Stereoview Spotlight: The Hunchback of Notre Dame

Scenes from the Universal Super-Jewel Photoplay “The Hunchback of Notre Dame” Adapted from Victor Hugo’s Immortal Romance

We originally purchased this set because of our large Indupor/Camerascope collection and our ongoing interest in custom Indupor stereoview sets. These cards are not a standard size and were packaged with an Indupor viewer.

At first glance, we could tell the set depicted stereo images from The Hunchback of Notre Dame. But because we didn’t yet know the original film was produced by Universal, and because early film terms like “photoplay” and “super-jewel” were unfamiliar to us, we assumed the images were from a staged reenactment. Perhaps a very committed community theater production.

Then the research began. And turns out that no, this was not a charming local production with excellent costumes. This was something much more interesting. We learned that “photoplay” was an early term for a motion picture, that Universal Pictures premiered The Hunchback of Notre Dame in 1923, and that “Super-Jewel” was Universal’s branding for its top-tier feature films. As it turns out, The Hunchback of Notre Dame became Universal’s most successful silent film.

Not only did we discover that our stereoviews include images of the legendary character actor Lon Chaney, we also found that John Dennis had written a lengthy article about this very set: “Hunchback Turns 90 in 3-D,” published in the March/April 2013 Stereo World issue. One of the images from the set even appeared on the cover of that issue.

In the article, Dennis explores some of the long-standing mysteries surrounding this rare set: who or what inspired its creation, why this unusual stereoview format, what camera was used, who the intended audience was, and how the cards were distributed. And we learned that some collectors have sets with as many as 20 images.

But for us, the most intriguing part of the article involves two additional cards that were included with some sets. One card gives instructions for operating the “Cameroscope” viewer “Compliments of Carl Laemmle, Pres. The Universal Pictures Corp”. The other appears to be a presentation card from Carl Laemmle:

“Mr. Carl Laemmle takes pleasure in presenting to ____ an advance set of stills on ‘The Hunchback of Notre Dame’ the gigantic produciton now being made at Universal City”

The blank space was meant to be filled in by hand with the recipient’s name. In the example shown in the article, the handwritten name looks something like “Mr. P. Kranth,” and Dennis raises the question of who that recipient might have been.

So here is where things get especially interesting for us. Could “Kranth” actually be “Krauth”? It certainly looks like it in the article’s image. And if so, could that person be connected to Professor Alfred Krauth?

Professor Alfred Krauth was an award-winning photographer who co-founded the Stereo-Indupor company and designed the Indupor stereo cameras and viewers — the viewer that comes with the Hunchback set. Krauth was also in America during this general timeframe, producing and publishing commercial stereoview sets, including views of the Textile Machine Works and Berkshire Knitting Mills plants.

That does not prove a connection, of course. But the fact that a custom instruction card for the Indupor viewer was included with some sets suggests this was a much more intentional viewer-and-views pairing than a simple case of “these cards happen to fit this viewer.” Add to that the use of the name “Cameroscope” for the viewer, when just two years later “Camerascope” would become the official name and branding of the Indupor viewer, and the possibilities of a Krauth connection become harder to ignore.

Could this help answer some of the lingering questions about why this unusual viewer and stereoview format were used, who photographed the images, and what camera system was involved?

We don’t know. And maybe some of the questions have already been answered since that Stereo World article was published 13 years ago. In any case, enjoy our set of 10 stereoviews, shown with their original captions, complete with any misspellings.

No. 1 - Facade of Notre Dame Cathedral in Construction

Without a doubt “The Hunchback of Notre Dame” is the most pretentious photoplay ever attempted by a motion picture company. The research work took almost an entire year. Perley Poore Sheehan, the well-known novelist, who, with e. T. Lowe, Jr., made the continuity from Victor Hugo’s famous novel, had the advantage of being a Victor Hugo enthusiast. While studying in Paris, he made an exhaustive investigation of the period of 482, in which the story of “Notre Dame” is laid. All of the commentaries on the French life of this period were carefully studied so that there would be no anachronisms or mistakes in buildings, costumes or customs of the time.

No. 2 - Plaza in front of the Cathedral in the making

Although Carl Laemmle set a figure of a million dollars on the making of this production, the million has already been spent and the picture isn’t finished, although Wallace Worsley and his staff have been working night and day. Two hundred carpenters worked for three months on the architectural features of the production, from designs especially made by architects from plans obtained in innumerable searchings of historical works. Cement and stucco sufficient to build a modern town were used. Ten California sculptors were engaged to reproduce one hundred and fifty-five authentic pieces of statuary.

No. 3 - Place De Greve under construction

Some idea of the magnitude of this production may be obtained from the following figures: The sets cover seven acres of land. Two of these acres are of cement; one is of cobblestones, and it required 14 flat cars to bring them to Universal City. There are over 1900 feet of building frontage. There were 3500 different costumes of the period of 1480. 2600 extras were used in one scene alone. Thirty-five ten-foot statues and innumerable smaller pieces had to be reproduced with recognizable fidelity. The next picture shows the Place de Greve completed.

No. 4 - Place De Greve completed

In the center of this set is the pillory wheel which was the feature of this sinister square. With the surrounding buildings, it is the greatest of the individual sets in the production, with the exception of the Cathedral set. Much of the action of the picture centers about this Place de Greve set and the human curiosity in seeing punishment administered to a fellow human being. One of these pillory scenes with Lon Chaney in the character of Quasimodo is reproduced in another of these stereoscopic photographs.

No. 5 - The unfinished Cathedral facade

Nothing so tremendous as this replica of the Cathedral of Notre Dame has ever been attempted in moving pictures before. The Cathedral of Notre Dame has been pronounced the most beautiful architectural edifice ever constructed. The photoplay reproduces it as it stood in 1482, at which time it differed somewhat in minor details from the present magnificent Cathedral. Note the marvelous detail in the three door-ways. The Festival of Fools is in progress in the Place de Parvis, in front of the Cathedral.

No. 6 - Quasimodo fasinated (sic) by Esmeralda's dancing

This is a dramatic scene from the Festival of Fools, wherein Quasimodo, the hunchback, who has just been crowned King of the Fools, is so fascinated by Esmeralda’s dancing that he terrifies the gypsy girl. Note Esmeralda’s goat in the background and Marie beside the tent. Twenty-six hundred extras appeared in this night scene, in which every sun-light-arc in California was used. In electricity alone this scene, which represents the Court of Miracles, cost $31,000.

No. 7 - Esmeralda and her gallant rescuer

If you remember your Victor Hugo, you will recall how Phoebus in all the splendor of his courtly armor, rescues little Esmeralda from the clutches of Quasimodo, the hunchback. This scene shows Phoebus, played by Norman Kerry, leading Esmeralda (Patsy Ruth Miller) into the wine cellar. Note the elaborate trappings of the horse and the details of the armor which was especially loaned by a well-known museum of art.

No. 8 - In the wine cellar

This scene shows Phoebus and Esmeralda in a rendezvous wherein their tete-a-tete is overlooked by Jehan, the evil brother of Don Claude, arch-deacon of Notre Dame. Phoebus is about to declare his love for Esmeralda. In making this adaptation of the Victor Hugo masterpiece several radical changes had to be made in the story. They do not affect the story value but they make the picture possible from the religious and politic standpoint. Note the worn appearance of all of the furniture in this room, although it is made especially for this production. Tables, gloves, floor, costumes, — all have been painstakingly and artificially “aged.”

No. 9 - The Torturer selects his whip

Torture by whipping was an every-day occurrence in the Place de Greve. This scene shows Quasimodo, the deformed, one-eyed, deaf, slow-witted bell ringer of the Cathedral, being punished for his attempted abduction of Esmeralda. The torturer stands at the right deciding which of his three whips he will use on the hunchback. The wheel was turned by a functionary at the post below the platform. Note the remarkable make-up of Lon Chaney. “Quasimodo” is the apex of his career of character acting.

No. 10 - "His Majesty desires your presence"

Mons. Neufchatel summons Phoebus to attend King Louie XI, thus breaking up his love-making with Fleur-de-Lys, daughter of Madame Gaundelaurier. This scene is taken from the balcony of Madame Gaundelaurier’s home overlooking the Place de Parvis, with the Cathedral in the background. Fleur-de-Lys is played by Winifred Bryson. Many months were expended on the six costumes she uses throughout the play. Neufchatel is played by Harry Van Meter.

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