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The Man Who Laughs : A Graphic Novel
The Man Who Laughs (first published in 1869) is Victor Hugo’s scathing indictment of the injustice and inequality within Britain’s political system. It is the story of Gwynplaine, the two-year-old heir to a rebel lord, who is abducted upon the orders of a vindictive monarch, and whose face is mutilated into a permanent grisly grin, then abandoned. After years of living in poverty, Gwynplaine is reintroduced to the aristocratic life and resolves to become the voice of the voiceless—whether he is heard or not. Author David Hine and artist Mark Stafford introduce Hugo’s classic to a new generation of fans in this graphic-novel adaptation of abduction, mutilation, loss, and prejudice.
167 pages, Paperback
First published March 4, 2013
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Displaying 1 - 30 of 76 reviews
January 27, 2020
“The Man Who Laughs” (https://www.goodreads.com/review/show...) is my favourite Victor Hugo novel, so obviously, when this graphic novel adaptation appeared on my radar (thank you, Ashley!), I simply had to get a copy! David Hine and Mark Stafford took Hugo’s story of the rise and fall of a disfigured man, and used bright colours and an exaggerated, almost surrealist style of illustration to turn it into a bold graphic novel that, just like Gwynplaine, is beautiful and grotesque at the same time.
This grim story of a corrupted, prejudiced and petty society begins with a storm, a shipwreck and two abandoned children, one blind, and one whose face has been mutilated into a chilling, permanent grin. They are taken in by a solitary, wandering philosopher and his pet wolf, and will make a simple but happy life as carnies for many years. But you know what they say about good things… When Gwynplaine’s real parentage, and therefore place in society, is brought to light, his world is upended, and while he hopes to do great things with his newfound resources, he will discover that his “smile” will always get in the way…
I must say I disagree with the author’s note at the end, that describes Hugo’s original work as boring and repetitive: I love it, and if anything, I think it's better than a lot of his other, more famous works. Of course, when adapting such a huge and convoluted book into a graphic novel, the fat must be trimmed, and if you are intimidated by the size of the original, this version is a great place to become more familiar with the story. There is still plenty of melodrama, of vitriolic social critique and terrible heartbreak, but it is definitely more portable and fast paced.
The visual style is extremely striking; I have never seen a graphic novel illustrated like this before, and it certainly carries the meaning of the story further – even if it’s not always to my taste. I think a more traditional design might have actually weakened Gwynplaine’s story by making it a bit too clean or too neat. But through this cruder style of illustration, we see how moving his tale is, we see the values Hugo wanted to convey to his readers: you can spend several minutes looking at every page, at all the little details that were included to flesh out the story.
If I have one complain, is that I wish it was longer. An exceptional adaptation of an amazing novel.
--
Super geeky additional thoughts:
If you read my reviews regularly, you may have noticed that I have a… thing… for the Joker: the original inspiration for the Clown Prince of Crime was actually the 1928 movie adaptation of this story – and it’s main character’s disturbing grin. Reading Gwynplaine’s story again after consuming a ridiculous amount of Joker literature last year (and getting completely obsessed with Todd Philips’ “Joker” movie), I’ve been thinking a lot about the parallels between Hugo’s story and the Batman cannon: while the Joker is clearly criminally insane, he is a bit like Gwynplaine inasmuch as he has a visceral hatred of the privileged “aristocracy” (families like the Wayne family, and consequently, Batman, who as a vigilante literally takes the law into his own hands) that makes the rules. In the movie, Arthur Fleck, the man who becomes the Joker, is relentlessly crushed by a system that lets the disenfranchised fall through cracks it has no intention of fixing, in an interesting parallel to Gwynplaine’s adoptive family of carnies who live outside the rules of society, and are not considered to be a part of it – as their only value is that of fleeting entertainment. Fleck laughs compulsively because he cannot cry, the same way Gwynplaine’s disfigurement makes him smile even as the worst moments of his life unfold (the whole “Let’s put a smile on that face!” line from "The Dark Knight" is a direct reference to Hugo’s story). Obviously, Hugo’s novel has a republican (in the French sense of the word) subtext, and not an anarchic or criminal one, but I think this story was crucial to the development of the Joker’s character on more than a simple “mad smile” level.
This grim story of a corrupted, prejudiced and petty society begins with a storm, a shipwreck and two abandoned children, one blind, and one whose face has been mutilated into a chilling, permanent grin. They are taken in by a solitary, wandering philosopher and his pet wolf, and will make a simple but happy life as carnies for many years. But you know what they say about good things… When Gwynplaine’s real parentage, and therefore place in society, is brought to light, his world is upended, and while he hopes to do great things with his newfound resources, he will discover that his “smile” will always get in the way…
I must say I disagree with the author’s note at the end, that describes Hugo’s original work as boring and repetitive: I love it, and if anything, I think it's better than a lot of his other, more famous works. Of course, when adapting such a huge and convoluted book into a graphic novel, the fat must be trimmed, and if you are intimidated by the size of the original, this version is a great place to become more familiar with the story. There is still plenty of melodrama, of vitriolic social critique and terrible heartbreak, but it is definitely more portable and fast paced.
The visual style is extremely striking; I have never seen a graphic novel illustrated like this before, and it certainly carries the meaning of the story further – even if it’s not always to my taste. I think a more traditional design might have actually weakened Gwynplaine’s story by making it a bit too clean or too neat. But through this cruder style of illustration, we see how moving his tale is, we see the values Hugo wanted to convey to his readers: you can spend several minutes looking at every page, at all the little details that were included to flesh out the story.
If I have one complain, is that I wish it was longer. An exceptional adaptation of an amazing novel.
--
Super geeky additional thoughts:
If you read my reviews regularly, you may have noticed that I have a… thing… for the Joker: the original inspiration for the Clown Prince of Crime was actually the 1928 movie adaptation of this story – and it’s main character’s disturbing grin. Reading Gwynplaine’s story again after consuming a ridiculous amount of Joker literature last year (and getting completely obsessed with Todd Philips’ “Joker” movie), I’ve been thinking a lot about the parallels between Hugo’s story and the Batman cannon: while the Joker is clearly criminally insane, he is a bit like Gwynplaine inasmuch as he has a visceral hatred of the privileged “aristocracy” (families like the Wayne family, and consequently, Batman, who as a vigilante literally takes the law into his own hands) that makes the rules. In the movie, Arthur Fleck, the man who becomes the Joker, is relentlessly crushed by a system that lets the disenfranchised fall through cracks it has no intention of fixing, in an interesting parallel to Gwynplaine’s adoptive family of carnies who live outside the rules of society, and are not considered to be a part of it – as their only value is that of fleeting entertainment. Fleck laughs compulsively because he cannot cry, the same way Gwynplaine’s disfigurement makes him smile even as the worst moments of his life unfold (the whole “Let’s put a smile on that face!” line from "The Dark Knight" is a direct reference to Hugo’s story). Obviously, Hugo’s novel has a republican (in the French sense of the word) subtext, and not an anarchic or criminal one, but I think this story was crucial to the development of the Joker’s character on more than a simple “mad smile” level.
July 18, 2016
1690. A frozen wasteland. A departing ship of vagabonds leaving a child behind to die, the boy’s face hidden. A terrible storm that sinks the ship and all its crew leaving behind a message in a bottle - a message of a terrible injustice. A hanging corpse. A frozen mother in the snow, her baby still alive somehow. A kind man and his wolf bringing in the boy and the baby into their caravan – a new family formed. What an opening chapter!
I’ve never read Victor Hugo’s 1869 novel The Man Who Laughs before - all I know is that the 1928 movie adaptation with Conrad Veidt as the lead inspired the creation of Batman’s nemesis, the Joker - but it’s a helluva story! The visual of Gwynplaine, a man whose face is permanently fixed into a rictus grin, is extraordinarily striking and horrifying, belying his kind nature and making people’s treatment of him all the more cruel. What an inspired choice by Hugo though.
In his afterword, David Hine talks about the original novel which he describes as “rambling”, “repetitive” and “turgid”, where he’s basically taken a knife to the text and stripped it down to its story elements, rearranging it to flow better narratively. I’ve read enough classics to know that they often have a great story and characters but are hopelessly lost within outdated writing, importunate details and sluggish pacing, so I’m glad Hine did what he needed to get rid of the tedious chapters on 18th century British law and give us this sweeping graphic adaptation instead. And only a couple of new scenes were added by the creative team, so credit to Hugo for his flawed but compelling original story.
In Hine’s hands, the story moves quickly from the countryside to London where intrigue and gossip lead to other melodramatic changes. And it is a melodramatic story with a sentimental romance and a reveal that’s been done over and over through the centuries - but it works. It doesn’t feel hackneyed at all and the book is utterly compelling with its twists and turns, and, even though Hugo wore his republican heart on his sleeve, Gwynplaine’s idealistic speech against the selfish rich leeching off of the poor is still pertinent today.
Mark Stafford’s artwork is a revelation. It’s a little bit pseudo-cubist in style with its angles and it’s a little cartoonish too – it’s difficult to describe though it’s really wonderful. The colours are striking, the pages are well laid-out, and the lettering is beautiful. Stafford’s art provides the perfect look for this strange, warped fairy tale and it’s an art style I can’t say I’ve ever seen before but I love it!
You know when you’ve got things to do but you have a few minutes spare so you think you’ll pick up a book and read a few pages before getting on with the other stuff? That was me when I opened this up and I ending up reading it straight through in a single sitting instead. It’s a fantastic adaptation of a brilliant, little known classic.
Let’s put a smile on that face - check out The Man Who Laughs!
I’ve never read Victor Hugo’s 1869 novel The Man Who Laughs before - all I know is that the 1928 movie adaptation with Conrad Veidt as the lead inspired the creation of Batman’s nemesis, the Joker - but it’s a helluva story! The visual of Gwynplaine, a man whose face is permanently fixed into a rictus grin, is extraordinarily striking and horrifying, belying his kind nature and making people’s treatment of him all the more cruel. What an inspired choice by Hugo though.
In his afterword, David Hine talks about the original novel which he describes as “rambling”, “repetitive” and “turgid”, where he’s basically taken a knife to the text and stripped it down to its story elements, rearranging it to flow better narratively. I’ve read enough classics to know that they often have a great story and characters but are hopelessly lost within outdated writing, importunate details and sluggish pacing, so I’m glad Hine did what he needed to get rid of the tedious chapters on 18th century British law and give us this sweeping graphic adaptation instead. And only a couple of new scenes were added by the creative team, so credit to Hugo for his flawed but compelling original story.
In Hine’s hands, the story moves quickly from the countryside to London where intrigue and gossip lead to other melodramatic changes. And it is a melodramatic story with a sentimental romance and a reveal that’s been done over and over through the centuries - but it works. It doesn’t feel hackneyed at all and the book is utterly compelling with its twists and turns, and, even though Hugo wore his republican heart on his sleeve, Gwynplaine’s idealistic speech against the selfish rich leeching off of the poor is still pertinent today.
Mark Stafford’s artwork is a revelation. It’s a little bit pseudo-cubist in style with its angles and it’s a little cartoonish too – it’s difficult to describe though it’s really wonderful. The colours are striking, the pages are well laid-out, and the lettering is beautiful. Stafford’s art provides the perfect look for this strange, warped fairy tale and it’s an art style I can’t say I’ve ever seen before but I love it!
You know when you’ve got things to do but you have a few minutes spare so you think you’ll pick up a book and read a few pages before getting on with the other stuff? That was me when I opened this up and I ending up reading it straight through in a single sitting instead. It’s a fantastic adaptation of a brilliant, little known classic.
Let’s put a smile on that face - check out The Man Who Laughs!
December 8, 2019
This graphic novel is just BEYOND stunning! Not only is the story incredibly fascinating but the artwork is just out of the world. That’s what really made this graphic novel great for me, the illustrations are next level gorgeous. I kept just staring at each page for ages after having read the text, I wanted to completely absorb the beauty of the art! The story itself is incredibly interesting as well. It had me hooked right from the get go, I wanted, no NEEDED to know how Gwynplaine’s story would play out!
July 21, 2022
Estamos ante la adaptación de una de las obras menos conocidas de Víctor Hugo, publicada en 1869, y donde vemos una fuerte crítica contra la política de la época.
El guionista del cómic nos comenta en el postfacio lo que supuso para él descubrir y enfrentarse a la lectura de la novela, por lo visto un tanto desestructurada y compleja de seguir. Pero no tuvo más que escarbar un poco en ella para encontrar el corazón de la obra, un grito de auxilio, humanidad. Eso le llevó a querer que el mundo descubriera esta obra que merece ser conocida y recordada, eliminando lo que para él son los pasajes más problemáticos de seguir para quedarse con el corazón.
Y ese corazón es Gwynplaney. Ese niño abandonado y mutilado que resiste las burlas con su monstruosa sonrisa. El mismo niño que pese a su desesperación rescata a un bebé en medio de la nieve hasta dar con la vieja caravana de Ursus, un antiguo médico que reside junto a su lobo y que los cría como si fueran sus hijos.
El bebé resulta ser una niña ciega, que pasa a ser el pilar de la vida de Gwynplaney. Juntos convierten sus desgracias en su sustento, dedicándose a dar espectáculos itinerantes, recorriendo las calles hasta llegar a Londres, donde la desgracia no tarda en llegar al pequeño escenario.
No he leído la obra original para comparar, pero como cómic resulta sumamente conmovedor y funciona de manera independiente. El dibujo de Mark Stafford es llamativo, grotesco y exagerado, lo que le viene que ni pintado a la figura de Gwynplamey, personaje condenado a llevar una sonrisa perpetua y ser exhibido como monstruo en las ferias ambulantes.
Gracias a @tengu_ediciones por publicar esta maravilla y recordarnos la existencia de una obra que pienso leer en algún momento de mi vida.
El guionista del cómic nos comenta en el postfacio lo que supuso para él descubrir y enfrentarse a la lectura de la novela, por lo visto un tanto desestructurada y compleja de seguir. Pero no tuvo más que escarbar un poco en ella para encontrar el corazón de la obra, un grito de auxilio, humanidad. Eso le llevó a querer que el mundo descubriera esta obra que merece ser conocida y recordada, eliminando lo que para él son los pasajes más problemáticos de seguir para quedarse con el corazón.
Y ese corazón es Gwynplaney. Ese niño abandonado y mutilado que resiste las burlas con su monstruosa sonrisa. El mismo niño que pese a su desesperación rescata a un bebé en medio de la nieve hasta dar con la vieja caravana de Ursus, un antiguo médico que reside junto a su lobo y que los cría como si fueran sus hijos.
El bebé resulta ser una niña ciega, que pasa a ser el pilar de la vida de Gwynplaney. Juntos convierten sus desgracias en su sustento, dedicándose a dar espectáculos itinerantes, recorriendo las calles hasta llegar a Londres, donde la desgracia no tarda en llegar al pequeño escenario.
No he leído la obra original para comparar, pero como cómic resulta sumamente conmovedor y funciona de manera independiente. El dibujo de Mark Stafford es llamativo, grotesco y exagerado, lo que le viene que ni pintado a la figura de Gwynplamey, personaje condenado a llevar una sonrisa perpetua y ser exhibido como monstruo en las ferias ambulantes.
Gracias a @tengu_ediciones por publicar esta maravilla y recordarnos la existencia de una obra que pienso leer en algún momento de mi vida.
October 2, 2019
This is a beautifully designed, penciled and drawn trade paperback of Victor Hugo's novel, from 1869.
It tells the story of the mutilated orphan, Gwynplaine, abandoned as a child, as he grows into a man. He travels with his adopted family in a gypsy van, with his rictus of a face always at the center of the novel. In time, his correct position as a hereditary lord is discovered (though always known to the reader), and this gave Hugo a platform of oratory on which to stage a socio-political statement about society. These observations were always at the heart of Hugo's writing and though it has given pathos and drama to all modern adaptations of his work, his grim determination to mine every last social wrong can make him challenging to read directly.
I expected to like this graphic novel much more than I did. The art work by Mark Stafford is great! The characterisations, colour work - all of it are beautifully done and perfect for the story. The adaptation of the much longer original into this format, by David Hine was also very good indeed. The dramatic effect of the story was enhanced by the artwork and it all worked together really well....
Sadly, I did not love it, I tended to lose interest while reading it and it took me a long time to get through. I suspect, that the only reason is on me - Graphic novels, I love dearly. Classic novels, I am fond of. But reading this one brought home to me that the combination of the two does not work for me personally; I want the full classic, or a story written for graphic novel. Not a mish-mash.
So, not for me. Would work really well for people who want to read/know the classic novels by the classic authors but who do not enjoy reading them as originals. In the same way that the musical Les Miserable told a story that was not available to all in it's original form.
It tells the story of the mutilated orphan, Gwynplaine, abandoned as a child, as he grows into a man. He travels with his adopted family in a gypsy van, with his rictus of a face always at the center of the novel. In time, his correct position as a hereditary lord is discovered (though always known to the reader), and this gave Hugo a platform of oratory on which to stage a socio-political statement about society. These observations were always at the heart of Hugo's writing and though it has given pathos and drama to all modern adaptations of his work, his grim determination to mine every last social wrong can make him challenging to read directly.
I expected to like this graphic novel much more than I did. The art work by Mark Stafford is great! The characterisations, colour work - all of it are beautifully done and perfect for the story. The adaptation of the much longer original into this format, by David Hine was also very good indeed. The dramatic effect of the story was enhanced by the artwork and it all worked together really well....
Sadly, I did not love it, I tended to lose interest while reading it and it took me a long time to get through. I suspect, that the only reason is on me - Graphic novels, I love dearly. Classic novels, I am fond of. But reading this one brought home to me that the combination of the two does not work for me personally; I want the full classic, or a story written for graphic novel. Not a mish-mash.
So, not for me. Would work really well for people who want to read/know the classic novels by the classic authors but who do not enjoy reading them as originals. In the same way that the musical Les Miserable told a story that was not available to all in it's original form.
September 29, 2016
This is one of the best true graphic novels I've read. The artwork is mesmerizing and the storytelling is top notch. I came for the visual inspiration for the Joker (of Batman) but stayed for the scathing portrayal of classism.
May 6, 2015
Wow. A central character at once endearing and grotesque. Artwork that is bleak but beautiful. This is a simply incredible graphic adaptation of an obscure (to me at least) Victor Hugo novel.
August 18, 2018
Amazing. The art style complements this gritty tale completely. Very compelling narrative that remains highly relevant to this day.
March 29, 2025
Muy gótico, muy bonito, se nota mucho que la historia original es de Víctor Hugo, tiene ese aire, está muy bien que se acerquen novelas clásicas de este tipo en un formato digerible y bonito como es esta novela gráfica. Porque es una historia muy bonita igual que notre dame de Paris y los miserables, pero no son novelas digeribles para lectores de hoy en día, son novelas que se publicaban en entregas, por escritores que a penas tenían para comer y cuantas más palabras escribieran más dinero ganaban y son tochos que hoy en dia, tal vez, hacer versiones tan bonitas como esta sea lo mejor.
May 7, 2013
The artwork was lovely. This could have been executed in a more complex and satisfying way I think. Also, why would you abridge Victor Hugo and then add in your own extra scenes? That said, the story kept me gripped.
April 23, 2025
Noooooooo Bea noooooo Gwimpayne nooooooo Ursus 😭 Victor Hugo, why do you do this to me!
August 14, 2024
I appreciated the look of the art mixed with the sad story, but I don’t think this one was for me. Still had fun reading it.
September 8, 2013
Olyan nagyon szép! A történet, a rajzok, minden. Alapvetően nem vagyok feldolgozás párti, viszont Hine nagyon szépen tudott úgy a fő cselekményre koncentrálni, hogy nem veszett el a tipikus Hugo-féle társadalomkritika, mégis megmaradt Gwynplaine a középpontban. És sokkal barátságosabb 100 oldalas kitérők nélkül olvasni. (Állítólag az eredeti regény nem is egy jól sikerült Hugo.) Stafford rajzaiba is teljesen belezúgtam, ki ő, és miért nem ismertem eddig? Lehetne még ilyet, hogy előszedni egy kevésbé ismert klasszikus regényt, és egy jó íróval meg valami különlegesebb stílusú rajzolóval feldolgozni modernebb formában, mert az elmúlt év képregényes termése nem volt túl komolyan vehető (amikor a Sagának adják az Eisner-t, az kicsit vicces). Ritkán olvasok újra könyveket, de ezt még biztos fogom.
February 1, 2018
I am not a huge graphic novel reader. However, after seeing the musical The Grinning Man in London last month, I have become obsessed with Gwynplaine's story and am trying to read and watch all its incarnations. This graphic novel is an excellent adaptation of the story that keeps all the key elements I loved in the show. The artwork is super, and it really captures the mood of the piece. Definitely one to check out if you like graphic novels and/or enjoy adaptations of classic stories.
October 25, 2014
I wish I knew the original Hugo novel so as to compare it with Hine's adaptation. But this book, on its own merits, is certainly a strong one. Hine's has retained the novelistic depth of the story (I am assuming), while Stafford uses the workings of the medium to make the book original in its own way.
November 4, 2014
"It is always best to hide your politics beneath a mask of humor."
February 20, 2021
It may sound early but deep down I already know this is the best read comics of 2021 of mine.
March 25, 2025
I read this because the Victor Hugo novel upon which this graphic novel is based is apparently ‘unreadable’, but my guilty pleasure for literary grotesquerie was ignited by the Gothic story of ‘Gwynplaine’, the mutilated protagonist at its centre. I may give Hugo’s tome a go at some point, but this scratched that macabre itch of mine for now. We follow Gwynplaine’s coming of age and coming towards destiny after he is disfigured by the “Comprachicos”—a folkloric group of criminals said to cripple and deform children so that they may earn money as beggars and carnival/freak show curiosities. Gwynplaine’s barbaric backstory is said to be a major influence behind The Joker, so the graphic form seems a natural fit and nicely retroactive. While I was engaged by the story as a whole, it’s romantic and political slant didn’t quite satisfy my initial intrigue (but I think that’s more of a case of my more morbid expectations not being met). What’s more, although I could appreciate the artistic merit of the rather painterly panels, the graphic style wasn’t really for me.
May 16, 2024
I much enjoyed this graphic novel! I’m actually reading this after watching the musical adaptation of the original novel- the musical being ‘The Grinning Man’. I wasn’t able to find the original novel at the library but grabbed the graphic novel and am very glad I did! (Although definitely have to read the novel too!). The art style is done BEAUTIFULLY I absolutely love it, such intricate detail and conveys so much about the story and context. The story itself is an incredible one- showing themes that transcend time and are at the base of humanity. The loss of one star is really no fault of the author of the graphic novel, but more so of the original author which might be unfair due to time period- but I’m still going to be very offput by a 24 year old man falling in love with a 16 year old girl! But apart from that….. incredible
December 14, 2025
This is as good as they come. Top-shelf quality, model narration, artwork clicks right away with the spirit of the story and the way Hine adapted it. Tough themes about classism, social inequality, love and hate. All of it rings truer today than ever, you'd easily see Gwynplaine make his speech in every parliament in the world today and still hit the mark.
Do yourself a favor and read this, enjoy every page cause Stafford elevates it with his drawings of black humor and true horror. His art is a crooked mirror of the emptiness and ugliness of humanity both within the novel and in reality. It'll stay with you, an easy 5/5.
Do yourself a favor and read this, enjoy every page cause Stafford elevates it with his drawings of black humor and true horror. His art is a crooked mirror of the emptiness and ugliness of humanity both within the novel and in reality. It'll stay with you, an easy 5/5.
April 17, 2025
The grotesque art is reminiscent of a creepy McDonald’s cartoon or a pizza parlor in Hell and it seems to work perfectly for the story of a man disfigured and mutilated as a baby who goes on to become a royal- he laughs and laughs as he tells the rich men how soon the poor will rise up against them for he has seen how much is taken from the regular folk to give to the rich…strikingly timely.
July 15, 2024
This should be required reading in high school, if not earlier. How I wish this adaptation had been available when I was far younger, that I could understand the various attempted and successful machinations of the jealous.
December 5, 2023
That was brutal!!! The critique to society, the use of humour as a mask. I wasn't expecting that tragic ending😭😭😭
November 5, 2024
Operazione davvero ben riuscita. Dal punto di vista della difficoltá di fruizione dell'opera originale, difficile immaginare di attualizzare un classico meglio di cosí.
October 18, 2025
A stunning adaptation. Perfect depiction of the titular man.
February 26, 2025
wtf is that ending..?
August 5, 2023
Simply beautiful. The art style, the story, the meaning, the nice pace. Really enjoyable.
September 5, 2021
An astonishing graphic novel. The work that has be done both to the story and the drawing is marvelous. It is adapted from the novel The man who laughs, by Victor Hugo. At the beginning I wasn't so impressed but as the story progressed I really liked it.
The novel is quite dark and the dark colors that accompany it are very fitting. It tells the story of a deformed man, with a permanent smile on his face. As a child he is abandoned by a circus band at an icy shore. He finds a blind baby girl crying in the snow and saves her. Then they seek refuge at the place of a vagabond, Ursus, who lives with his domesticated wolf, Homo.
Time passes and the four of them work on the street, performing some acts. Gwynplaine is an attraction because of his deformity. Dea grows up and becomes a beautiful lady. They both fall in love with each other. At the same time an English nobleman, David Dirry-Moir searches for a toy to entertain his fiancee, Lady Josiana, an impressive blond woman with different eye colors. He abducts the Laughing Man to please her.
Later in the story it is revealed that Gwynplaine is in fact half brother to Dirry-Moir and a lord. Lady Josiana who tried to seduce him throughout the novel gets disinterested to him, as he is to become her husband. The Laughing Man can't handle a nobleman's kind of life. His strong and heartbreaking speech at the House of Lords, prompting the lords to help the poor people of the country isn't accepted well by the members. He even exclaims "Of what good is a queen? Yet you increase the weight of taxes on the people to cultivate that parasite, Royalty!". They laugh at him and ridicule him leaving him alone in the room.
At last the Laughing Man decides to abandon his position and title and seeks for Ursus, Homo and Dea who have fled from England. He just in time embarks on the vessel where they travel.
The novel is quite dark and the dark colors that accompany it are very fitting. It tells the story of a deformed man, with a permanent smile on his face. As a child he is abandoned by a circus band at an icy shore. He finds a blind baby girl crying in the snow and saves her. Then they seek refuge at the place of a vagabond, Ursus, who lives with his domesticated wolf, Homo.
Time passes and the four of them work on the street, performing some acts. Gwynplaine is an attraction because of his deformity. Dea grows up and becomes a beautiful lady. They both fall in love with each other. At the same time an English nobleman, David Dirry-Moir searches for a toy to entertain his fiancee, Lady Josiana, an impressive blond woman with different eye colors. He abducts the Laughing Man to please her.
Later in the story it is revealed that Gwynplaine is in fact half brother to Dirry-Moir and a lord. Lady Josiana who tried to seduce him throughout the novel gets disinterested to him, as he is to become her husband. The Laughing Man can't handle a nobleman's kind of life. His strong and heartbreaking speech at the House of Lords, prompting the lords to help the poor people of the country isn't accepted well by the members. He even exclaims "Of what good is a queen? Yet you increase the weight of taxes on the people to cultivate that parasite, Royalty!". They laugh at him and ridicule him leaving him alone in the room.
At last the Laughing Man decides to abandon his position and title and seeks for Ursus, Homo and Dea who have fled from England. He just in time embarks on the vessel where they travel.
March 7, 2023
Adattamento a fumetto dell'ultimo libro scritto da Victor Hugo durante il suo esilio: L'uomo che ride. Il volume in questione prende le principali vicende narrate nel romanzo (considerato uno dei più controversi della letteratura del 900 e che ha ispirato il personaggio di Joker) per creare una storia commovente, specchio della burocrazia inglese dell'epoca ancora attuale e paragonabile all'intera società mondiale. Gwynplaine è un giovane orfano che una notte innevata scopre il cadavere di una donna con una neonata in fasce ancora attaccata al suo seno. La bambina è viva ma è in condizioni precarie così il ragazzo trova rifugio da un vecchio di nome Ursus che vive di stenti insieme al suo lupo Homo. Il vecchio si accorge subito che c'è qualcosa di strano in quel piccolo vagabondo e infatti egli scopre un viso mutilato in una risata perenne e mostruosa. I quattro vivranno insieme per 15 anni fin quando un giorno Gwynplaine scoprirà le sue vere origini. Il romanzo è una condanna crudele alle classi sociali più alte e vuole dare voce alla povera gente che viene costantemente presa in giro e messa da parte da chi la governa. Gwynplaine è la voce della giustizia e della verità e la sua storia è tormentata e struggente, così come il finale dell'opera. Non ho mai letto il libro di Hugo ma questo fumetto mi è piaciuto molto, i disegni sono molto belli, i colori vivi e sia i volti che le ambientazioni sono ricchi di dettagli. E' stata una lettura emozionante, consiglio di recuperarla!
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