Allan Katz is the Big Man on Campus in this Reinterpretation of a Classic Work
DIRECTED BY JEREMY KAGAN/1989
BLU-RAY STREET DATE: MAY 21, 2024/KL STUDIO CLASSICS
When mentioning such a monumental piece such as The Hunchback of Notre Dame, it brings to mind visions of hellfire, Gothic cathedrals, and a horribly disfigured man. Over one hundred years later, Allan Katz brought his own interpretation of the work to the silver screen. What once was a dramatic story of religion and lust is morphed and twisted beyond recognition to become something much lighter and carefree.
In this modern spin on the famous literary work, the clocktower of UCLA is haunted by the mysterious hunchback, Bob (Allan Katz). His anonymity is destroyed when Bob intervenes in a campus conflict in order to defend the beautiful student Cathy (Melora Hardin). Fascinated by this strange man, the professors of the psychology department attempt to rehabilitate Bob and reintroduce him to civilization. Alex (Corey Parker), Cathy’s boyfriend, reluctantly agrees to become roommates with the hunchback. What follows is an endless stream of slapstick hijinks as the primitive Bob navigates through a world that has shunned him for his entire life.
Katz is pulling double-duty as both the writer and the star of Big Man on Campus: The Hunchback of UCLA. His interpretation of Quasimodo manifests in the form of a bumbling man with kind intentions and a yearning for romance. Katz spends his time on screen relying heavily on a series of gags centered around the physical comedy of such a strange character. When paired with the witty quips from Parker, the two actors generate plenty of comedic scenes. Truly, the highlights of this film are the scenes shared by Alex and the hunchback as they navigate their unusual friendship.
Not every joke, however, manages to stick the landing. There is no lack of blatantly cheap attempts at laughs, namely in Bob’s interactions with the female cast, and certain jokes are extended far past their lifespan. Really, the main source of entertainment stems from the ridiculousness of the film’s existence in general. It is a work that basks in its absurdity, which makes it ultimately work in the end.
In the interview with Katz about the development of Big Man on Campus, he fondly recollects the support he received to cast himself as the lead of his own film. With no prior acting experience, Katz relied heavily on his previous background in comedy and his supporting cast. He has nothing but kind words for his coworkers, especially in the case of seasoned veterans Cindy Williams and Tom Skerritt. Instead of lamenting the film’s initial direct-to-video release, Katz instead expresses his appreciation and slight wonder at the cult following Big Man on Campus has received in recent years.
From the way Katz discusses his film even decades later, it is clear that he has a deep appreciation for his experience. For being based on such dark literature, Big Man on Campus shines in its levity and general foolishness. It is not a work meant to move audiences, but instead to make them sit and laugh for just a moment. Victor Hugo certainly could have never imagined that his great epic would ever generate such art as the likes of Bob Maloogaloogaloogaloogalooga (one malooga and four looga’s).
