceted agenda of ethnic cleansing.

Esmeralda, the Gypsies, and Ethnic Persecution

In addition to the Jewish population decimated by Hitler's Final Solution, the gypsy population was a targeted victim. According to the Jewish Virtual Library (JVL), "it is known that perhaps 250,000 Gypsies were killed, and that proportionately they suffered losses greater than any other group of victims except Jews" (JVL, p. 1).

That Esmeralda's ethnicity marks her as a figure of suspicion and danger within the world of the film is thus no mere narrative convenience. It reflects a historical pattern of persecution rooted in cultural difference and fear — one that was, at the very moment of the film's release, being enacted with murderous efficiency across Europe.

Works Cited

Dieterle, W. (1939). The Hunchback of Notre Dame. RKO Radio Pictures.

Jewish Virtual Library (JVL). (2013). Gypsies in the Holocaust. The American-Israeli Cooperative Enterprise.

Miller, F. (2010). The Hunchback of Notre Dame (1939). Turner Classic Movies.