Notre-Dame de Paris (1998 TV Movie) User Reviews

The greatest musical ever made!!! Bravo Plamondon, bravo Cocciante!!!

[iuliawo · 10/10 · 30 January 2006]

I'm a great music lover and musicals are among my favorites movies. I've seen as many musicals and musical comedies as I could, but Notre-Dame de Paris is still the best so far. All the singers involved have extraordinary voices and good acting talent, the dancers have been so carefully chosen that their performance simply amazes you.

Richard Cocciante's music is simply divine and unique. Although a great music writer (see also Le roi soleil) and singer himself, Notre-Dame de Paris is the greatest success of his life. The story generally follows the plot Victor Hugo established in his famous novel with some very witty modifications operated by Plamondon. The words are so artfully chosen that one can simply transfer back to Hugo's epoch and relive the story despite the fact that it now takes place on a mere stage. This is the reason why I think this great musical is generally more valued by French speakers or at least with some knowledge of French.

As about the cast: Garou is just perfect for the part of Quasimodo (unforgettable and unique voice), Patrick Fiori and Julie Zenatti- two young beautiful voices to become huge stars of the French musical scene, Daniel Lavoie (just perfect for Frollo's part, human and malicious at the same time- Frollo I mean!!!),Helene Segara as a suave,elegant and refined gypsy girl- far more appropriate than the Italian or English Esmeraldas (although well-known singers such as Tina Arena played in the English version of Notre-Dame), and last, but not least, Bruno Pelletier as Gringoire, one of the most beautiful and powerful voices ever. I wonder... does this man ever breathe?

Just watch this video (or go and see it in Paris if you have the chance; I'll certainly go as soon as I can) and I assure you that you will listen or watch it all over again (especially Belle, which is my favorite song ever).

And one more thing: my husband has always hated French language. The moment he saw Notre-Dame de Paris has started learning it.

one word: Amazing

[canjam_18 · 10/10 · 5 February 2006]

There are no words to describe when watching this movie, it's like a breath of fresh air. Whether you are fluent in french or not you will come to appreciate this movie instantly. It is a classic story of boy loves girl who loves someone else. If anyone has captured a classic it is Victor Hugo.

A great deal of people contributed to the beautiful theatrics in this production and although everyone sang beautifully three people stood out in my mind. Bruno Pelletier who played Gringoire, Garou who played Quasimodo, and last but not least Hélène Ségara who played Esmeralda. Bruno Pelletier's voice was so pure, so pure in fact that I never would have guessed he was singing live. I liked Garou's voice in particular because it was like a modernized rock voice meshed with classical ballads. Hélène's voice was just amazing, her range was endless. The sound of their voices were so good that it literally brought tears to my eyes.

I strongly recommend this movie to everyone and I give it a ten out of ten simply for the fact that though in french it portrays the universal language of love, which is translated very clearly.

An absolutely magnificent musical!

[Cherry-Blossom · 10/10 · 30 December 2005]

"Notre-Dame De Paris" is the best musical I have ever seen! With his stunning voice, Bruno Pelletier (the most wonderful singer I have ever heard of) shines as the poet Gringoire, receiving gold and quadruple platinum for his act. Daniel Lavoie plays Jean-Claude Frollo with his powerful voice. Hélène Ségara takes on the role of Esmeralda spectacularly, and Luck Mervil plays the part of her guardian Clopin with passion. When Garou sings you cannot do anything but listen, since he sounds amazing, interpreting the role of the love-sick Quasimodo. Using his voice, which contains the softest sound I have ever heard, for the role of Phoebus, Patrick Fiori does a truly excellent job. And last but definitely not least, Julie Zenatti uses her unique and special voice for the role of Fleur-De-Lys, at the age of only 17. Richard Cocciante (music) and Luc Plamondon (lyrics) have done the very difficult job of sticking to the story by Victor Hugo, and still managing to create a fantastic and beautiful musical. Because of its success, it has been translated into different languages such as (for instance) English and Italian. This masterpiece is most honestly worth your time!

Perfect musical !

[katdawg620 · 10/10 · 4 May 2007]

I love this musical. I always hated musicals until I saw this one. The music, the acting and the sets blew me away. I was glad I speak French, because that made it even more enjoyable because I actually understood what they were singing. I grew up with this story and it's always been one of my all-time favorites. How can you not be in love with this plot? It's all love-triangles and stuff like that, and it's put perfectly in place for this story. What caught my attention immediately was the first song "Temps Des Cathédrales" because the vocals were so powerful and strong and after that was simply amazing. Seeing it in French really makes a difference because it really puts you in place of the musical. This is by far the most amazing musical ever presented. Je l'adore!!!!

Great performance

[risto-pohjola-1 · 10/10 · 1 December 2007]

Despite not being a true musical performance this is truly a great performance with great singers.Garou with his special voice as the hunchback.A performance i really like.I could sense the pain in his voice.Beautiful Helene Segera as Esmeralda.A vulnerable soul in a racist world.Patric Fioiri as the confused soldier not knowing to whom to give his love.Daniel Lavoie as the priest Frollo torn by the love for Esmeralda and his faith.Bruno Pelletier with his beautiful voice playing Gringoire the poet. Great dance and stage work. Well written music that express all the feelings from each character Great ensemble in a great piece of musical history.

One of the best adaptation.

[autumn_leaf · 7 January 2004]

This is definitely a great musical, definitely one of th best adaptation of the original work. As the previous person said, but there was a mistake made by him or her, Bruno Pelletier was Gringoire, not Frollo. The whole musical was amazing, every singer had an amazing performance, communicating emotion even to non-french speakers. It has beautiful music and lyrics, as well as singers that can sing them well. Out of every one of them my favourite is definitely the Quebecois Bruno Pelletier. He had a very beautiful voice and played the character of Gringoire really well (one thing to note is that Gringoire's character is changed a lot, but Bruno Pelletier was superb in his role.) Even thought there are changes from the original work the musical stayed rather true to the original story. A work very worth seeing, even if you don't understand one word of French it can still touch you. (there are subtittles in many language)

A beautiful interpretation of a classic tale

[Renfieldette · 10/10 · 6 February 2008]

Richard Cocciante and Luc Plamondon's comedy musicale is one of the finest world musicals I have seen. The thing about foreign musicals is they do not carry subtext and thought provoking material in the songs, but within the staging and visuals. Don't expect Stephen Sondheim. The great thing about these types of musicals is that you can think about what's going on while you watch it, and just enjoy the music on CD. The performers are fantastic. I've long been a fan of each of them, Julie Zenatti being one of my favorite solo artists. Garou OWNS the role of Quasimodo, and the rest of the cast is pitch perfect as well. All of the songs are melodic and romantic, and the french language is the icing on the cake. The story is much more accurate than the Disney version, and includes one of the most gorgeous songs ever written, "Belle."

The Musical of The Century!

[pjl-7 · 10/10 · 28 May 2002]

Conventional wisdom has it that the French don't like musicals. Not true at all, as the success of this show demonstrates. Plamondon and Cocciante have concocted a masterpiece that perfectly captures all the important parts of Hugo's novel, and magnificently transports the whole thing to the stage. The handful of young unknowns who star in this production on the video tape (most of them from Quebec) are almost overwhelming in their talent as singers, dancers, and dramatic performers. Bruno Pelletier shines as the anguished, tortured priest. Hélène Ségara (the only French star in the cast) totally captures our hearts as the doomed Esméralda, and Garou (the name means "Werewolf" in French!) demands and receives all our sympathy as the hapless Quasimodo. Incredibly powerful supporting performances by Patrick Fiori as Phoebus, Julie Zenatti as Fleur-de-lys and Luc Merville as Clopin round out a cast that can do no wrong.

Imagine Riverdance on steroids, "West Side Story" meets "Cirque de Soleil", or a Paris riot set to music, and you have an idea of the scope of this incredible show. The choreography is the most energetic, not to say frenetic, I have ever seen, and the most imaginative. It's hard to decide, at times, if we are watching a dance or a gymnastics exhibition.

If you can't get to Las Vegas, Montreal or Paris to see the show live on stage, this is the next best thing. For me it totally eclipsed every rock opera and musical which preceded it, to become the definitive musical of the 20th century. And I believe it will be at least another generation before anyone can come up with a way to surpass it.

Most successful of our modern musicals

[daiukifune · 8/10 · 19 December 2007]

The voices alone prove just why this musical was such a success in Europe and Asia. All of the cast have been decorated with various musical honours in and out of live theatre in Quebec (with the exception of Helene Segara, a native French pop singer, and Garou, a newcomer to the live entertainment circle). Their strong musical backgrounds made this show absolutely irresistible.

Garou's performance as Quasimodo could not have been more perfect as his rough voice accurately portrays the heartbreaking sadness of the character. Helene Segara is sweet without being distasteful (one of the only Esmeraldas who does not plaster herself all over Phoebus right from the get-go), and is powerful with her voice when she needs to be while retaining a lighter sound when required. Daniel Lavoie's voice fits Frollo perfectly, but his songs seem lacking when compared to others. Patric Fiori and Julie Zenatti are wonderful when they sing together as Phoebus and Fleur-de-Lys, but both are equally strong in their individual roles. Luck Mervil's Clopin is strong as the leader of the Gypsies, though his notes are mercurial and quite unpredictable at times. And lastly, Bruno Pelletier narrates and threads the entire story as Gringoire, his voice ever so brilliantly bringing out the mood of each scene. The acting, on the most part, is very well done. Considering that most of these actors have done some kind of theatre in the past, there are very few exceptions, mostly to do with dancers and the lack of interaction between the characters.

The style of presentation is really very refreshing, and it doesn't seem to matter that these actors no longer sing to each other but to the audience through very obvious head-mics. There are some small concerns with the pre-recorded tracks and chorus, but this little cheat is forgiven in view of the awesome live performances by the cast. This kind of presentation along with the dancers who often become an extension of the set makes this musical seem more like a pop/rock concert, perhaps more appealing to a younger audience. The choreography is very expressive, and the dancers set the perfect rhythm and feeling for each piece of music performed. The acrobatics, however impressive, never upstage the performers, striking an even balance. The dark, cold and rather barren feeling of the empty stage evokes a sense of modernism, and enhances the tragedy within the story.

Plamondon's libretto strengthens Cocciante's music, though both are obviously very able in each of their own discipline. The plot stays true to the book and omitted only things unnecessary in this particular depiction of the story. The English subtitles are accurate enough for one to appreciate the lyrics, and several of the songs do translate well into English. But when available, the original French language audio track is the best to listen to in order to appreciate how the music carries the lyrics, even if the audience isn't fluent in French.

If there is anything left to be desired, it is actual editing of the made for TV/DVD version. For the most part it does its job well. Besides giving a clear view of what the actors are doing individually and what the dancers are doing, the editors added some cropped closeups within a distance shot to give the feeling of the entire stage. However there are some very, very clichéd stills inserted in attempts to emphasize certain things (such as the insert of Phoebus' face at the end of Beau Comme le Soleil, depicting Fiori straining for a note). That being said, one can at least be appreciative of being able to see what the actors look like.

Overall, a wonderful musical/performance that delivers an enjoyable experience, and a very successful attempt at an innovative presentation. It is absolutely a worthwhile musical to spend some time appreciating.

Best version of this musical

[minamurray · 9/10 · 22 March 2010]

Sets and costumes are stark and simple - gypsies seem to find their clothes from modern-day garbage, Esme is stuck in ugly peasoup-colored dress - but what Notre-Dame de Paris loses in visual beauty and spectacle it wins with wonderful music and drama. Helene Segara is strong-voiced and suitably tortured as innocent gypsy Esmeralda, Garou is my favorite Quasimodo and Daniel Lavoie (too handsome to be Frollo, actually) is wonderfully hammy as racist, repressed priest: he gets many of the best and most evocative songs, sings them very well indeed and manages to evoke odd mixture of hate toward Frollo's actions and sympathy toward the man himself. Weird. For some reason librettists has changed Frollo's obsession to gypsy Esmeralda - his "angel of darkness" - from lust/infatuation to lust/hate. Unfortunately it has Hugo's downer ending, which is, quite frankly, even more depressive and frustrating than it's touching, but the result is oddly captivating.

Blown away.

[tepig-94540 · 10/10 · 20 May 2020]

I finally found this with English subtitles and as one who usually is turned away from musicals, this was absolutely beautiful. Garou is truly the star of the show as Quasimodo. He brings you in with passion, heartbreak, and talent I've never seen in other versions. The end will crush you just like the book. This is the first musical I'll likely buy the album of, it's that good.

Striking and melodic modern musical adaptation

[DrMMGilchrist · 9/10 · 27 April 2017]

Wow! Plamondon and Cocciante's sung-through musical adaptation of Victor Hugo's classic novel is stunning: moving, exciting, funny, tragic. The cast is superb, the staging striking, the score melodic and exhilarating. In many respects, it's one of the more faithful adaptations, although the modernisation of some aspects of the setting is not entirely successful. There may be *some spoilers ahead*, as I make comparisons with the book and other adaptations.

Pierre Gringoire's role has been expanded to function as our streetwise narrator and guide through the story: Bruno Pelletier, a wise-cracking, adorable delight, is at his most mischievous in 'Val d'Amour', surrounded by Folies Bergère-style harlots! The other main characters fulfil the roles one expects. Luck Mervil is a dynamic, if youthful Clopin (it's a bit of a jolt when he says he's brought up Esméralda as a father – they look the same age!), and comes into his own in the marvellous 'Cour des Miracles' scene, in which Pierre narrowly escapes hanging. Garou is an impressive and moving Quasimodo. Hélène Ségara is a graceful Esméralda, though perhaps *too* dignified – I was more convinced by Lola Ponce in the Verona recording. Also, script-wise, there are problems with adaptations (like this) which give her a stronger, more mature personality, because, while it's more convincing in terms of her background, the plot hinges on her gullibility and immaturity re: the vain and duplicitous Phoebus (Patrick Fiori). A more plausibly streetwise Esméralda would be more likely to see through him and either avoid or manipulate him. Daniel Lavoie is heartbreaking, and a fine vocal presence, as Claude (although, as in most dramatisations, a couple of decades older than the character). He has some of the best songs, too: 'Tu vas me détruire', 'Etre prêtre' and 'Un matin, tu dansais' – and it helps that the lyrics make powerful use of some of Claude's speeches from the novel. But then, his plight – torn between his desires and his vows, between his traditional ecclesiastical education and the new learning of the Renaissance (here expressed in a duet with Pierre, 'Florence') – is what drives the novel and gives it its tragic heart. He also depicts the Archdeacon's increasing mental breakdown, up to the final hysterical outburst that precipitates his death (dramatically staged). I'm unconvinced by the semi-modernisation making him a racist: the only gypsy with whom he really has a problem in the book is Esméralda, and that's because of his attraction to her. Julie Zenatti is effective as Fleur-de-Lys, here portrayed as an adolescent, but shrewd and scheming: she knows what Phoebus is, and seeks to secure her hold over him by telling him to "hang the gypsy".

The minimalist sets work well in terms of allowing the dance sequences to stand out, and to focus attention on the main characters. However, as mentioned already, I'm not entirely convinced by the partial modernisation. The grafting on of modern political themes – undocumented refugees, police racism and brutality – jars when we also have songs such as 'Florence', which places the action in the Renaissance and anticipates the coming Reformation. A full modernisation of setting might work (Dresden Semperoper did a 'Chicago'-style production of Schmidt's 'Notre Dame', with Esméralda-as-Roxie Hart), or a full mediaeval staging (as done in the Russian youth theatre Sed'moe Utro's production in Novokuznetsk), but this is neither one nor t'other.

Overall, though, this is a magnificent show, and (bar its omission of subplots around Esméralda's real parentage and Claude's relationship with his brother) is closer to the novel than most film versions. Also, it passes the ultimate test for any musical: you will start humming and singing some of the songs afterwards!

" Most " over rated garbage ever

[neongen · 1/10 · 21 June 2022]

Saw a blurb on the net about the musical coming to Manhattan soon , then found out that the thing is from late 90's and I thought , " are you kiddin me ? ". Full piece is on you tube so took a look....nose holdin' time.

Les Miz is a big time work but Miss Saigon ( both are French musicals ) is mediocre at best . Seems that the lead and Jonathan Price and the chopper sold it to undemanding ( clueless ) audiences.

NDdP is so bad it hurts to watch. Opening song mediocre, then bad, bad , bad.....French popular music bad.

Just paid a lot of dough to get an English dubbed release of A Man and His Dog and like a very few French films in general and was open minded about NDdP going in but almost immediately had to jump from song to song in a search for anything good.. Save the trouble , it stinks. Best version of the story is the Hallmark TV movie. From long ago.

This is dumb downed crap .

I am not big fan of music but this musical amazes me.

[thinklogically · 9/10 · 20 August 2007]

I knew music was beautiful and it makes me feel better but I do not really enjoy listening the music and especially classical music such as opera, Beethoven, Chopin, Mozart's music and philharmonic orchestra. I knew it was all wonderful music but whenever I listening to them, I will definitely go sleep. So I wouldn't enjoy it. I can only enjoy part of the music. For example, the movie 'The Shawshank Redemption' when Andy go to the prison's announcement room and then playing the opera(I believe this is one of the best scene in all time.), it was beautiful music.

But, I do like watching musical bit childish way because I would like to watching classic Disney cartoon movie such as Beauty and the beast, The lion king, Aladdin and so on.

I watched 'Notre-Dame de Paris' about 1 or 2 years ago and that time my English wasn't that good enough to understand the subtitles and interestingly I don't even remember what story is about so I don't have any idea what to say about it.

And then a few days ago I have been listening the some musical album such as Les Misérables and Cats. Surprisingly, I realised that how much I enjoyed their singing and playing. This is the what happen when you watched best movie or performance. It's out of nowhere it came to my mind. I don't even know what they talking about or what this story is about but I was so badly wanted to watch it again and listen to music again.

I must give rate for 10/10 because I don't even understand what they were saying or talking about but I still want to watch it again.

This is extremely powerful and beautiful performance and energetic and splendour musical. It doesn't matter whether anyone likes musical or not so I highly recommended to anyone.

No one enjoys a good musical more than I do ...

[Mr_Wentworth-Brewster · 3/10 · 27 July 2007]

... but the trouble of this production is that it's very far from a good musical.

Granted, one can't always expect the witty masters like Sondheim or Bernstein or Porter; yet the music of this piece makes even Andrew Lloyd Webber look witty. It's deadly dull and uninventive (with one or two exceptions) and just after I watched it I couldn't recall a single significant melody - which is rather tragic coming from someone who learned the whole Another Hundred People from three listenings.

It is also strangely un-theatrical. It takes place on an incredibly large stage (one really has to feel sorry for those people in front rows who broke their necks in order to see something happening 50 meters on the right or 100 meters on the left) and does absolutely nothing with it. When there's supposed to be one person singing on-stage, that's just what you get - and the rest of the enormeous stage is empty. For me as an aspiring theatre director it was almost painful to watch.

The fact remains, Cole Porter seems to have captured the French culture in his works better than these no-talents can ever come close to. And I'm puzzled by the popularity of this would-be-legendary musical.