Disney's The Hunchback of Notre Dame (1996) songs Wikipedia pages reposted

God Help the Outcasts
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"God Help the Outcasts"

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

Released
1996
Recorded
1996
Genre
Pop
 
Length
3:44
Label
Walt Disney
Writer
Alan Menken ·
 Stephen Schwartz
 
Producer
Alan Menken ·
 Stephen Schwartz
 
The Hunchback of Notre Dame: An Original Walt Disney Records Soundtrack track listing

"Topsy Turvy"
 (3) "God Help the Outcasts"
 (5) "Heaven's Light / Hellfire"
 (7)

"God Help the Outcasts" is a song written by composer Alan Menken and lyricist Stephen Schwartz for Walt Disney Pictures' 34th animated feature film, The Hunchback of Notre Dame (1996). A somber Broadway musical-inspired pop power ballad, "God Help the Outcasts" was recorded by American singer Heidi Mollenhauer as the singing voice of Esmeralda on American actress Demi Moore's behalf, while Moore provided the character's speaking voice. A prayer, "God Help the Outcasts" is a spiritual hymn in which Esmeralda, upon claiming the Notre-Dame Cathedral as sanctuary, asks God to protect her people, the gypsies, and shield them from discrimination, racism and persecution at the hands Judge Claude Frollo.
A quiet song about faith, "God Help the Outcasts" additionally establishes the sensual Esmeralda as a selfless, empathetic character, and a Christian, with whom Quasimodo ultimately falls in love. After songwriters Menken and Schwartz wrote "God Help the Outcasts," directors Kirk Wise and Gary Trousdale and Disney CEO Jeffrey Katzenberg debated whether or not the sequence called for a bigger, more powerful song. Subsequently, Menken and Schwartz wrote the more inspirational "Someday" at Katzenberg's insistence. Ultimately, however, the filmmakers decided that "God Help the Outcasts," a religious ballad, better suited the scene, set in a cathedral.
American singer Bette Midler recorded a pop version of "God Help the Outcasts" for the film's soundtrack. "God Help the Outcasts" has garnered generally positive reviews from both film and music critics, who praised the song's lyrics and music, as well as Mollenhauer's performance. Others, however, felt that the song was too sentimental and overwrought, specifically Midler's rendition. In addition to Midler, "God Help the Outcasts" has since been covered several artists, including singer Lara Fabian in French and The Little Mermaid's Jodi Benson, additionally appearing in the stage musical adaptation of the film.


Contents  [hide]
1 Background and "Someday"
2 Context, scene and analysis
3 Music and lyrics
4 Reception 4.1 Critical reviews
4.2 Accolades
5 Cultural impact 5.1 Live performances
5.2 Covers
6 References

Background and "Someday"[edit]










 While the gypsy Esmeralda asks God to help those the world has forgotten, the nobility pray for material possessions and entitlement.
 This "juxtaposition of their selfish petitions to Esmerelda's humble prayer" is illustrated by the huge swelling choir and Mollenhauer's lone voice. The song "is obviously critical of their attitudes as they contrast with Esmerelda's".[1]
"God Help the Outcasts" was written by composer Alan Menken and lyricist Stephen Schwartz. The songwriters had just recently scored Pocahontas (1995). Upon completing "God Help the Outcasts," Menken and Schwartz wrote "Someday" at the behest of Disney CEO Jeffrey Katzenberg, who suggested that they write "a more liftable song of inspiration."[2] A ballad, the song serves "as an energetic alternative to 'God Help the Outcasts'."[3] Initially, "Someday was originally written to replace [']God [H]elp the Outcast[s]'[]" because "the directors wanted a bigger number for Esmeralda praying in Notre Dame."[4] Conclusively, directors Kirk Wise and Gary Trousdale ultimately decided that “God Help the Outcasts” "fit the tone of the scene more effectively."[3] Some reviewers have suggested the filmmakers sought inspiration from the 1939 film version, in which Esmeralda's prayers in Notre Dame are "even more explicitly contrasted with the other worshippers".[5][6]
According to the Deseret News, "Someday" was excluded from The Hunchback of Notre Dame "because it was ... too powerful," while "God Help the Outcasts" is "a more humble, personal song for Esmeralda to sing as she prayed for God's help."[7] Although similar, "God Help the Outcasts" "is about Outcasts" while "'Someday' is about all people coming to together ... for the betterment of everyone." The latter lacks the "make over-confident boosting or the juxtaposition of Nobility asking God for selfish gains to sound more humble."[4] Additionally, while "God Help the Outcasts" is particularly religious, "Someday" is, according to The Musical Theater of Stephen Schwartz: From Godspell to Wicked and Beyond, "more of an anthem of hope than a prayer."[8] Mollenhauer's performance of "Someday" is featured on the re-release of The Hunchback of Notre Dame.[3] Schwartz explained that "since everybody liked 'Someday' as well, it was then used as an end title credit for the film," as well as "in the stage version ... when Esmeralda is being led to execution."[9][10]
Deeming "God Help the Outcasts" one of the highlights of her career, singer Heidi Mollenhauer, in an interview with South Pasadena High School, described the experience as "very exciting, a little terrifying, and sometimes overwhelming," deeming the opportunity to work with Menken and Schwartz "an absolute dream come true."[11] On recording the song, Mollenhauer said, "The challenge really was to be able to release all that this song made me feel. I get choked up every time I talk about it because I think it's such a beautiful moment."[12] Mollenhauer's singing voice was required to blend with the husky speaking voice of Moore "seamlessly."[13][14]
Context, scene and analysis[edit]
One of The Hunchback of Notre Dame's most poignant moments,[15] "God Help the Outcasts," Esmeralda's only song,[16] identified as the film's "prettiest" musical number,[17] occurs immediately after Esmeralda, pursued by Judge Frollo, claims sanctuary in the Notre Dame Cathedral upon "see[ing] how ... Quasimodo, and her people are treated by others,"[18] according to Defying Gravity: The Creative Career of Stephen Schwartz, from Godspell to Wicked "bring[ing] with her a bitter and acute awareness of the injustice of her situation."[2] Preceded by a brief exchange between Esmeralda and the Archdeacon, the latter ultimately suggests that Esmeralda approach God for help, explaining, "You can't right all the wrongs of this world by yourself, perhaps there's someone in here who can."[1] During the "heartwarming" musical sequence, Esmeralda "pray[s] selflessly on behalf of the world's outcasts."[19] "[F]illed with religious imagery," the song "fits its character perfectly ... sum[ming] up everything that she stands for ... while others pray for wealth, fame, and love, she asks for God to help others."[20] Meanwhile, an earnest Quasimodo, enamored with Esmeralda's beauty and sincerity, hides in the bell tower, "overhearing her prayer" and "being drawn down to her."[1]



 At the end of Esmerelda's prayer, God's light shines down upon her through Notre Dame's stain glass window. The effects in this sequence have been singled out for their technical quality; All-Reviews praised it as "visually colorful" and "astonishingly detailed".[21]
In terms of character development, "God Help the Outcasts" establishes Esmerelda as a "thoughtful, empathetic" character, "worthy of our compassion,"[22] "developing Esmeralda’s character"[23] while "depict[ing] the rest of the Paris commonfolk as simple and selfish, asking for wealth and fame for themselves while Esmerelda prays for the salvation of the Gypsy race."[22] In Tinker Belles and Evil Queens: The Walt Disney Company from the Inside Out, author Sean Griffin observed that "the more respectable parishioners pray for wealth, fame and glory."[24] According to Annalee R. Ward, author of Mouse Morality: The Rhetoric of Disney Animated Film, "God Help the Outcasts" is a "tender prayer-song" in which "Esmeralda expresses a heart full of concern for others, which ultimately Quasimodo mistakes as a heart for him."[25] Esmeralda is "bathed in colored light from the stained glass window"[26] as "God’s light shines down upon Esmeralda"[27] via a rose window, inspiring Quasimodo's description of "Heaven's Light."[1] Initially, the song does not specify to whom the prayer is for – Mary, Jesus or God – yet it does suggest that both Mary and Jesus are former outcasts, much like Esmeralda.[1] In The Disney Middle Ages: A Fairy-Tale and Fantasy Past, author Tison Pugh described Esmeralda as "latently or innately Christian."[28]

"'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.'"
—Program Notes for the Senior Showcase of Mariel Villarreal and Preston-Joseph Woods.[29]
In Mickey Mouse Monopoly: Disney, Childhood, and Corporate Power, Dr. Robert B. Pettit identified "God Help the Outcasts" as "a plea on behalf of all minorities – not only by ethnicity, but also by race, class, gender, or sexual orientation." Additionally, Pettit feels that the song "might have been a jab at the homophobic religious right who were organizing a boycott of Disney."[30] A somber song, "God Help the Outcasts" also "underlines the theme of Victor Hugo’s novel." "At one point in the song, we have a group of rich, well-off Christians asking God for wealth, fame, and love" while "Esmeralda, a penniless gypsy who confessed that she didn’t know if God was there, prays for her people and asks that they be shown mercy and love," additionally "pointing out that Jesus was also an outcast when he walked on this Earth, and that we’re all children of God no matter who we are or what we’ve done."[31] The scene additionally provides "a more positive view of the Church than found in Hugo's novel," as it offers outcasts such as Esmeralda both shelter and sanctuary.[1] During her song, Esmerelda walks past frescos portraying the Slaughter of the Innocents, Flight into Egypt, Presentation in the Temple and Baptism of Jesus; "the juxtaposition underscores both the continuing cruelty in the world and God's action...to bring redemption to the world".[1] Hearing a Film, Seeing a Sermon: Preaching and Popular Movies argues providing "sanctuary to the outcasts", and assuring them they are "children of god" rather than "monster[s]" (a description Frollo reinforces in the song Out There) is "the purpose of the church", rather than "protect[ing] and amply provid[ing]".[1] The Hunchblog points out that both Esmerelda and Frollo pray to the Virgin Mary in their songs (the latter in Hellfire), making her become simultaneously a figure of "reverence" and "compassion", and the agent who will "burn Esmeralda".[6]
Music and lyrics[edit]



 Singer and actress Bette Midler recorded a pop version of "God Help the Outcasts" for the film's soundtrack album. In addition to being longer and in a higher key, Midler's rendition also features modified lyrics.
According to the song's official sheet music, published at Musicnotes.com by Walt Disney Music Publishing, "God Help the Outcasts" is a pop power ballad,[32] written in the key of B♭ major at a slow tempo of 63 beats per minute. The vocal range of singer Heidi Mollenhauer, who provided Esmeralda's singing voice in lieu of actress Demi Moore,[33] spans two octaves, from F3 to C5.[34] Transposed to the higher key of E♭ major, Midler's vocal range also spans two octaves, from B♭3 to F5.[35] While Mollenhauer's version spans three minutes and forty-five seconds,[36] Midler's rendition of "God Help the Outcasts" lasts a shorter three minutes and twenty-six seconds.[37]
"[A]n intercessory prayer," "God Help the Outcasts" is both "a powerfully quiet song"[38] and a "heart-rending aria"[13] performed with "agony and beauty."[39] Musically, the "heart-wrenching ballad"[40] "has a Broadway and choral feel to it," distinct from the majority of The Hunchback of Notre Dame's songs due in large to its "tenderness."[41] A "haunting prayer"[42] and a "simple hymn,"[43] "God Help the Outcasts" is "the most spiritual and transendent [sic] tune to emerge from an animated feature."[42] The ballad, "plain in structure,"[8] is a "hopeful and sweet anthem"[44] and "lilting plea"[39] accompanied by "syrupy production."[45] According to The Musical Theater of Stephen Schwartz: From Godspell to Wicked and Beyond, "Menken's melody is mostly a descending, stepwise line in triple meter with constantly moving eighth notes accompanying," while "Schwartz wrote four dignified, rhymed couplets for the main tune."[8] The leitmotif of this "unadorned music"[43], representing Esmerelda, is continued throughout the film's score; "The Bell Tower" includes incarnations of "Out There" (Quasimodo's theme) and "God Help the Outcasts" as he shows her his home.[46] It is described by Filmtracks.com as "the gorgeous highlight of the score".[46]
According to the book Film Genre 2000: New Critical Essays, "God Help the Outcasts" has an "unusually somber tone" for an animated Disney film.[47] Performed "as a prayer for deliverance from [the gypsies'] pain and suffering,"[48] lyrically, "God Help the Outcasts," a song about faith, explores themes such as discrimination. Additionally, “God Help the Outcasts” "touches on a basic idea behind most faiths."[49] Asking "was Jesus [God] not an outcast, too, as [Esmeralda] sees firsthand how her people, are persecuted for their differences,"[38] the first verse of the song reads, "I don't know if You can hear me/Or if You're even there/I don't know if You would listen/To a gypsie's prayer." Teen Ink observed, "This part is about how it seems like God doesn't listen to you or help you, no matter how much you pray or talk to him."[18] Finally, asking people to be kind unselfish, Esmeralda sings, "Please help my people, the poor and downtrodden/I thought we all were the children of God.”[50] In The Gospel According to Disney, author Mark I. Pinsky drew similarities between "God Help the Outcasts" and the Christian hymn "His Eye Is on the Sparrow," as both songs explore "the love of God that knows no bounds."[51] Midler's longer rendition, considered a reprise of Mollenhauer's original,[52] features modified lyrics, replacing "to a gypsy's prayer" with "to a humble prayer."[53]
Reception[edit]
Critical reviews[edit]
Critical reception towards "God Help the Outcasts" has been generally positive, with some critics deeming the song the film's "most memorable"[21] and "best number."[54] Janet Maslin of The New York Times wrote very positively of "God Help the Outcasts", saying, "The score ... soars to sanctimonious heights with the lilting, catchy power ballad 'God Help the Outcasts'." Maslin continued, "[the song is] a sure thing for next year's Oscar show."[32] Deeming "God Help the Outcasts" "the primary song" of The Hunchback of Notre Dame, Filmtracks.com hailed it as "A truly lovely and inspirational piece." Filmtracks.com went on to extol Mollenhauer's "elegant" vocal performance, joking, "apparently Demi Moore couldn't sing well enough to suffice."[46] Similarly praising Mollenhauer's delivery, Animation World Network wrote that the singer's "voice timbre blends seamlessly with Demi Moore's speaking voice."[13] Teen Ink described "God Help the Outcasts" as "a wonderful song,"[18] while About.com's Espie Estrella highlighted "God Help the Outcasts" as the film's "Featured Song."[55] Hailing The Hunchback of Notre Dame as "my favorite soundtrack of any Disney movie," Emerson College's Entertainment Monthly extolled the film for "trad[ing] the traditional happy tunes for heartfelt and heart-wrenching ballads like ... 'God Help the Outcasts.'"[40]
In a mixed review, Kenneth E. Rathburn of Sputnikmusic commented, "Both versions of 'God Help the Outcasts' offer a level of mid-road quality that came to be expected after the Disney Renaissance," writing of Mollenhauer's, "The film version seems to limp around a bit while delivering more of that emotional punch needed as we transition to the second act," while Midler's "has that credits vibe we all know and love from Disney films" which "keeps us sticking around when we'd otherwise abandon the theater." However, Rathburn concluded, "said version is a little detached for the sake of thematic relevance."[56] Jack Smith of BBC Online gave the song a very unfavorable review, writing, "The sentiments of 'God Help The Outcasts' ... are spoiled by syrupy production," describing Midler's rendition as "overwrought."[45] Plugged In observed, "One heartwarming scene finds Esmeralda praying selflessly on behalf of the world's outcasts." However, "such moments are overshadowed by simmering passions, a shapely heroine and dark elements likely to upset."[19]
Accolades[edit]
In spite of both The New York Times' and Star-News' predictions that "God Help the Outcasts" would be nominated for the Academy Award for Best Original Song, with Star-News' Howard Cohen writing, "next year's Best Song Oscar is sure to spring from this bunch (our guess is the sugary God Help the Outcasts)," the song was ultimately denied an Academy Award nomination at the 1997 award ceremony, along with the rest of Hunchback's original songs.[57] Notably, prior to The Hunchback of Notre Dame, "Disney had been dominating the Original Song category at the Academy Awards, often claiming multiple nominations and a win, but Hunchback was shut out, receiving only a nod for Original Score."[58] Menken told HitFix, "The loss for the 'Hunchback of Notre Dame' score in 1997 ... were 'disappointing.'[59] In spite of this, Mark A. Robinson, author of The World of Musicals, deemed "God Help the Outcasts" one of Menken's most popular songs in 2014.[60]
Ranking "The Best Disney Soundtracks of the Past 25 Years," Moviefone hailed "God Help the Outcasts" as a "hopeful and sweet anthem" in 2013. Meanwhile, author Sandie Angulo Chen highlighted "God Help the Outcasts" as one of the film's most "Notable Songs."[44] On BuzzFeed's "Definitive Ranking Of The 102 Best Animated Disney Songs," "God Help the Outcasts" was ranked fifty-forth.[61]
Cultural impact[edit]
Live performances[edit]
"God Help the Outcasts" was adapted for the stage version of The Hunchback of Notre Dame, which premiered in a 1999 German production entitled Der Glöckner von Notre Dame. Called Hilf den Verstoß'nen in German, this rendition is a duet between Esmerelda and Quasimodo, and was originally performed by Judy Weiss and Drew Sarich respectively. Stephen Schwartz said "the scene...with all its candles and projected re-creation of Notre Dame, I thought was absolutely stunning".[9] Reviewer Edward R. Cox wrote "The addition of Quasi to this song adds such a world of unity to the pleas of Esmeralda and the parishoners [and] show[s] his pure compassion for other's pain, unselfishly. A brilliant stage device and moment".[62] The Hunchblog noted turning this song into a duet means Esmerelda gets no solos in the musical.[63]
American actress and singer Jodi Benson, best known for providing the voice of Ariel in Disney's animated feature film The Little Mermaid (1989), performed "God Help the Outcasts" during the Dis Unplugged Podcast Cruise 2.0 in 2010.[64]
Covers[edit]
Belgo-Canadian artist Lara Fabian released the official French-language single "Que Dieu Aide Les Exclus"; her version was added to the English-language album release in Canada as an extra track. Marketing coordinator for the Walt Disney Corporation (Canada) Todd Maki said "That hasn't been done before. Originally, when we set up the deal with Lara, it was only to have her sing during the cathedral sequence of the film, but producer Havier Ponton heard her and asked us to do a single version as well". As she provided the singing voice for Esmerelda in the film, the French-Canadian soundtrack contains two separate renditions sung by Fabian; the film version and the single. Fabian said "I'm really happy doing this particular character with this song, because it's so touching...The sincerity that comes across [Esmerelda's] face and the intimacy was just amazing".[65]
In 1996, American singer and actress Debbie Gravitte recorded a medley of "God Help the Outcasts" and "Someday," and included it on her Alan Menken-themed cover album, Part of Your World: The Alan Menken Album (1996).[62] American theatre actress Kerry Butler "made a notable recording in 2008, linked with 'It's a Small World'".[43] American gospel singer Cynthia Clawson covered the song on her 1999 album "Broken: Healing the Heart".[66]
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62.^ Jump up to: a b "Disney Musicals - Der Glockner Von Notre Dame - The Hunchback of Notre Dame Stage production recording". Musicalschwartz.com. Retrieved 2014-06-27.
63.Jump up ^ "Hilf den Verstoßenen and Hoch über der Welt – Music of Der Glöckner von Notre Dame – Part 3 | The Hunchblog of Notre Dame". Thehunchblog.com. 2012-01-26. Retrieved 2014-06-27.
64.Jump up ^ "Video: Jodi Benson’s DIS Unplugged Performance a Wonder". DIS Unplugged Disney Podcast. The DIS Unplugged Disney Podcast. December 30, 2010. Retrieved June 19, 2014.
65.Jump up ^ "Billboard - Google Books". Books.google.com.au. 1996-07-13. Retrieved 2014-06-27.
66.Jump up ^ "Billboard - Google Books". Books.google.com.au. 1999-05-22. Retrieved 2014-06-27.


[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)
 

Music
"The Bells of Notre Dame" ·
 "Out There" ·
 "Topsy Turvy" ·
 "God Help the Outcasts" ·
 "Heaven's Light" ·
 "Hellfire" ·
 "A Guy Like You" ·
 "The Court of Miracles" ·
 "Someday"
 

 


Categories: Songs from The Hunchback of Notre Dame (1996 film)


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Heaven's Light
From Wikipedia, the free encyclopedia
Jump to: navigation, search

"Heaven's Light" is a song from Disney's 1996 animated feature The Hunchback of Notre Dame. The song is sung by the film's main protagonist Quasimodo, as he ponders on how his dreary life has changed after meeting the Romani woman Esmerelda. There is much heavenly imagery in this song, which juxtaposes it with Judge Claude Frollo's song Hellfire, which occurs immediately afterwards, in which he considers her a demon who will damn him to hell.
The song is reprised later in the film when Quasimodo sees that Esmerelda and Phoebus are in love. This version takes place within his mind, rather than singing it aloud.


[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)
 

Music
"The Bells of Notre Dame" ·
 "Out There" ·
 "Topsy Turvy" ·
 "God Help the Outcasts" ·
 "Heaven's Light" ·
 "Hellfire" ·
 "A Guy Like You" ·
 "The Court of Miracles" ·
 "Someday"
 

 


Categories: Songs from The Hunchback of Notre Dame (1996 film)


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Hellfire (song)
From Wikipedia, the free encyclopedia
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 Romani woman 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 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. He asks them if it's in a part of God's plan that God made the Devil stronger than he (Frollo) himself is. 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 voluptuous 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 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 goes out.
Production[edit]
The producers 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 and the sequence was storyboarded by French animators Paul and Gaëtan Brizzi, who were the heads of the Walt Disney Feature Animation satellite studio in Montreuil, France.[8] The elements of fire, smoke, and shadows in the sequence required significant support from the Feature Animation visual effects department.[9] According to one of the film's directors, Kirk Wise, Frollo's song "Hellfire" needed a visual sequence more meaningful and powerful than past Disney animated features, akin to the Night on Bald Mountain sequence in Disney's Fantasia (1940), 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 Feature Animation chairman Roy E. Disney and Walt Disney Company CEO Michael Eisner to let them do the sequence. The two executives ended up loving the idea, and no plea was needed.[9]
Wise also indicated that he and visual effects artistic supervisor Chris Jenkins wanted to make sure the "fire-spirit" shots of Esmeralda in the sequence would not endanger the film's possibilities of earning a "G" rating from the Motion Picture Association of America. Thus, they went through every frame to ensure that Esmeralda's figure was fully clothed at all times,[9] despite her provocative dancing.
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".[10]
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".[11]
Critical reception[edit]
The song was universally 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.[12] 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".[13] The San Antonio Express-News described it as The Hunchback of Notre Dame's "true show-stopping tune."[14] A blog review described "Hellfire" as "the darkest Disney song ever" and "the best in the whole film."[15] 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]
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 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 ^ Swarden, Anne (1997-01-01). "Parisian Moviegoers Flock To See Hunchback". The Washington Post. Retrieved 2014-06-22.
9.^ Jump up to: a b c Trousdale, Gary; Wise, Kirk; and Hahn, Don (2006). DVD audio commentary for The Hunchback of Notre Dame. Walt Disney Home Entertainment
10.Jump up ^ http://www.fpx.de/fp/Disney/Lyrics/Hunchback.html
11.Jump up ^ "Review". DVDizzy.com. Retrieved January 8, 2013.
12.Jump up ^ Rathburn, Kenneth E. (September 29, 2012). "Disney Soundtracks The Hunchback of Notre Dame". Retrieved January 8, 2013.
13.Jump up ^ Smith, Jack (2004-08-10). "Alan Menken The Hunchback of Notre Dame Review". Retrieved January 8, 2013.
14.Jump up ^ Ratliff, Larry. "'Hunchback' entertains, yet keeps its message". Retrieved January 8, 2013.
15.Jump up ^ "My review of The Hunchback of Notre Dame". Retrieved January 8, 2013.
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]
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)
 

Music
"The Bells of Notre Dame" ·
 "Out There" ·
 "Topsy Turvy" ·
 "God Help the Outcasts" ·
 "Heaven's Light" ·
 "Hellfire" ·
 "A Guy Like You" ·
 "The Court of Miracles" ·
 "Someday"
 

 


Categories: Songs from The Hunchback of Notre Dame (1996 film)
Religious songs


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The Court of Miracles
From Wikipedia, the free encyclopedia
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"The Court of Miracles" is a song from Disney's 1996 animated feature The Hunchback of Notre Dame. The song is sung by the film's gypsy narrator Clopin. It is sung when Quasimodo and Pheobus stumble upon the gypsy hideaway, and he proceeds to sing about the terrors that await them there and the fact that they will never escape after seeing the secrets they have seen. It is 1:27 minutes long.


Contents  [hide]
1 Synopsis
2 Production
3 Critical reception
4 References

Synopsis[edit]
BSLCrane wrote "Quasimodo has decided to help and together they find it and try to warn them but are caught and accused of being spies before they can warn the gypsies. They are immediately sentenced to hanging by Clopin and this is told during the song "The Court of Miracles."[1]
Production[edit]
Two love songs were originally written in the place where this song fits in the movie, after Esmerelda saves Phoebus from Clopin's hands.[2]
Critical reception[edit]
Sputnikmusic wrote "our buddy Clopin has to let his mouth run amidst "The Court of Miracles" and remind us no Disney film is complete without some sort of obnoxious distraction. Shame it had to sneak a path onto the soundtrack like a dirty gypsy."[3] UnshhavedMouse wrote "The Court of Miracles which is a fun, dark song. In fact it’s almost a villain song in tone".[4] Filmtracks said "breaking the spirit of the film's larger tone is "The Court of Miracles," a jaunty and short gypsy-styled piece meant to extend the narrative rather than establish another primary theme."[5]
References[edit]
1.Jump up ^ Sue, Barbara (2012-09-07). "Barbara Sue's Video Production Blog: Movie Review of Disney's "The Hunchback of Notre Dame"". Bslcrane.blogspot.com.au. Retrieved 2014-07-10.
2.Jump up ^ "Song Lyrics: In A Place of Miracles, a hunchback of notre dame fanfic". FanFiction. 2012-03-30. Retrieved 2014-07-10.
3.Jump up ^ "Disney Soundtracks - The Hunchback of Notre Dame (album review )". Sputnikmusic. 2012-09-29. Retrieved 2014-07-10.
4.Jump up ^ Posted by unshavedmouse (2013-07-25). "Disney Reviews with the Unshaved Mouse #34: The Hunchback of Notre Dame | unshavedmouse". Unshavedmouse.wordpress.com. Retrieved 2014-07-10.
5.Jump up ^ "The Hunchback of Notre Dame (Alan Menken)". Filmtracks. Retrieved 2014-07-10.


[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)
 

Music
"The Bells of Notre Dame" ·
 "Out There" ·
 "Topsy Turvy" ·
 "God Help the Outcasts" ·
 "Heaven's Light" ·
 "Hellfire" ·
 "A Guy Like You" ·
 "The Court of Miracles" ·
 "Someday"
 

 


Categories: Songs from The Hunchback of Notre Dame (1996 film)


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A Guy Like You
From Wikipedia, the free encyclopedia
Jump to: navigation, search

"A Guy Like You" is a song from Disney's 1996 film The Hunchback of Notre Dame. It is performed by the three gargoyles as they try 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]
Mary Wickes, the voice actress for the gargoyle Laverne, was sick during some re-recordings of the song.[1]
Synopsis[edit]
According to the 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 three minute multi-language reel of the song "A Guy Like You" is featured on the Blu-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 the film, as well as its anachronisms and shallow message, have been criticised.
Den of Geek 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 three 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 ^ "Current Theater News at". Theatermania.com. Retrieved 2013-11-24.
2.^ Jump up to: a b "'The Hunchback of Notre Dame (G)'". Washingtonpost.com. 1996-06-21. Retrieved 2013-11-24.
3.Jump up ^ Matt Wolf (1999-06-28). "The Hunchback of Notre Dame". Variety. Retrieved 2013-11-24.
4.Jump up ^ [1][dead link]
5.Jump up ^ "Clueless actor had no hunch about Disney role". Pqasb.pqarchiver.com. 1996-06-19. Retrieved 2013-11-24.
6.^ Jump up to: a b "The Music of the Disney’s Hunchback of Notre Dame – A Guy Like You | The Hunchblog of Notre Dame". Thehunchblog.com. Retrieved 2013-11-24.
7.Jump up ^ Nielsen Business Media, Inc (1996-05-25). Billboard. Books.google.com.
8.^ Jump up to: a b Rotoscopers (2013-05-09). "[BLU-RAY REVIEW] The Hunchback of Notre Dame 1 & 2". Rotoscopers.com. Retrieved 2013-11-24.
9.^ Jump up to: a b Ramsey, Julianne (2013-02-17). "We Debate: The Surprising Bleakness of Disney’s The Hunchback of Notre Dame". We Minored In Film. Retrieved 2013-11-24.
10.^ Jump up to: a b "Blu-ray Review: The Hunchback of Notre Dame / The Hunchback of Notre Dame II | High-Def Digest". Bluray.highdefdigest.com. Retrieved 2013-11-24.
11.Jump up ^ "The Hunchback Of Notre Dame – The Cynic’s Survival Guide To Disney Animated Classics | The Taste of Rising Bile". Thetorb.wordpress.com. Retrieved 2013-11-24.
12.Jump up ^ "So. About Disney’s ‘The Hunchback of Notre Dame’… | fonsbandusiae23". Fonsbandusiae23.wordpress.com. 2013-04-13. Retrieved 2013-11-24.
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. Books.google.com. Retrieved 2013-11-24.
15.Jump up ^ Show Music. Books.google.com. 1996. Retrieved 2013-11-24.
16.Jump up ^ "NewsBank for AJC | www.ajc.com". Nl.newsbank.com. Retrieved 2013-11-24.
17.Jump up ^ "Animated 'Hunchback'; Agitated Arnold - WSJ.com". Online.wsj.com. 1996-06-21. Retrieved 2013-11-24.


[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)
 

Music
"The Bells of Notre Dame" ·
 "Out There" ·
 "Topsy Turvy" ·
 "God Help the Outcasts" ·
 "Heaven's Light" ·
 "Hellfire" ·
 "A Guy Like You" ·
 "The Court of Miracles" ·
 "Someday"
 

 


Categories: Songs from The Hunchback of Notre Dame (1996 film)





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Topsy Turvy (song)
From Wikipedia, the free encyclopedia
Jump to: navigation, search

"Topsy Turvy" is a song from Disney's 1996 animated feature The Hunchback of Notre Dame. The song is 5:36 minutes long and is performed by Clopin.


Contents  [hide]
1 Synopsis
2 Composition and context
3 Critical reception
4 References

Synopsis[edit]
The song is sung by the film's gypsy narrator Clopin. It is performed as he introduces the Festival of Fools, and continues up until they crown Quasimodo as the King of Fools.
ChristianAnswers recounts the scene thus: "During the celebration, he is crowned “King of the Fools” and finds himself falling instantly in love with the Gypsy dancer Esmeralda. Joy turns quickly to sorrow as the crowd cruelly mocks and rejects him for his misshapen appearance, failing to see the charm which lies below his odd looks."[1]
Composition and context[edit]
The Hunchblog writes "'Topsy Turvy' follows in the path of the big show stopping music numbers of Disney. Other songs like this included (but not limited to) 'Under the Sea' (The Little Mermaid), 'Be Our Guest' (Beauty and the Beast) and 'A Friend Like Me' (Aladdin). Unlike these, 'Topsy Turvy' is not a show stopper, it doesn’t stop the movie for the sake of a spectacle, but instead 'Topsy Turvy' propels the plot forward."[2] The site adds "This visually also give Quasimodo something to react to and since he is seeing all this craziness for the first time, Quasimodo acts as the audience in this song. There is a cast of thousand."[2] There are some lyrical references to Victor Hugo's novel. For example Clopin mentions the date a being January 6, which is the day the Feast of Fools took place on. Also, Esmeralda is referenced to with the article “La”, which is often done in the novel. When Clopin sings the line “shock the priest”, he is holding a Frollo puppet, which is a subtle reference to the fact that Frollo was intended to be a priest.[2]
This song and "A Guy Like You" use "the Broadway line-dancing technique of stopping the song and then progressing its bloated performance from a standstill to proper tempo."[3]
Critical reception[edit]
BBC.com wrote "Alongside the demonic is some nicely hammy comedy. “Topsy Turvy” is a big showtime number with a slapstick MC and a swelling chorus."[4] ChristianAnswers wrote "the song for the celebration, describes very well the rest of the story as Quasimodo’s world turns upside down."[1] Letterboxd wrote "Most of the songs aren't only great, they're also usually relevant to the story being told, either as mood pieces", describing Topsy Turvy as "embodiments of chaos."[5] The Mouse For Less wrote "At the opposite end of the spectrum from “Hellfire,” “Topsy Turvy” and “A Guy Like You” are included for comic relief. “Topsy Turvy” uses silly rhymes to describe the Festival of Fools".[6] Filmtracks wrote "The gypsy song “Topsy Turvy” is a carnival-like, French-styled piece for the Feast of Fools; the static pounding of the title lyric is extremely irritating."[3] Anime Instrumentality said "“Topsy Turvy” plays as intended, with lyrics that let loose by throwing everything out of place amidst a jangling jig. It’s a fun piece, with only a slight hint of menace in the celebrations."[7] Spoonful wrote “Topsy Turvy” is a sight to see-and dance along with.".[8]
References[edit]
1.^ Jump up to: a b "Hunchback of Notre Dame (1996) …review and/or viewer comments • Christian Spotlight on the Movies •". Christiananswers.net. Retrieved 2014-07-10.
2.^ Jump up to: a b c "The Music of the Disney’s Hunchback of Notre Dame – Topsy Turvy | The Hunchblog of Notre Dame". Thehunchblog.com. 2011-08-25. Retrieved 2014-07-10.
3.^ Jump up to: a b "The Hunchback of Notre Dame (Alan Menken)". Filmtracks. Retrieved 2014-07-10.
4.Jump up ^ "Music - Review of Alan Menken - The Hunchback of Notre Dame". BBC. 1970-01-01. Retrieved 2014-07-10.
5.Jump up ^ review by Alex Thompson Following Follow (2014-04-17). "‘The Hunchback of Notre Dame’ review by Alex Thompson • Letterboxd". Letterboxd.com. Retrieved 2014-07-10.
6.Jump up ^ "Movie Review: The Hunchback of Notre Dame". Themouseforless.com. Retrieved 2014-07-10.
7.Jump up ^ April 9, 2013 (2013-04-09). "The Hunchback of Notre Dame Original Soundtrack - Review - Anime Instrumentality Blog". Blog.animeinstrumentality.net. Retrieved 2014-07-10.
8.Jump up ^ "Movie Review:The Hunchback of Notre Dame". Spoonful. 2012-09-20. Retrieved 2014-07-10.


[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)
 

Music
"The Bells of Notre Dame" ·
 "Out There" ·
 "Topsy Turvy" ·
 "God Help the Outcasts" ·
 "Heaven's Light" ·
 "Hellfire" ·
 "A Guy Like You" ·
 "The Court of Miracles" ·
 "Someday"
 

 


Categories: Songs from The Hunchback of Notre Dame (1996 film)


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The Bells of Notre Dame
From Wikipedia, the free encyclopedia
Jump to: navigation, search

"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]
The origin of this song came with the controversial swap made by Disney executives of Frollo from an Archdeacon to a Minister of Justice. One of the sideffects of this was that a backstory had to fabricated to explain what Frollo was doing caring for Quasimodo in the first place. The notion that "Frollo is encouraged by the Archdeacon of Notre Dame to raise Quasimodo as his own, to atone for killing the baby's gypsy mother" had to be explained in the opening scene of the musical, and that was the catalyst for the song's creation.[1] 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".[2]
Alan Menken said "It's a really rich number and I think it's possibly the best opening number I've ever written for any project".[3]
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 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.
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 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.[4] 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",[5] 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'".[4]
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.[6] Mouse Morality: The Rhetoric of Disney Animated Film says it is a "dark, emotional scene".[4] Disney Voice Actors: A Biographical Dictionary describes the number as "one of the most potent musical openings of any Disney film".[2] The Oxford Companion to the American Musical: Theatre, Film, and Television says the song "combines character and narrative beautifully".[7]
References[edit]
1.Jump up ^ http://books.google.com.au/books?id=xRYwlVL0vH8C&pg=PT326&dq=%22just+around+the+riverbend%22+pocahontas&hl=en&sa=X&ei=3rUpU4zHC46KkwWy1YDYDw&ved=0CDkQ6AEwAg#v=onepage&q=bells%20of%20notre%20dame&f=false
2.^ Jump up to: a b Hischak, Thomas S (2011-09-21). Disney Voice Actors: A Biographical Dictionary. ISBN 9780786462711.
3.Jump up ^ http://news.google.com/newspapers?nid=1370&dat=19960912&id=Y5QVAAAAIBAJ&sjid=iwsEAAAAIBAJ&pg=2899,1827171
4.^ Jump up to: a b c Ward, Annalee R (2002). Mouse Morality: The Rhetoric of Disney Animated Film. ISBN 9780292773936.
5.Jump up ^ Griffin, Sean (2000-03-01). Tinker Belles and Evil Queens: The Walt Disney Company from the Inside Out. ISBN 9780814731239.
6.Jump up ^ http://www.dvdtalk.com/reviews/59319/hunchback-of-notre-dame/
7.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)
 

Music
"The Bells of Notre Dame" ·
 "Out There" ·
 "Topsy Turvy" ·
 "God Help the Outcasts" ·
 "Heaven's Light" ·
 "Hellfire" ·
 "A Guy Like You" ·
 "The Court of Miracles" ·
 "Someday"
 

 


Categories: Songs from The Hunchback of Notre Dame (1996 film)
1996 singles


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Someday (Disney song)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


"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 italian version was recorded by Neri per Caso, retitled "Quando". 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, R&B
Length
4:17
Label
Walt Disney, Atlantic
Producer(s)
Walter Afanasieff
All-4-One singles chronology

"These Arms"
 (1996) "Someday"
 (1996) "I Turn to You"
 (1997)

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 Walt Disney Records and Atlantic 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(s)
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 Charts)[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(s)
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 eleventh studio album Nada Es Igual released in the same year.[14] The cover peaked at number 3 on the Hot Latin Songs chart 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 single1."Sueña" — 4:59
2."Someday" — 4:15



Charts[edit]

Chart (1996)
Peak
 position
US Hot 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 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 Hot 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 Hot 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.


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Categories: Singles certified gold by the Recording Industry Association of America
1996 singles
Songs from The Hunchback of Notre Dame (1996 film)
All-4-One songs
Eternal (band) songs
Luis Miguel songs














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Out There (song)
From Wikipedia, the free encyclopedia
Jump to: navigation, search

Out There is a song from the 1996 Disney animated film The Hunchback of Notre Dame. Unofficially, it consists of the two songs "In Here" and "Out There".


Contents  [hide]
1 Production
2 Synopsis
3 Composition
4 Critical reception
5 References

Production[edit]
Alan Menken's demo of the song put more emphasis on the "In Here" theme of Quasimodo's monstrous features and Frollo's manipulation to keep him inside the cathedral.[1]
In the stage musical version, the song is reprised at the very end, when he realises that to a certain degree Frollo was right - that the world is cruel and wicked. But he also realises that it is joyous and kind as well, and that it is the only world we've got so we must accept it, highs and lows included.
Synopsis[edit]
At this point in the film, Quasimodo wants to attend the Feast of Fools, but has never been allowed out of the Notre Dame bell tower before. His master Frollo tells him the outside world will treat him like a monster and says for his own sake he must stay where he is. After Frollo leaves, Quasimodo laments about what it would be like out int he real world, and pictures a romanticised version.
Composition[edit]
The song actually consists of two separate sections, centering upon the themes of entrapment and escape. Frollo's "In Here" and Quasimodo's "Out There" juxtapose each other, and express the motivations behind both characters and their relationship to each other.
Critical reception[edit]
DenOfGeek noted "We’re already talking about just how dark the song Hellfire goes, but there’s also the earlier duet in Out There between Frollo and Quasimodo...It’s hardly High School Musical, is it?"[2] FilmTracks wrote "The character song "Out There" opens with a frighteningly sinister conversational interaction between Frollo and Quasimodo before the latter performs his compelling cry for identity with flourishing and redemptive orchestral accompaniment. Tom Hulce's voice, especially compared to Jay, is appropriately light."[3]
References[edit]
1.Jump up ^ https://www.youtube.com/watch?v=c1HKnZZg_M4
2.Jump up ^ http://www.denofgeek.com/movies/17457/looking-back-at-disney%E2%80%99s-the-hunchback-of-notre-dame#ixzz34uVof1t8
3.Jump up ^ http://www.filmtracks.com/titles/hunchback.html


[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)
 

Music
"The Bells of Notre Dame" ·
 "Out There" ·
 "Topsy Turvy" ·
 "God Help the Outcasts" ·
 "Heaven's Light" ·
 "Hellfire" ·
 "A Guy Like You" ·
 "The Court of Miracles" ·
 "Someday"
 

 


Categories: Songs from The Hunchback of Notre Dame (1996 film)


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This page was last modified on 15 July 2014 at 00:50.
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. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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http://en.wikipedia.org/wiki/Out_There_(song)