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The Phantom of the Opera (9-Dec-2004)
Director: Joel Schumacher Writers: Andrew Lloyd Webber (screenplay); Joel Schumacher (screenplay) From a novel: Le Fantôme de L'Opéra by Gaston Leroux From a play by: Andrew Lloyd Webber (musical) Keywords: Musical
REVIEWS Review by anonymous (posted on 2-Nov-2006) Director Joel Schumacher 2004 adaptation of Andrew Lloyd Webbers stage musical The Phantom of the Opera (POTO) was brilliant and flawless. Taking a Broadway hit from stage to film can often result in failure but this was not the case. Bringing POTO to film only made it better because the audience doesn’t have to use their willing suspension of disbelief nearly as much. There is no need to believe that they were underground or outside because the film actually takes you there. With a beautiful score already created and a promising expected audience, Schumacher didn’t have much to worry about there. All he needed to do was find an all star cast to present it to the masses and he succeeded. The leading lady was the beautiful young Emmy Rossum who played the 16 year old soprano Christine perfectly. Rossum showed the naïve and innocent nature of Christine with an ease that makes every audience fall in love with her. The Phantom was played by Gerard Butler in a way that invokes sympathy at the start of the film, making the audience fall in love with him and his lonely but beautiful music, but as the film goes on and his obsession with Christine goes from a sweet admirer to a jealous rage, the audiences emotions will follow that of Christine’s and her lover Raoul played by Patrick Wilson. This rage is ignited by the Phantom feeling betrayed by Christine because he gave her his music and trained her lovely voice for years, anonymously, and she gives her love not to him, once he revealed himself, but to her childhood sweetheart, Raoul. The Phantom doesn’t only share his anger with the two young lovers but with everyone else in his theatre who stands in the way of his goal of spending eternity with his “Angel of Music.” As if the plot wasn’t interesting enough, the set is gorgeous. Taking place in 1870 Paris the costumes reflect the beauty of the city and its great appreciation for opera music. The Phantom’s under-the-opera-house lair is magnificently presented in a way that the stage wouldn’t be able to demonstrate. From the hundreds of candles that rise from the water and ignite automatically to the precise detail of the miniature wax figures the Phantom uses to act out his operas were a visual masterpiece. The rich and colorful costumes that were used in the operas were so elaborate that it will put the audience in awe. Even when the colors on screen where black and white, like in the graveyard scene where the only colors were Christine’s black dress, the white snow and the gray tombstones, they were breath taking. The uses of the multiple camera angles proved that taking the POTO from stage to screen was a must. These shots gave a clearer view of all that was happening so that the audience doesn’t miss a single thing. The emotions that the movie calls for brings the audience in so deep that they might just lose themselves in the world of the Phantom. Any moviegoer can appreciate the pure beauty of POTO regardless if they claim to not like musicals. Exceeding all expectations, the musical is a heart touching story of love, loss, acceptance, and most of all the beauty of music. There is no way every audience wont fall in love the dramatic love fueled romance that is The Phantom of the Opera.
Review by Tyler (posted on 28-Apr-2007) I saw the Phantom live in Des Moines, IA, a few months ago, which afterwards drew me to the movie. And let me just say that the music and storyline are amazing. I wouldn't go so far as to say it's the best movie I've ever seen, but it's worth a trip to the movie rental store. However, on a downside, if you are involved in theater or as critical of movies as I am, some choices made in the singing could have been better, and acting is weak at points. Overall, however, it is a very good movie and a lot like the original musical.
Review by Andrew Lloyld Webber (posted on 12-Nov-2007) Gerad Butler does a masterful job protraying an arrogant man humbled by love. In the movie's opening numbers, the Phantom is cocky, confident, seemingly in total control of his life as he tells Christine, "my control over you grows stonger." In spite of his belief he is the one in control of their lives, he learns to his distress his belief is in error. He cannot control Christine's heart, try as he will. At movies end, heartsick, Phantom surrenders his claim to Christine's life. Her example of willing sacrifice for the sake of the one she truly loves teaches him what love, in part, is. As the Opera Ghost grows as a person his aching lonliness and need for love are revealed, showing an all too human heart behind the mask. The final scene shows the lifelong adoration he feels for Christine and her memory. In the end, Christine's husband Raoul, no longer fears of resents Phantom's feelings for Christine. Instead, he seemes to understand and share in those feelings. This movie is a visual treat. The photography, settings, costumes and musical score perfectly fit the story. Gerad and Emma deserved awards for their perfet portrayals of the lead characters. Minnie Driver is superb in her role of Charlotta, the egotistical diva. She very nearly stole the entire movie.
Review by Natalie (posted on 22-Jun-2007) I have seen the stage version and the Movie version, and I have to say, I love the movie far more. For me the comparison is like taking a Home town candy store and chanfing it to a Godiva store. The stage version had everything you could want, but the movie version made it more elegant, lush, emotional, sexually charged. Emmy was perfect for young Christine, Patrick was dashing, Gerry was spledid, and sexy, and gave the perfect emotional, tragic influence needed for the movie version. The supporting cast also excellent.
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