Very dark funny, but immediately after the Hellfire sequence, there is this exchange:
Phoebus: Good morning, sir. Frollo: [groans, rubbing his eyes] Phoebus: Are you feeling all right? Frollo: I had a little... trouble with the fireplace.
Esmerelda:You sneaky son of a-- Phoebus: Ah ah ah...watch it. [looks around as if God is watching]We're in a church.
And right before that scene? when Phoebus tried to approach Esmerelda, she immediately knocks Phoebus down on his rear end, takes his sword, and starts pointing it at him, and they have this gem of an exchange:
Phoebus: Easy! easy! I-I just shaved this morning. Esmerelda:[points Phoebus' sword at his goatee] Oh really? you missed a spot.
Another very dark example, in the Palace of Justice:
Frollo: You know, my last Captain of the Guard was...a bit of a disappointment to me. (a lash and a particularly loud scream of pain; Phoebus's expression is a mix of 'What the hell was that???' and 'Dear God, was that the guy who came before me??????) Frollo: Well, no matter. I'm sure you'll...whip my men into shape? [grins] Phoebus: Umm...That's a...a...trem..tremendous honor, sir.
Several moments involving the gargoyles are quite funny
Most of "A Guy Like You" (Hugo cross-dresses as Esmeralda, gets his horns stuck in the ceiling, and the gargoyles say Quasi is shaped "like a croissant is", when they mishear a conversation and come to the conclusion that "Frollo's nose is long and he wears a truss" and when they all appear to be sketching Esmeralda, except Hugo who sketches Djali the goat instead.
Victor: Oh dear. (Begrudgingly hands Hugo a coin.)
Hugo: (Smugly) Chump.
The epic exchange after Phoebus and Quasimodo decide to go find the Court of Miracles:
Phoebus: Truce? [he pats Quasi on the back encouragingly] Quasimodo: Well...okay. [he hits Phoebus in the spot where the arrow hit him, causing him to groan in pain] Sorry. Phoebus: ...No, you're not.
A lot of Quasimodo and Phoebus' interactions during this period of the movie is hilarious.
"I've lived in a bell tower for 20 years, I think I'd know what the city looks like from above, and this is it!"
The DVD commentary made the previously heartbreaking scene where Quasimodo discovers Esmeralda's love of Phoebus hilarious, with the filmmakers almost MSTing their own movie at some points:
Gary Trousdale: [as Esmeralda] Quasimodo, this is my boyfriend Phoebus. He wrecked his dad's car, can he stay at your apartment for a few days?
Quasi's "cool loft apartment" is a Running Gag through the commentary.
Then there's Clopin, indulging in a bit of literal Gallows Humor:
Clopin: Any last words? [Quasimodo and Phoebus, being Bound and Gagged, can only make some indecipherable noises] Clopin: [rolling his eyes at the Fourth Wall] That's what they all say.
Immediately followed by:
Clopin: Now that we've heard all the evidence— [interrupting himself with a hand puppet] Wait, I object! [as himself] Overruled! [as puppet] I object! [as himself] Quiet! [as puppet] ...Dang.
Then Esmeralda interrupts the "trial" and explains that they are friends, Clopin exclaims in the most innocently bemused voice: "Well, why didn't they say so!?"
"WE DID SAY SO!"
"I'm free! I'm free! ...Oof! ...Dang it."
The entire Esmeralda/Phoebus scene in the cathedral, but especially:
Phoebus: You fight almost as well as a man. Esmeralda: Funny, I was going to say the same thing about you! Phoebus: That's hitting a little below the belt, isn't it? Esmeralda: No. This is.
The part when it emerges that Frollo taught Quasimodo his alphabet using words like abomination, blasphemy, contrition, damnation, eternal damnation, and forgiveness. It's both a blessing and a shame that they stopped at f; one wonders what the rest of the alphabet would have been like...
Absolutely everything in Esmeralda's chase/escape sequence; the best parts would have to be the aforementioned "I'm free!" bit, and Phoebus, after ducking a ricocheting helmet, in dazed admiration: "What a woman!"
The gargoyles building a fully functional catapult from assorted items found in the cathedral and then... shoving it off the roof onto the soldiers.
Victor: Are you sure that's how it works?
Made even funnier when the catapult crushes a few soldiers in a manner similar to a mouse trap.
Hugo: Works for me!
"Ah, Paris. The city of lovers is glowing this evening. (blissful sigh) True, that's because it's on fire ... but still there's l'amour."
Clopin spends most of the "Topsy-Turvy" number trolling Quasimodo. At one point he takes part in a chorus line, skirt included!
Early in the film, Frollo is drilling Quasimodo on the alphabet.
Frollo: Good. F? (takes a sip of his drink) Quasimodo: Festival? (Frollo does a Spit Take) Frollo: Excuse me?
Frollo does NOT take it well when one of his soldiers interrupts his Villain Song.
Frollo: DESTROY Esmeralda, and let her taste the fires of Hell! Or else let her be mine and mine alone!
(Suddenly, a guard pounds on the door, then enters)
Guard: Minister Frollo, the Gypsy has escaped.
Guard: She's nowhere in the cathedral. She's gone.
Frollo: But how? I...never mind! Get out, you idiot! I'll find her! I'll find her if I have to burn down all of Paris!
Blink and you miss it, but Frollo's chagrined expression right after Quasimodo tosses a beam off the cathedral tower and shatters Frollo's coach. He looks exactly like a dad whose kid has just wrecked the sports car.
In Sarouch's first scene he tries to introduce his audience to Madalaine and opens the box...which is empty. After three more tries the audience points out that no one is in the disappearing box
Sarousch: Please welcome my lovely assistant Mad—[Opens the magic box, it's empty;Sarouch closes and tries again] Let me introduce my assistant Made—[Box is still empty] My lovely assi—(box is still empty) Kid 1: It's empty! Kid 2: There's no one there! Sarousch: Uh-uh-Of course not! You have to come to the circus to see her! Tata! [disappears to his cabin]
The Stage Musical
In the American adaptation of the musical, Frollo and Captain Phoebus meet during the Festival of Fools. Frollo holds his hand out to Phoebus, and Phoebus, not if he wants him to kiss it or shake it, alternates between moving his head down to his hand and lifting his own hand to it. He ends up kissing his hand.