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The Hunchback of Notre Dame (soundtrack)

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The Hunchback of Notre Dame: An Original Walt Disney Records Soundtrack
 
Soundtrack album by Various artists

Released
May 28, 1996
Recorded
1995 - 1996
Genre
Pop, musical theatre, gospel
Length
63:34
Label
Walt Disney
Producer
Alan Menken
Stephen Schwartz
Walt Disney Animation Studios chronology

Pocahontas
 (1995) The Hunchback of Notre Dame
 (1996) Hercules
 (1997)
 

Professional ratings

Review scores

Source
Rating
Filmtracks 3/5 stars link
The Hunchback of Notre Dame: An Original Walt Disney Records Soundtrack is the soundtrack to Disney's 1996 animated feature The Hunchback of Notre Dame. It includes songs written by Alan Menken and Stephen Schwartz with vocals performed by Paul Kandel, David Ogden Stiers, Tony Jay, Tom Hulce, Heidi Mollenhauer, Jason Alexander, Mary Wickes, and Mary Stout, along with singles by All-4-One/Eternal, and the film's score composed by Alan Menken.
The single "Someday" originally performed by All-4-One on the United States release, was redone by British R&B girl group Eternal for the U.K. release. Luis Miguel recorded the version in Spanish as "Sueña", which became a major hit in Latin America. The album was released on May 28, 1996 by Walt Disney Records, and went on to peak at number 11 on the Billboard 200.

Contents
  [hide] 1 Track listing 1.1 Score cues left off the soundtrack
2 The songs 2.1 "The Bells of Notre Dame"
2.2 "Out There"
2.3 "Topsy Turvy"
2.4 "God Help the Outcasts"
2.5 "Someday"
2.6 "Heaven's Light"
2.7 "Hellfire"
2.8 "A Guy Like You"
2.9 "The Court of Miracles"
3 The score
4 Deleted songs
5 Sales and certifications
6 References
7 External links
Track listing[edit]
1."The Bells of Notre Dame" - Paul Kandel, David Ogden Stiers, Tony Jay & Chorus
2."Out There" - Tony Jay and Tom Hulce
3."Topsy Turvy" - Paul Kandel & Chorus
4."Humiliation" (Score with Chorus)
5."God Help the Outcasts" - Heidi Mollenhauer & Chorus
6."The Bell Tower" (Score)
7."Heaven's Light"/"Hellfire" - Tom Hulce, Tony Jay & Chorus
8."A Guy like You" - Jason Alexander, Charles Kimbrough, Mary Wickes & Mary Stout
9."Paris Burning" (Score with Chorus)
10."The Court of Miracles" - Paul Kandel & Chorus
11."Sanctuary!" (Score with Chorus)
12."And He Shall Smite the Wicked" (Score with Chorus)
13."Into the Sunlight" (Score)
14."The Bells of Notre Dame (Reprise)" - Paul Kandel & Chorus
15."Someday" - All-4-One (United States) / Eternal (United Kingdom)
16."God Help the Outcasts" - Bette Midler (Not featured in the movie)
Score cues left off the soundtrack[edit]
1.The Bird
2.Gargoyles/Enter Frollo
3.You Were Thinking About Going to the Festival
4.Phoebus Arrives in Paris
5.Gypsy Music
6.Helping Esmeralda/Palace of Justice
7.Find the Court
8."Topsy Turvy" (Movie Version)
9.Esmeralda's Escape
10.Quasi Returns to Notre Dame
11.Phoebus and Esmeralda/Frollo's Threat
12.Esmeralda Follows Quasi
13.Out of the Belltower/Quasi Meets Phoebus
14."Heaven's Light"/"Hellfire" (Movie Version)
15.The Mill/The Search Continues
16.Broken Heart/"Heaven's Light Reprise"
17.Frollo's Coming/Stash the Stiff/Interrogation
18.Do it Out of Love
19.It's a Map/Entering the Court
20."The Court of Miracles" (Movie Version)
21.These Men Aren't Spies/The Soldiers Attack
22.Sanctuary! (Full Version)
23.And He Shall Smite the Wicked (Full Version)
24.End Titles
The songs[edit]
"The Bells of Notre Dame"[edit]
Main article: The Bells of Notre Dame
"The Bells of Notre Dame" is the opening song for the movie, in which Clopin narrates the backstory of how Frollo met Quasimodo. The song is woven in with Latin and Greek chants and is reprised at the end, once again by Clopin.
The chants at the beginning of the piece are adapted from actual Gregorian Chants. The Latin texts within the piece sung by the chorus are drawn from the Mass (the Kyrie) and from the Sequence Dies Irae, traditionally sung in a Requiem Mass.
Dies Irae - Day of Judgment
Kyrie Eleison - (Greek: Κύριε ελέησον, Κύριε ≙ Lord/Master (referring to God), ελέησον ≙ be merciful/have mercy on us)
"Out There"[edit]
"Out There" begins with a dark introduction by Frollo, telling Quasimodo to stay up in the tower where he will not be reviled as a monster. This introduction features a beautiful weaving of two counter melodies sung by Frollo and Quasimodo. A clever use of the phrase "Stay In Here" brings the text of the rest of the song into contrast, "Out There."
Once the judge leaves the scene, everything seems so much brighter and Quasi sings to his gargoyle friends of his dreams of leaving the belltower and leading a normal life amongst the people he sees every day. This song may have been what finally convinced him to escape down into the Festival of Fools.
"Topsy Turvy"[edit]
It's the Festival of Fools, and the bouncy number is led by Clopin, the host of the event. After describing the events on Topsy-Turvy Day, there is a lengthy dance by Esmeralda, setting up the bulk of the movie's plot as Frollo, Phoebus, and Quasimodo all become enamored with her at the same time. At the end of the song, Quasi is crowned the king of fools, and received warmly, before things take a sharp turn for the worse.
The choral introduction of "Come one, come all" is reminiscent of the Main Theme of "The Bells of Notre Dame" as the opening of the scene is displayed with beautiful views of the Cathedral. The main theme, Topsy Turvy, is a vivacious, light and energetic movement that features comedic lyrics that interplay between Clopin and the Chorus. Upon the realization that Quasimodo is actually that disfigured, the theme from the introduction of "Out There" is developed upon as Frollo sees him and becomes livid at his insubordination.
"God Help the Outcasts"[edit]
Main article: God Help the Outcasts
"God Help the Outcasts" is a soft ballad sung by Esmeralda inside Notre Dame after she sees how Quasimodo and her people are treated by society. It replaced another song, "Someday," which was cut when the directors wanted a quieter song in a cathedral. A pop version of "Someday" is performed over the movie's credits.
"Someday"[edit]
Main article: Someday (The Hunchback of Notre Dame song)
The chanting used in the introduction to "The Bells of Notre Dame" at the very beginning of the film is actually the melody of "Someday".
"Heaven's Light"[edit]
"Heaven's Light" is another gentle song sung by Quasimodo, who is smitten by Esmeralda. He wonders if the beautiful gypsy, the first person who really reached out to him, loves him back. This is reprised later in Quasi's mind as his heart breaks when he sees Esmeralda and Phoebus kiss.
"Hellfire"[edit]
Main article: Hellfire (song)
Just as "Heaven's Light" reaches its close, we are brought to the Palace of Justice where Frollo sings "Hellfire." In contrast to Quasimodo's song which was full of hope and about how happy the hunchback was to make a friend, Frollo's song is one of Disney's darkest. Frollo is convinced he's under some kind of black spell, as his lust for Esmeralda can't be on account of his own sin. He imagines being surrounded by flames and monks in red robes, all chanting loudly in Latin. A flaming vision of a seductive dancing Esmeralda completes the nightmarish imagery. The song also features chanted lines from the Confiteor.
"A Guy Like You"[edit]
Main article: A Guy Like You
"A Guy Like You" is the gargoyles' chance to sing, assuring Quasimodo that Esmeralda loves him in the same way he loves her in a fun, Broadway-style number. Placing a comedic song after a dark, intense scene such as "Hellfire" is a common technique allowing the audience to release tension in an appropriate time, thus allowing the climax to be appropriately dramatic.
"The Court of Miracles"[edit]
"The Court of Miracles" is the third comic number in the movie. Unlike "Topsy Turvy" and "A Guy Like You," however, this song is based on black humor. Clopin and the gypsies have captured Quasimodo and Phoebus, assumed spies, and sing about how "it's a miracle if you get out alive!" Taking delight in tormenting his victims, Clopin stages a mock trial, making rapid transformations into various figures, even pulling out a jury consisting of one puppet in his likeness. However, Esmeralda arrives before any harm can come to her friends.
The score[edit]
Although Alan Menken's score is darker than he normally writes, in addition to the many dramatic Latin chants and cues, there are many tracks that were mostly left off the soundtrack.
Almost all the movie's songs are in the score at one point. "The Bells of Notre Dame," "Heaven's Light," and "Hellfire" all share the same basic melody at one point. "A Guy Like You" is used near the end when the Gargoyles encourage Quasimodo to see the brighter possibility that Esmeralda likes him. "Out There" is often associated with Quasimodo, "God Help the Outcasts" with Esmeralda, and even "Someday" is associated with Quasimodo and Esmeralda and is used near the end, despite being cut from the movie and used during the credits.
Deleted songs[edit]
Three songs written for the film were discarded during the storyboarding process and not used: "In a Place of Miracles", "As Long as There's a Moon", and "Someday", a candidate to replace "God Help the Outcasts". Though not included in the body of the film, "Someday" is heard over the end credits, performed by R&B group All-4-One in the North American English release, and by the British R&B girl group Eternal in the British English version. Luis Miguel recorded the version for the Latin American Spanish version, which became a major hit.
Sales and certifications[edit]

Region
Certification
Sales/shipments

Argentina (CAPIF)[1]
for the Latin American soundtrack
Gold 30,000x
United States (RIAA)[2]
Platinum 1,000,000^

^shipments figures based on certification alone
 

References[edit]
1.Jump up ^ Lannert, John (December 7, 1996). "Latin Notas". Billboard (Prometheus Global Media) 108 (49): 36. Retrieved September 27, 2013.
2.Jump up ^ "American album certifications – HUNCHBACK OF NOTRE DAME". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Album, then click SEARCH
External links[edit]

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Categories: Albums certified gold by the Argentine Chamber of Phonograms and Videograms Producers
Albums certified platinum by the Recording Industry Association of America
Disney animation soundtracks
1996 soundtracks
Walt Disney Records soundtracks
The Hunchback of Notre-Dame



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The Bells of Notre Dame

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"The Bells of Notre Dame" is a song from the 1996 Disney film, The Hunchback of Notre Dame, composed by Alan Menken and Stephen Schwartz. It is sung at the beginning of the film by the clown-like gypsy, Clopin. It is set mainly in the key of D minor. The song bears some similarity to the poem The Bells by Edgar Allan Poe, especially the repetition of the word "bells" during the crescendo. The song is reprised at the end of the film.

Contents
  [hide] 1 Production
2 Visual sequence
3 Themes
4 Critical reception
5 References
6 See also
Production[edit]
Disney Voice Actors: A Biographical Dictionary explains that "the opening sequence of [the film] was originally all narration and the result was deemed too lifeless so [The Bells of Notre Dame] was written".[1]
Visual sequence[edit]
The song details about Quasimodo's origin and is the film's opening credits. During the song, Clopin tells young children about the mysterious bell-ringer of Notre Dame. He then talks about a story that goes back twenty years where a group of gypsies attempted to ferry their way into Paris, but are captured by Judge Claude Frollo and several soldiers. When the woman amongst the gypsies is seen carrying a bundle, a guard attempts to confiscate it prompting her to flee. Frollo pursues her on his horse, believing her to have stolen goods, in a brutal chase that comes to a head on the steps of Notre Dame Cathedral. Here Frollo takes the bundle out of her hands but in doing so strikes a blow to her head with his boot causing her to fall down onto the stone steps, breaking her neck and killing her. Frollo then learns that the bundle is actually a deformed baby. He sees a well and attempts to drown the baby as he thinks it is a demon from Hell but is stopped by the Archdeacon, who tells Frollo that he has killed an innocent woman and that if he wishes for the survival of his immortal soul, he must raise the child as his own. Frollo reluctantly does so and raises the baby in the bell tower of Notre Dame, and gives him a cruel name; Quasimodo, which, according to Clopin, means "half-formed". It is quickly learned that Quasimodo is the mysterious bell-ringer.
Themes[edit]
The film itself, like most Disney Renaissance films, contains valuable moral information and so, in a way, can be called a "teaching story", besides being entertainment. This is one function of stories that are told to children: to give them, at least, the basic understanding of attitudes and behaviors encountered in the real world. Through the story of the song, Clopin tells the children that it is a tale of "a man and a monster". Towards the end he gives them a riddle for them to guess whilst being told the rest of the story, that being: "Who is the monster and who is the man?", thus introducing the major theme of the film.[2] What is meant by these words is to get behind what often are merely appearances, and by doing so we get to the actual truth. This aspect of the story can be related to real life because people often make the error of mistaking appearances (that also may be false) for the real thing or for something else entirely. In this case, while in the beginning "the picture explicitly compares the queerness of Quasimodo to the righteousness of Frollo",[3] by the end it would seem that Quasimodo is the monster due to his deformities while his master Frollo is the man due to his sleeker looks. It is implied by the end of the film, however, that it is now indeed a paradox and reversal of the statement attributed to the two personalities, not by their appearances. Singing the reprise of the song, Clopin gives a girl a new riddle: "What makes a monster and what makes a man?", stating that Quasimodo is the man because of his humble kindness and selfess bravery, while Frollo is deemed to be the monster because of his selfishness, cruelty, and intolerance.
The work Mouse Morality: The Rhetoric of Disney Animated Film by Annalee R. Ward argues that the use of a play-within-a-play technique used in this opening number "enables the filmmakers to condense some of the story, telling us the setting instead of showing it". It adds that symbolically, Clopin's puppet show is a metaphor for what Disney has done to the original source material, having "reduced it to manipulated entertainment, ala 'tragedy lite'".[2]
Critical reception[edit]
DVD Talk says that The Bells of Notre Dame and Out There "set...a perfect tone" for the film, which fumbles later with the Be Our Guest-esque A Guy Like You.[4] Mouse Morality: The Rhetoric of Disney Animated Film says it is a "dark, emotional scene".[2] Disney Voice Actors: A Biographical Dictionary describes the number as "one of the most potent musical openings of any Disney film".[1] The Oxford Companion to the American Musical: Theatre, Film, and Television says the song "combines character and narrative beautifully".[5]
References[edit]
1.^ Jump up to: a b Hischak, Thomas S (2011-09-21). Disney Voice Actors: A Biographical Dictionary. ISBN 9780786462711.
2.^ Jump up to: a b c Ward, Annalee R (2002). Mouse Morality: The Rhetoric of Disney Animated Film. ISBN 9780292773936.
3.Jump up ^ Griffin, Sean (2000-03-01). Tinker Belles and Evil Queens: The Walt Disney Company from the Inside Out. ISBN 9780814731239.
4.Jump up ^ http://www.dvdtalk.com/reviews/59319/hunchback-of-notre-dame/
5.Jump up ^ Hischak, Thomas S (2008-06-02). The Oxford Companion to the American Musical: Theatre, Film, and Television. ISBN 9780195335330.
See also[edit]
The Hunchback of Notre Dame (soundtrack)

[hide]
v·
 t·
 e
 
The Hunchback of Notre-Dame by Victor Hugo

 
Characters
Quasimodo·
 Esmeralda·
 Claude Frollo·
 Captain Phoebus·
 Clopin Trouillefou·
 Pierre Gringoire
 
Bourdon-notre-dame-paris-tour-sud.jpg

 
Films
Esmeralda (1905)·
 The Hunchback of Notre Dame (1911)·
 The Darling of Paris (1917)·
 Esmeralda (1922)·
 The Hunchback of Notre Dame (1923)·
 The Hunchback of Notre Dame (1939)·
 The Hunchback of Notre Dame (1956)·
 The Hunchback of Notre Dame (1966)·
 The Hunchback of Notre Dame (1977)·
 The Hunchback of Notre Dame (1982)·
 The Hunchback of Notre Dame (1986)·
 The Hunchback of Notre Dame (1996)·
 The Hunchback (1997)·
 Quasimodo d'El Paris (1999)·
 The Hunchback of Notre Dame II (2002)
 
 
Other adaptations
La Esmeralda (1836 opera)·
 La Esmeralda (1844 ballet)·
 Notre-Dame de Paris (1998 musical)·
 The Hunchback of Notre Dame (1999 musical)
 
 
Parodies
Mad Monster Party? (1967)·
 Hotel Transylvania (2012)
 
 
Disney songs
Music soundtrack·
 "The Bells of Notre Dame"·
 "God Help the Outcasts"·
 "Hellfire"·
 "A Guy Like You"·
 "Someday"
 

 

Categories: 1996 songs
Disney songs
The Hunchback of Notre-Dame
Songs with music by Alan Menken
Songs written by Stephen Schwartz (composer)

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God Help the Outcasts

From Wikipedia, the free encyclopedia
 
Jump to: navigation, search

"God Help the Outcasts"

Song from the album The Hunchback of Notre Dame: An Original Walt Disney Records Soundtrack

Released
1996
Recorded
1996
Label
Walt Disney
Writer
Alan Menken, Stephen Schwartz
Producer
Alan Menken, Stephen Schwartz
God Help the Outcasts is a song from Disney's 1996 animated feature film, The Hunchback of Notre Dame. The soft ballad was written by composer Alan Menken and lyricist Stephen Schwartz and recorded by by American singer and actress Heidi Mollenhauer in her film role as the singing voice of Esmeralda for a scene inside Notre Dame after she sees how Quasimodo and her people are treated by society.
It replaced another song, "Someday," which was cut when the directors wanted a quieter song in a cathedral. A pop version of "Someday", with slightly altered lyrics, is performed over the movie's credits. A pop cover of "God Help the Outcasts" was recorded by American entertainer Bette Midler and is featured on the film's soundtrack, though it is not used in the movie itself. It is 3:26 minutes long and Track 16 - the final track[1][2] The film version is track 5 on the film soundtrack and is 3:45 minutes long.[2] Extra voices were provided by Brian Cummings, Debi Mae West, and Lisa Russo.[3]

Contents
  [hide] 1 Production
2 Composition
3 Visual Sequence
4 Themes
5 Critical reception
6 Awards
7 Other versions
8 External links
9 References
Production[edit]
The song was adapted for the German stage version of the animated film, known as Der Glöckner von Notre Dame. Stephen Schwartz said "the scene...with all its candles and projected re-creation of Notre Dame, I thought was absolutely stunning".[4]
Stephen Shwartz explains that "The song 'Someday' was originally written for the Disney animated feature THE HUNCHBACK OF NOTRE DAME as a possible replacement for the song 'God Help the Outcasts'. Ultimately, we went with the other song instead", though adds that "since everybody liked 'Someday' as well, it was then used as an end title credit for the film". While both songs find a home in the musical version ("in the stage version, 'Someday' is used towards the end, when Esmeralda is being led to execution"), in the film, the songs took place at the same point in time - "Esmeralda's first entrance into Notre Dame cathedral [where she is both] awed by the serenity and splendor of the place [and] brings with her a bitter and acute awareness of the injustice of her situation and that of her people and the less fortunate of society in general".[4][5]
Composition[edit]
The tempo for the song is 'Slowly'. The sheet music for the song has been released.[6]
Visual Sequence[edit]
The Program notes for the Mariel & PJ Program Senior Showcase describe the song's placement within the film thus:[7]
"God Help the Outcasts” is sung by Esmeralda as an intercessory prayer on the behalf of Quasimodo and her people, the gypsies, whom are treated as outcasts by the rest of their society. Esmeralda begins her prayer by realizing that Jesus Christ must have also known what it was like to be treated as an outcast, for his own people crucified him on the Cross at Calvary. The heart of her prayer can be summed up in this statement, “I thought we all were the children of God."
Themes[edit]
The song has been used as a discussion topic at FaithElement. Talking points include: "Which way in this clip do you think most Christians today call out to God? Explain?", "Do you think it is wrong to ask God for fame, riches, and/or blessings? Why or why not?", and "Who in your school and/or community is looked at as being outcast? Why?".[8]
Micky Mouse Monopoly: Disney, Childhood, and Corporate Power suggests that the song is "a plea on behalf of all minorities - not only by ethnicity, but also by race, class, gender, or sexual orientation". By extension, and due to the historical context, it reasons that it "might have been a jab at the homophobic religious right who were organizing a boycott of Disney".[9]
Critical reception[edit]
The New York Times said "The score, with lively music...and nicely agile lyrics, soars to sanctimonious heights with the lilting, catchy power ballad God Help the Outcasts", and added that it was "a sure thing for next year's Oscar show".[10] None of the songs from Hunchback were nominated the Academy Award for best original song.
Going Home to Heaven called the song "a bolder stroke than [the Disney team] had ever done before", and says that the messages of this piece, along with Hunchback songs like Sanctuary and The Bells of Notre Dame are "very powerful".[11]
Awards[edit]
Fort Worth Star-Telegram notes that at the Oscars, "he song category was packed instead with silly pop drivel [including You Must Love Me, I Finally Found Someone, For the First Time, That Thing You Do!, and Because You Loved Me] edging out some of Hunchback's more masterful tunes like Hellfire, God Help the Outcasts and Out There".[12]
Other versions[edit]
A pop version of God Help the Outcasts was recorded by Bette Midler for the film's soundtrack,
The song has been arranged by Kyle Landry[13] and Audry Snyder.[14]
External links[edit]
God Help the Outcasts in Hearing a Film, Seeing a Sermon: Preaching and Popular Movies
God Help the Outcasts in The Hunchblog of Notre Dame
God Help the Outcasts in The Disney Song Encyclopedia
God Help the Outcasts in The Disney Middle Ages: A Fairy-Tale and Fantasy Past
God Help the Outcasts in The Gospel According to Disney: Faith, Trust, and Pixie Dust
References[edit]
1.Jump up ^ http://nl.newsbank.com/nl-search/we/Archives?p_product=CSTB&p_theme=cstb&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=0EB422AB8DAAE5CC&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D&s_trackval=GooglePMa
2.^ Jump up to: a b "iTunes - Music - The Hunchback of Notre Dame (Original Soundtrack) by Various Artists". Itunes.apple.com. Retrieved 2013-03-23.
3.Jump up ^ http://www.imdb.com/title/tt0116583/soundtrack
4.^ Jump up to: a b "Google Drive Viewer". Docs.google.com. Retrieved 2013-03-23.
5.Jump up ^ "Google Drive Viewer". Docs.google.com. Retrieved 2013-03-23.
6.Jump up ^ "Google Drive Viewer". Docs.google.com. Retrieved 2013-03-23.
7.Jump up ^ "Google Drive Viewer". Docs.google.com. Retrieved 2013-03-23.
8.Jump up ^ "Google Drive Viewer". Docs.google.com. Retrieved 2013-03-23.
9.Jump up ^ "Google Drive Viewer". Docs.google.com. Retrieved 2013-03-23.
10.Jump up ^ http://movies.nytimes.com/movie/review?res=9901E3DE1539F932A15755C0A960958260
11.Jump up ^ Going Home to Heaven - Jean Victoria Norloch - Google Books. Books.google.com.au. 2010-07-29. ISBN 1452438560. Retrieved 2013-03-23.
12.Jump up ^ http://nl.newsbank.com/nl-search/we/Archives?p_product=ST&s_site=dfw&p_multi=ST&p_theme=realcities&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=0EAF90F2F368F7C0&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D&s_trackval=GooglePM
13.Jump up ^ "Google Drive Viewer". Docs.google.com. Retrieved 2013-03-23.
14.Jump up ^ "Google Drive Viewer". Docs.google.com. Retrieved 2013-03-23.

[hide]
v·
 t·
 e
 
The Hunchback of Notre-Dame by Victor Hugo

 
Characters
Quasimodo·
 Esmeralda·
 Claude Frollo·
 Captain Phoebus·
 Clopin Trouillefou·
 Pierre Gringoire
 
Bourdon-notre-dame-paris-tour-sud.jpg

 
Films
Esmeralda (1905)·
 The Hunchback of Notre Dame (1911)·
 The Darling of Paris (1917)·
 Esmeralda (1922)·
 The Hunchback of Notre Dame (1923)·
 The Hunchback of Notre Dame (1939)·
 The Hunchback of Notre Dame (1956)·
 The Hunchback of Notre Dame (1966)·
 The Hunchback of Notre Dame (1977)·
 The Hunchback of Notre Dame (1982)·
 The Hunchback of Notre Dame (1986)·
 The Hunchback of Notre Dame (1996)·
 The Hunchback (1997)·
 Quasimodo d'El Paris (1999)·
 The Hunchback of Notre Dame II (2002)
 
 
Other adaptations
La Esmeralda (1836 opera)·
 La Esmeralda (1844 ballet)·
 Notre-Dame de Paris (1998 musical)·
 The Hunchback of Notre Dame (1999 musical)
 
 
Parodies
Mad Monster Party? (1967)·
 Hotel Transylvania (2012)
 
 
Disney songs
Music soundtrack·
 "The Bells of Notre Dame"·
 "God Help the Outcasts"·
 "Hellfire"·
 "A Guy Like You"·
 "Someday"
 

 

Categories: Disney songs

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Hellfire (song)

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Jump to: navigation, search

For the song by Airbourne of the same name, see Runnin' Wild (Airbourne album).

"Hellfire"

Song by Tony Jay from the album The Hunchback of Notre Dame: An Original Walt Disney Records Soundtrack

Released
1996
Recorded
1996
Genre
Religious
Length
5:22 (including "Heaven's Light")
Label
Walt Disney
Writer
Alan Menken, Stephen Schwartz
Producer
Alan Menken, Stephen Schwartz

 

 Frollo embracing a vision of Esmeralda from his fireplace.
"Hellfire" is a song from Disney's 1996 animated feature The Hunchback of Notre Dame. The song is sung by the film's main antagonist, Judge Claude Frollo, who is voiced by Tony Jay.
When sinful thoughts regarding the beautiful gypsy Esmeralda enter Frollo's mind, he "panics and seeks to rid himself of [its] source". This internal struggle prompts Hellfire, which has been described as "one of the best Disney villain songs of all time".[1] Frollo "confronts his lusting for Esmeralda...blaming her for turning towards darkness, and pleading to be saved". He sings "destroy Esmeralda, and let her taste the fires of hell, or else let her be mine and mine alone" while the image of Esmeralda "provocatively danc[es] in front of him".[2] He "does not see any evil in his deeds as he does them in honor of God, even though the Archdeacon often disapproves of his actions".[3]
This "scene of lust and longing" that the song is centered around received much press coverage at the time of the film's release, along with the alterations made to give the film a G rating, and the facial hair of Phoebus.[4]

Contents
  [hide] 1 "Heaven's Light" and "Hellfire"
2 Composition
3 Visual sequence
4 Production
5 Themes
6 Home media release
7 Critical reception
8 Controversy
9 References
10 External links
"Heaven's Light" and "Hellfire"[edit]
The song was intended to contrast the song "Heaven's Light", which was sung by Quasimodo moments earlier, expressing his feelings of love for Esmeralda, while "Hellfire" focuses on Frollo's internal conflict between his feelings of lust for her and his conscience and hate for the gypsies.
The two songs, which are sometimes referred to collectively as "Heaven's Light"/"Hellfire" (for example on the soundtrack where it is track 7), describe two opposing views towards the same woman. Quasimodo sees Esmeralda as "Heaven's Light" while Frollo sees her as a "Hellfire".[5]
It could be considered as a dark reprise to the earlier song.[6]
Simon Brew of Den of Geek! argues that throughout the song, Frollo goes through a similar kind of torture that Quasimodo puts himself through in "Heaven's Light".[2]
Composition[edit]





 This 30 second excerpt of "Hellfire" illustrates Frollo's internal struggle. The clip includes the final part of verse 1 and the beginning of chorus 1.
It begins in Bb major, before turning to its relative minor G. It soon modulates briefly into C minor, then F major, has a spoken intersection where the bass lies on A, dominant of D minor, the key which the song finally ends in.
"Hellfire" contains parts of the Confiteor, a Latin prayer of confession used by the Roman Catholic Church. This prayer begins directly after "Heaven's Light" and serves as the introduction to "Hellfire". It also provides counterpoint material throughout the song, whose ending also contains the Kyrie eleison.
The instrumental accompaniment to the song serves as a musical motif that alters in tone depending on the action. As well as some variations heard early on (such as in "The Bells of Notre Dame"), this motif "informs much of the score that chronologically follows in the film." Reviewer Christian Clemmensen of Filmtracks.com adds that "both 'Paris Burning' and 'Sanctuary!' explicitly continue the instrumental backdrop and Latin chanting of 'Hellfire', a sound that becomes more general in 'And He Shall Smite the Wicked'."[7] Also, "the opening fanfare is also reintroduced at the end of 'Heaven's Light', makes up the melody during the chorus of 'Hellfire', and plays in the instrumental 'Sanctuary!'"[6]
Visual sequence[edit]
The beginning of the song starts with the Archdeacon swinging the incense-filled thurible, as he and his altar servers walk through Notre Dame, chanting the beginning of the Confiteor. The camera pans upwards to the famous "rose window", and flies through it and over Paris, revealing that all the lights in the city are going out as people are turning in for the night. The only light that remains is the light in the Palace of Justice, where Frollo gazes out at Notre Dame from his window, singing to the Virgin Mary about how she knows he is "a righteous man" and above "the common, vulgar, weak, licentious crowd." Frollo then calmly walks to the fireplace before he reveals his fear, pleading to Mary to tell him why he lusts for Esmeralda if he is pure. During this, a fire apparition of Esmeralda dances provocatively in the flames.
Through the second verse, Frollo draws away from the fireplace, revealing a piece of silk that Esmeralda had used to tease him earlier in the film. Frollo sings about how he lusts for her and resents her for it. He accuses her of turning him to sin and denies his own culpability as red-hooded figures rise from the floor, chanting mea culpa ("my fault"). Frollo runs through the chamber, with the cloaked figures standing on either side of him. He desperately pleads with them for forgiveness, claiming that Esmeralda had cast a spell on him and tempted him. The hooded figures turn into flames, enveloping Frollo as they return to the fireplace as if dragging him down into Hell (foreshadowing his fate).
Frollo continues singing, pleading to Mary to rescue him from Esmeralda's voluptous temptations that would lead to his eternal damnation. He holds out the scarf and clenches it angrily, stating that Esmeralda must choose him or burn. The fire apparition of Esmeralda re-appears, but her provocative dancing is replaced by her shriek-filled writhing as she is about to burn. A smoke apparition of Esmeralda then emerges from the fireplace (pictured above), and as it embraces Frollo passionately, there is a knock at the door. The apparition disappears as a guard enters, telling Frollo that Esmeralda escaped from the Cathedral of Notre Dame where Frollo had "imprisoned" her. Frollo vows to find her, even if it means burning down all of Paris. The guard leaves, and Frollo continues singing, telling Esmeralda that he will give her an ultimatum: she must choose to be his lover or she will burn. Frollo throws Esmeralda's scarf into the fireplace, symbolically burning her as well.
In the final verse, Frollo backs up against a wall, asking God to have mercy on both him and Esmeralda, implying that he ultimately knows that his actions are against God's will. As he sings, shadowy figures holding crucifixes emerge from the light of the fireplace and fly past Frollo. Frollo drops to his knees, saying that Esmeralda will be his love or she will burn. Finishing the song, Frollo passes out and falls face down on the floor in the shape of a crucifix as the fire disappears forever.
Production[edit]
The creators of Disney's adaptation of The Hunchback of Notre Dame stated that they felt that the "Hellfire" scene was important in portraying Frollo as he was in Victor Hugo's original novel. They hoped that this sequence would be one of the greatest animated sequences ever produced. Frollo was animated by Kathy Zielinski, working from a visual storyboard and supported by a special effects team. According to the film's director, Kirk Wise, Frollo's song "Hellfire" needed a visual sequence more meaningful and powerful than past Disney animated features, akin to the memorable Fantasia sequence The Night on Bald Mountain, which depicted the devil Chernabog rallying his demons for a single night. In the audio commentary on The Hunchback of Notre Dame DVD, Wise described his fear that he would have to plea with Disney's CEOs, Roy E. Disney and Michael Eisner, to let them do the sequence. The two CEOs ended up loving the idea, and no plea was needed.[8]
Wise also indicated that he and the effects director Chris Jenkins wanted the fire apparition sequence to be strictly G-rated. Thus, they went through every frame to ensure that Esmeralda's figure was fully clothed at all times,[8] despite her provocative dancing. The commentary also revealed that the producers referred to the sequence with the red-hooded monks as "Mr. Frollo's Wild Ride".
Themes[edit]
The Latin Chant in the background is the Confiteor, which is a Catholic penitential prayer recited during Mass as an "admission of guilt and wrongdoing".[6] There is a sense of dramatic irony throughout the song as Frollo sings "It's not my fault / I'm not to blame / It is the gypsy girl / The witch who sent this flame / It's not my fault / If in God's plan / He made the devil so much / Stronger than a man", to which the priests (at this point of the song represented by ominous red-hooded figures) reply in a counterpoint melody with Mea culpa, Latin for "My fault", or Mea maxima culpa, meaning "My most grievous fault".[9]
An analysis at "Disney and the Seven Deadly Sins" suggests that the Confiteor chant "manifest[s] as his conscience", and reveals to Frollo "the truth of his actions in regard to lust," which is "a craving for sexual intimacy," leading him to self-indulgence. This "desire for the flesh of another" is a sin, which Frollo struggles over until the very end of his life. Even "when Frollo prepares to burn Esmeralda at the stake in front of the cathedral he offers Esmeralda a chance to live if she agrees to be his lover." The article "The Hunchback of Notre Dame: The House of the Lord" in The Gospel According to Disney suggests that "Frollo is tortured by his lust for Esmeralda, an unrequited passion that curdles into obsessive hatred", and argues that Frollo "prays to be delivered from his sin, prostrating himself before a roaring fire, with a cross above it," and while being presented with two paths, he ultimately chooses lust which leads to his downfall. This sin of the villain is compared to Jafar's greed for power at the end of Aladdin. When Frollo is about to kill Quasimodo and Esmeralda, he quotes a biblical verse (supporting the notion that he justifies his wrongdoings as God's will): "And He shall smite the wicked and plunge them into the fiery pit!" The Gospel According to Disney describes what happens next as follows, "Just then, the judge falls to his own death [a pit of fire], in an act of divine intervention."[3]
Jim Miles of Laughingplace.com analyses "Hellfire" by saying that the song marks the turning point when "Frollo's hate for the gypsies has taken on a new dimension", and is "no longer about ending vice and sin [but] about fulfilling his own desires". The scarf he takes from Esmeralda "symboli[zes] the physical manifestation of his desire for [her]", and the resulting internal struggle is illustrated in the song. His life's work involves making the city of Paris "pure and righteous", and no matter how much he wants to be too, he sees a "flame...burning within him" and so turns to God (represented by Mary in the song, notable that in his lust he prays to the Holy Virgin) to "help him overcome those feelings". However throughout his pleading, he holds onto the scarf, thereby holding onto the sin. He tries to rationalize the sin before the "judges of his heart", and seems to be returned to purity, but after the judges disappear the temptation returns. Though he sings "Protect me, Maria" with "repentant agony on his face", he stares into the fireplace and holds onto the scarf, giving into temptation. After being "interrupted by the soldier, he makes a decision within his heart to hold on to the sin". Because the "desire [is now] firmly rooted [within him], he is able to throw away the scarf - the external representation of his inner feelings - into the fire as he has fully accepted this persona. After doing this, he "realizes his mistake, and visually, we see the spiritual battle for his soul--crosses rising above shadowy spiritual figures--but even then, he reconfirms his resolution and proclaims that "she will be mine or she will burn."[4]
Sean Griffin in his work Tinker Belles and Evil Queens: The Walt Disney Company from the Inside Out says that Frollo's hate for Esmeralda seems to stem from his hatred of his own feelings. His shame of "turning to sin" overwhelms him, and he turns to blaming and punishing others. He says that Frollo's lust for Esmeralda is strictly heterosexual, his behaviour "mirrors conclusions from studies about homophobia...unconscious conflicts about one's own sexuality or gender identity." He argues that "Frollo's grim determinations to punish Esmeralda [throughout 'Hellfire']" are sparked from his own denial that he has "'urges' that fall outside the rigid parameters of social acceptance."[5]
Miles argues that the "Archdeacon acts as a foil for Frollo" because through his "caring for Quasimodo's dead mother, he exhibits the kindness and love that God calls all Christians to, which is what Frollo fails to understand". He shows Esmeralda compassion while Frollo only feels contempt towards her. He also "does what Frollo should have done" by "direct[ing] her attention to God." The climax of this is when "he leads a prayer in Latin that calls upon God, Mary, the archangel Michael, the apostles, the saints, and...the Father, for forgiveness of sin in thought, word, and deed." This leads straight into Hellfire. Miles says that "while the Archdeacon turns from sin, Frollo chooses to toy with sin."[4]
There is a juxtaposition of imagery between Heaven and Hell between the two parts of "Heaven's Lights"/"Hellfire".
Home media release[edit]
The laserdisc provided the song demo for "Hellfire", as well as for "The Bells of Notre Dame" and "Out There".[10]
Critical reception[edit]
The song was critically acclaimed, and it is considered to be one of the highlights of the soundtrack to The Hunchback of Notre Dame which in turn received mixed reviews. The general consensus is that if the direction taken with "Hellfire" had been taken for the other songs, the film as a whole would have been substantially better.
In a review of the film's soundtrack, Christian Clemmensen of Filmtracks.com stated that "the darkest depths of The Hunchback of Notre Dame exist in 'Hellfire', one of the most stunning visual and aural combinations in animation history." Though the film was aimed at children as well as adults, Clemmensen comments that the "constantly frightening Latin chants and a heavy string, timpani, and choral bass" scared the younger demographic (despite attempts at lighthearted music and humour to dilute the film). He argues that if Disney had fully embraced the dark nature of the source material by building the soundtrack upon numbers like "Hellfire" and "Sanctuary!", "the film could have been a brilliant adult feature." He says the "spattering of comedy pieces", which include three "silly songs", are "a significant detriment to the gains of the aforementioned themes and performances", and ultimately cause both the film and soundtrack to be a "mixed bag." Pieces such as "Hellfire" are "serious, dramatically brilliant [and among] some of Menken's very best work."[7] Later on in his review, Clemmensen notes the Latin mass which leads into "[Tony] Jay's hauntingly deep performance of Frollo's torment," and adds that it "produc[es] a song so overwhelmingly compelling in an evil sense that it alone was worth the cost of admission (and the album)."[7]
Jim Miles of Laughingplace.com says that "Frollo's passionate pleading" is "visually astounding, masterfully conceived and animated," and the "standout" of the film. He adds that "accompanied by intense music of agony and complex lyrics of psychological revelation, Hellfire is everything a musical scene aspires to be."[4] Reviewer Kenneth E. Rathburn said the song's "grandeur...contributes and fulfills" more than other songs, such as "A Guy Like You", making it one of the better tracks.[11] Jack Smith of the BBC describes the tone (set by the opening number) as "an unholy marriage of the Tridentine Mass and Les Mis." He says the score, "driven by hysterical choirs and crashing percussion" is most effective in "Hellfire".[12] The San Antonio Express-News described it as The Hunchback of Notre Dame's "true show-stopping tune."[13] A blog review described "Hellfire" as "the darkest Disney song ever" and "the best in the whole film."[14] Simon Brew of Den of Geek! says the suffering Frollo goes through in this song makes him a "far more rounded villain." He describes "Hellfire" as "a stunning piece of work, with the visuals and music working in complete tandem."[2] The Nostalgia Critic placed "Hellfire" at #1 in his Top 11 Villain Songs, calling it "intense", "diabolical", vengeful", "sexual", and "conflicting", and praising it as one of the most dramatic and well thought out of all villain songs.[15]
Controversy[edit]
The song is considered to be one of the darkest in any Disney film, depicting Hell, sin, damnation and lust; subjects that are generally considered inappropriate for children. This song and sequence prompted the ratings board to consider a PG rating for the film. In its defense, Disney claimed that its adaptation of The Hunchback of Notre Dame was meant to play as much to adult audiences as to children. The studio attempted to produce an animated film with an audience broader than only children, the main target audience of Disney animated features.
Wheeler W. Dixon of Film Genre 2000: New Critical Essays said that "Hellfire" "was too much for many adults," which prompted reviewers such as Mark Silver of The Los Angeles Times to say things like: "[Hunchback is] a beautiful powerful film that I would not recommend to children under eight or nine years old."[16]
Animator Floyd Norman recalled the pitching session for the musical, in which Menken and Schwartz were "on hand to perform the songs that would grace the production." He recalls "Hellfire" "clearly ha[ving] the executives squirming nervously," wondering if this material could be in a Disney film.[17]
The "Hellfire" subplot, "involving the villain’s need to desire to screw and/or murder the heroine because of his guilt-ridden lustings for her," which was described as "a cross between Schindler’s List and Sweeney Todd" by Scott Mendelson of HollywoodNews.com, was also referred to by him as one of the things, alongside other Disney events like Mufasa being killed onscreen, that surprisingly were given "G-ratings from the MPAA back in the 1990s," which Mendelson uses as context when discussing Tangled's PG rating.[18]
Religious conservatives boycotted The Hunchback of Notre Dame due to this song, which they said was "a suggestive rejection of purity amplified by imagery of a half-naked Esmeralda dancing in a fire."[7]
References[edit]
1.Jump up ^ "Movie Review: The Hunchback of Notre Dame (1996)". Retrieved January 8, 2013.
2.^ Jump up to: a b c Brew, Simon (May 16, 2011). "Looking back at Disney's The Hunchback Of Notre Dame". Retrieved January 8, 2013.
3.^ Jump up to: a b "Disney and the Seven Deadly Sins". Retrieved January 8, 2013.
4.^ Jump up to: a b c d "101 Reasons: The Hunchback of Notre Dame". Retrieved January 8, 2013.
5.^ Jump up to: a b Griffin, Sean. Tinker Belles and Evil Queens: The Walt Disney Company from the Inside Out. pp. 217–8. Retrieved January 8, 2013.
6.^ Jump up to: a b c http://tvtropes.org/pmwiki/pmwiki.php/Disney/TheHunchbackOfNotreDame
7.^ Jump up to: a b c d "The Hunchback of Notre Dame (Alan Menken)". Filmtracks. Retrieved 2012-02-21.
8.^ Jump up to: a b DVD Audio Commentary, The Hunchback of Notre Dame "Hellfire Scene"
9.Jump up ^ http://www.fpx.de/fp/Disney/Lyrics/Hunchback.html
10.Jump up ^ "Review". DVDizzy.com. Retrieved January 8, 2013.
11.Jump up ^ Rathburn, Kenneth E. (September 29, 2012). "Disney Soundtracks The Hunchback of Notre Dame". Retrieved January 8, 2013.
12.Jump up ^ Smith, Jack (2004-08-10). "Alan Menken The Hunchback of Notre Dame Review". Retrieved January 8, 2013.
13.Jump up ^ "'Hunchback' entertains, yet keeps its message". Retrieved January 8, 2013.
14.Jump up ^ "My review of The Hunchback of Notre Dame". Retrieved January 8, 2013.
15.Jump up ^ http://thatguywiththeglasses.com/videolinks/thatguywiththeglasses/nostalgia-critic/17640-top-11-villian-songs
16.Jump up ^ Dixon, Wheeler W. Film Genre 2000: New Critical Essays. p. 54. Retrieved January 8, 2013.
17.Jump up ^ Norman, Floyd. Animated Life: A Lifetime of tips, tricks, techniques and stories from a Disney Legend. Retrieved January 8, 2013.
18.Jump up ^ Mendelson, Scott. "Cartoon movies are having a hard time getting "G" ratings these days". Retrieved January 8, 2013.
External links[edit]
Concept art for the Hellfire song
More concept art, including images of a clothed Esmerelda in the fire
Lyrics in different languages
Hellfire in Mouse Morality: The Rhetoric of Disney Animated Film
Hellfire in The Music of the Disney’s Hunchback of Notre Dame – Hellfire

[hide]
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The Hunchback of Notre-Dame by Victor Hugo

 
Characters
Quasimodo·
 Esmeralda·
 Claude Frollo·
 Captain Phoebus·
 Clopin Trouillefou·
 Pierre Gringoire
 
Bourdon-notre-dame-paris-tour-sud.jpg

 
Films
Esmeralda (1905)·
 The Hunchback of Notre Dame (1911)·
 The Darling of Paris (1917)·
 Esmeralda (1922)·
 The Hunchback of Notre Dame (1923)·
 The Hunchback of Notre Dame (1939)·
 The Hunchback of Notre Dame (1956)·
 The Hunchback of Notre Dame (1966)·
 The Hunchback of Notre Dame (1977)·
 The Hunchback of Notre Dame (1982)·
 The Hunchback of Notre Dame (1986)·
 The Hunchback of Notre Dame (1996)·
 The Hunchback (1997)·
 Quasimodo d'El Paris (1999)·
 The Hunchback of Notre Dame II (2002)
 
 
Other adaptations
La Esmeralda (1836 opera)·
 La Esmeralda (1844 ballet)·
 Notre-Dame de Paris (1998 musical)·
 The Hunchback of Notre Dame (1999 musical)
 
 
Parodies
Mad Monster Party? (1967)·
 Hotel Transylvania (2012)
 
 
Disney songs
Music soundtrack·
 "The Bells of Notre Dame"·
 "God Help the Outcasts"·
 "Hellfire"·
 "A Guy Like You"·
 "Someday"
 

 

Categories: 1996 songs
Disney songs
The Hunchback of Notre-Dame
Religious songs
Songs written by Stephen Schwartz (composer)
Songs with music by Alan Menken

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A Guy Like You

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A Guy Like You is a song from Disney's 1996 film Hunchback of Notre Dame. It is performed by the 3 gargoyles as theytry to console Qusimodo. The song was also featured in the stage musical version.

Contents
  [hide] 1 Production
2 Synopsis
3 Composition
4 Tone difference with rest of film
5 Home releases
6 Critical reception
7 References
Production[edit]
The voice actor for the gargoyle Laverne sick while Disney was doing some re-recording on the song 'A Guy Like You'.[1]
Synopsis[edit]
According to Washington Post, "the song encourages Quasi in his wrongheaded pursuit of Gypsy dancer Esmeralda."[2]
Composition[edit]
The song has "Broadway pizazz".[2] It has been described as "sprightly" and "this show’s answer to 'Be Our Guest'".[3] Canada.com describes it as a "chin-up musical number".[4] Indianapolis Star describes it as a "peppy tune of encouragement".[5]
Tone difference with rest of film[edit]
The song was added in the film to add some levity after "the intensity of Hellfire" which is followed by Frollo "go[ing] on a tear extorting Gypsies, arresting people, attempting to kill people including Phoebus and burning a good portion of Paris".[6]
Their song was describes as a "funny, upbeat song" sung by "comic relief" characters.[7]
Hi-Def Digest said that "at times, the movie is dark, serious and mature, but then it switches into being goofy and comedic", citing scenes with the gargoyles and this song in particular. It added that it's as if the film "didn’t trust itself [and] want[ing] to straddle two boats by making a movie that appealed to adult audiences as well as children". It concluded that "unfortunately, most children don’t like this movie and it is almost ignored by the Walt Disney Company".[8]
We Debate: The Surprising Bleakness of Disney’s The Hunchback of Notre Dame notes that "Beyond the joking reference to the burning city around them in “A Guy Like You”, the song is mostly bright and cheery, but, again, that is on the surface. The song is ultimately poignant and tragic because the audiences knows Quasimodo’s love is unrequited, and are quickly proven correct as Quasimodo has to watch Esmeralda and Phoebus make out like there is no tomorrow".[9]
Home releases[edit]
A 3 minute multi-language reel of the song “A Guy Like You” is featured on the Blue-Ray DVD.[8][10]
Critical reception[edit]
The song has received negative reviews. While the singing and production of the song have been praised by some, its jarring dissonance with the tone of the rest of film, as well as its anachronisms and shallow message have been criticised.
DenOfGeek said "the A Guy Like You sequence seems ill-fitting" and "offsets [the film's] darkness a little too much".[10] THETORB said "Not only is A Guy Like You a pretty bad song that doesn’t fit in with the rest of the film, it also massively sets Quasimodo up for a fail. The grotesques convince him that Esmeralda’s in love with him, which she’s not. There’s building up self-confidence and then there’s just being cruel".[11] Fonsbandusiae23 said "I’m sure a lot of people would agree with me when I say that you could take A Guy Like You out of the soundtrack and let it drop into that fiery pit Frollo was ranting about, and we would rejoice and not mind one little bit".[12] The Hunchblog simply said " I hate this song". It notes "It’s interesting, the movie’s moral is about looking beyond superficiality but this song really only talks about his looks not how amazing or kind or even talented he is." It added "The song has some good musicality, it’s sung well, and it has some clever lyrics but it’s annoying". It also greatly criticised the anachronisms used in the number.[6] We Debate: The Surprising Bleakness of Disney’s The Hunchback of Notre Dame said "Imagine if in The Lion King the song “Hakuna Matata” was sung over images of the ruined remnants of Pride Rock, and you have a general idea of how the song “A Guy Like You” from Hunchback plays."[9] The Oxford Companion to the American Musical: Theatre, Film, and Television said the 3 gargoyle voice actors "hammed it up" with this song.[13] Cinefantastique described A Guy like You as "likable but intrusive"; the only song in the film that fails to "enhanc[e] the story without stopping the flow".[14] Show Music mirrored this view by arguing that all the film's songs "fits the story line without wrenching it out of shape, which 'A Guy Like You' does".[15] It has been described as "funny".[16] The Wall Street Journal described the number as "one of the funniest musical numbers I've ever seen...the blithely sardonic style evokes the best of the Broadway musical stage, and the content, given Quasi's multiple disabilities, takes your breath away."[17]
References[edit]
1.Jump up ^ http://www.theatermania.com/news/theater-news/?story=1195&cid=1
2.^ Jump up to: a b http://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/hunchbackofnotredame.htm
3.Jump up ^ http://variety.com/1999/legit/reviews/the-hunchback-of-notre-dame-6-1200457940/
4.Jump up ^ http://www2.canada.com/errors/404.aspx?404;%2fstory_print.html%3fid%3d4411395%26tab%3dPHOT%26sponsor%3d
5.Jump up ^ http://pqasb.pqarchiver.com/indystar/doc/240154633.html?FMT=ABS&FMTS=ABS:FT&type=current&date=Jun%2019,%201996&author=BONNIE%20BRITTON&pub=Indianapolis%20Star&edition=&startpage=&desc=Clueless%20actor%20had%20no%20hunch%20about%20Disney%20role
6.^ Jump up to: a b http://www.thehunchblog.com/2011/09/the-music-of-the-disney%E2%80%99s-hunchback-of-notre-dame-%E2%80%93-a-guy-like-you/
7.Jump up ^ Nielsen Business Media, Inc (1996-05-25). Billboard.
8.^ Jump up to: a b http://www.rotoscopers.com/2013/05/09/blu-ray-review-the-hunchback-of-notre-dame-1-2/
9.^ Jump up to: a b http://weminoredinfilm.com/2013/02/17/rasha-mundane-disneys-hunchback-of-notre-dame/
10.^ Jump up to: a b http://bluray.highdefdigest.com/3249/hunchback_double.html
11.Jump up ^ http://thetorb.wordpress.com/2013/04/05/the-hunchback-of-notre-dame-the-cynics-survival-guide-to-disney-animated-classics/
12.Jump up ^ http://fonsbandusiae23.wordpress.com/2013/04/13/so-about-disneys-the-hunchback-of-notre-dame/
13.Jump up ^ Hischak, Thomas S (2008-06-02). The Oxford Companion to the American Musical: Theatre, Film, and Television. ISBN 9780195335330.
14.Jump up ^ Clarke, Frederick S (1996). Cinefantastique.
15.Jump up ^ Show Music. 1996.
16.Jump up ^ http://nl.newsbank.com/nl-search/we/Archives?p_product=AT&p_theme=at&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=0EADA28239960402&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D&s_trackval=GooglePM
17.Jump up ^ http://online.wsj.com/article/SB835295176938753000.html?mod=googlewsj

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The Hunchback of Notre-Dame by Victor Hugo

 
Characters
Quasimodo·
 Esmeralda·
 Claude Frollo·
 Captain Phoebus·
 Clopin Trouillefou·
 Pierre Gringoire
 
Bourdon-notre-dame-paris-tour-sud.jpg

 
Films
Esmeralda (1905)·
 The Hunchback of Notre Dame (1911)·
 The Darling of Paris (1917)·
 Esmeralda (1922)·
 The Hunchback of Notre Dame (1923)·
 The Hunchback of Notre Dame (1939)·
 The Hunchback of Notre Dame (1956)·
 The Hunchback of Notre Dame (1966)·
 The Hunchback of Notre Dame (1977)·
 The Hunchback of Notre Dame (1982)·
 The Hunchback of Notre Dame (1986)·
 The Hunchback of Notre Dame (1996)·
 The Hunchback (1997)·
 Quasimodo d'El Paris (1999)·
 The Hunchback of Notre Dame II (2002)
 
 
Other adaptations
La Esmeralda (1836 opera)·
 La Esmeralda (1844 ballet)·
 Notre-Dame de Paris (1998 musical)·
 The Hunchback of Notre Dame (1999 musical)
 
 
Parodies
Mad Monster Party? (1967)·
 Hotel Transylvania (2012)
 
 
Disney songs
Music soundtrack·
 "The Bells of Notre Dame"·
 "God Help the Outcasts"·
 "Hellfire"·
 "A Guy Like You"·
 "Someday"
 

 


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Someday (Disney song)

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"Someday"

Song from the album The Hunchback of Notre Dame: An Original Walt Disney Records Soundtrack

Released
1996
Recorded
1996
Label
Walt Disney
Writer
Alan Menken, Stephen Schwartz
Producer
Alan Menken, Stephen Schwartz
"Someday" is a song from Disney's 1996 animated feature film, The Hunchback of Notre Dame. It was written by composer Alan Menken and lyricist Stephen Schwartz and originally recorded by American singer and actress Heidi Mollenhauer in her film role as the singing voice of Esmeralda. One out of three recordings, along with "In a Place of Miracles" and "As Long as There's a Moon", it was discarded during the storyboarding process of the film and replaced with "God Help the Outcasts" as directors Gary Trousdale and Kirk Wise both wanted a quieter song in scene when Esmeralda sings inside the Notre Dame cathedral. While not used in the body of the film, "Someday" is heard over the closing credits of the film.[1]
Selected as the lead single from the film's soundtrack in 1996, "Someday" was recorded by all–male R&B group All-4-One for the North American release, while British R&B trio Eternal recorded their own version for the British English version of the song which received international release throughout Europe and Oceania. Mexican singer Luis Miguel recorded a Spanish version for the Latin American market, retitled "Sueña", which became a major hit. The youngest Celtic Woman member Chloë Agnew covered this song for her solo album called Walking in the Air and her first Celtic Woman album.

Contents
  [hide] 1 All-4-One version 1.1 Track listings
1.2 Charts
1.3 Sales and certifications
2 Eternal version 2.1 Track listings
2.2 Charts
3 Luis Miguel version 3.1 Track listings
3.2 Charts
4 See also
5 References
All-4-One version[edit]

"Someday"
 
Single by All-4-One

from the album The Hunchback of Notre Dame: An Original Walt Disney Records Soundtrack

Released
June 10, 1996
Format
CD single
Genre
Pop, soul
Length
4:17
Label
Hollywood
Producer
Walter Afanasieff
All-4-One singles chronology

"These Arms"
 (1996) "Someday"
 (1996) "Love Shouldn't Hurt"
 (1998)
 
For the American music market, Disney enlisted R&B band All-4-One to record their own rendition of "Someday" for the film's accompanying soundtrack. While the album version of their recording was produced and arranged by William Ross, songwriter Walter Afanasieff was consulted to produce a radio mix of the song which was released by Hollywood Records as the set's first single to US radios on June 10, 1996.[2] The band premiered the song at the New Orleans premiere of The Hunchback of Notre Dame.[2]
All-4-One's fourth top forty entry on the US Billboard Hot 100, the single peaked at number 30 on the chart. On Billboard's component charts, it reached number 14 on the Hot Adult Contemporary Tracks. A music video for "Someday" was directed by Antoine Fuqua.[2]
Track listings[edit]
CD single[3]1."Someday" (Radio Mix) — 4:19
2."Someday" (Album Version) — 4:17
Charts[edit]

Chart (1996)
Peak
 position
US Adult Contemporary (Billboard)[4] 14
US Billboard Hot 100[5] 30
US Hot R&B/Hip-Hop Songs (Billboard)[6] 89


Sales and certifications[edit]

Region
Certification
Sales/shipments

United States (RIAA)[7]
Gold 500,000^

^shipments figures based on certification alone
 



Eternal version[edit]

"Someday"
 
Single by Eternal

from the album Before the Rain

Released
July 29, 1996
Format
CD single
Genre
Pop, soul
Length
4:21
Label
First Avenue
Producer
Simon Climie
Eternal singles chronology

"Good Thing"
 (1996) "Someday"
 (1996) "Secrets"
 (1996)
 
In the United Kingdom, all–female trio Eternal lent their vocals to a second version of "Someday". Produced by Simon Climie, it was first released on First Avenue on July 29, 1996 in the UK.[8] The single became the group's eighth non-consecutive top ten entry on the UK Singles Chart and managed to reach the top thirty in Australia and Ireland. In 1997, it appeared on the trio's third studio album Before the Rain.
Track listings[edit]
CD single[9]1."Someday"
2."When You Wish upon a Star"
3."A Whole New World"
4.The Hunchback of Notre Dame ("Medley")
Charts[edit]

Chart (1996)
Peak
 position
Australia (ARIA)[10] 27
Germany (Media Control AG)[11] 92
Ireland (IRMA)[12] 18
UK Singles (Official Charts Company)[13] 4

Luis Miguel version[edit]

"Sueña"
 
Single by Luis Miguel

from the album El Jorobado de Notre Dame: Banda Sonora en Español

Released
1996
Format
CD single
Genre
Latin pop
Length
4:59
Label
Hollywood, WEA Latina
Producer
Walter Afanasieff
Luis Miguel singles chronology

"Amanecí en Tus Brazos"
 (1995) "Sueña"
 (1996) "Dame"
 (1996)
 
For the Latin American music market, Disney enlisted Mexican singer Luis Miguel to record the Spanish rendition of "Someday" for the Latin American soundtrack. Miguel's version was included on his fourteenth studio album Nada Es Igual released in the same year.[14] The cover peaked at number 3 on the Hot Latin Songs chart and and became his fourth number one song on the Latin Pop Songs chart.[15][16] A music video was filmed for Miguel's version.
Track listings[edit]
CD single[17]1."Sueña" — 4:59
2."Someday" — 4:15


Charts[edit]

Chart (1996)
Peak
 position
US Latin Songs (Billboard)[15] 3
US Latin Pop Songs (Billboard)[16] 1


See also[edit]
List of number-one Billboard Hot Latin Pop Airplay hits of 1996
References[edit]
1.Jump up ^ "The Hunchback of Notre Dame (Alan Menken)". Filmtracks. Retrieved 2012-02-21.
2.^ Jump up to: a b c "'Hunchback' Soundtrack Tie-Ins Abound". Billboard. 1996-05-25. Retrieved 2012-11-01.
3.Jump up ^ "All-4-One - Someday (Hunchback of Notre Dame)-CDS-1996". Hollywood Records. Retrieved 2012-11-01.
4.Jump up ^ "All-4-One Album & Song Chart History" Billboard Adult Contemporary Songs for All-4-One. Retrieved 2012-11-01.
5.Jump up ^ "All-4-One Album & Song Chart History" Billboard Hot 100 for All-4-One. Retrieved 2012-11-01.
6.Jump up ^ "All-4-One Album & Song Chart History" Billboard R&B/Hip-Hop Songs for All-4-One. Retrieved 2012-11-01.
7.Jump up ^ "American single certifications – SOMEDAY (FROM HUNCHBACK OF NOTRE DAME)". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
8.Jump up ^ "'Macarena' Scores Four For Spain". Billboard. 1996-06-29. Retrieved 2012-11-01.
9.Jump up ^ "Eternal - Someday". Hitparade.ch. Hung Medien. Retrieved 2012-11-01.
10.Jump up ^ "Australian-charts.com – Eternal – Someday". ARIA Top 50 Singles. Retrieved 2012-11-01.
11.Jump up ^ "Die ganze Musik im Internet: Charts, News, Neuerscheinungen, Tickets, Genres, Genresuche, Genrelexikon, Künstler-Suche, Musik-Suche, Track-Suche, Ticket-Suche – musicline.de" (in German). Media Control Charts. PhonoNet GmbH. Retrieved 2012-11-01.
12.Jump up ^ "Chart Track". Irish Singles Chart. Retrieved 2012-11-01.
13.Jump up ^ "Eternal" UK Singles Chart. Retrieved 2012-09-23.
14.Jump up ^ "Nada es Igual". Allmusic. Rovi. Retrieved 2013-06-10.
15.^ Jump up to: a b "Luis Miguel Album & Song Chart History" Billboard Latin Songs for Luis Miguel. Retrieved 2013-06-10.
16.^ Jump up to: a b "Album & Song Chart History" Billboard Latin Pop Songs for Luis Miguel. Retrieved 2013-06-10.
17.Jump up ^ "Cd Luis Miguel Sueña De Coleccion Muy Raro Solo Para Fans". MercardoLibre. Retrieved 2013-06-10.

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Categories: Singles certified gold by the Recording Industry Association of America
1996 singles
1996 songs
All-4-One songs
Disney songs
Eternal songs
Luis Miguel songs
The Hunchback of Notre-Dame
Songs with music by Alan Menken
Songs written by Stephen Schwartz (composer)







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This page was last modified on 9 October 2013 at 04:54.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy.
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