Director Joel Schumacher's film version of the mega-Broadway hit, "The Phantom of the Opera," is the finest movie realization of a stage musical since "My Fair Lady." Elegant, powerful, romantic in a sometimes bizarre but always gripping way and with songs that will ever be a high water mark of musical theater, "Phantom" is a wonder.
Based on Gaston Leroux's nineteenth century novel, composer and script adapter Andrew Lloyd Webber created what he now admits is a runaway hit that he will never be able to duplicate much less exceed.
Who now doesn't know the story line? In the latter half of the nineteenth century a Parisian light opera company presents glittering productions, their star being one Carlotta (Minnie Driver). Mysteriously Carlotta, a high strung diva with an attitude, is rendered song-less, her ultra-pitched normal screeching turning to infernal caterwauling that would embarrass a respectable alley cat.
To the rescue, as a result of the machinations of a slowly emerging denizen of the flooded lower precincts of the opera house, The Phantom (Gerard Butler), comes Christine (Emmy Rossum). Unknown to the house managers, parvenu entrepreneurs with ambition and no taste, The Phantom is engineering Christine's soon-to-be-riotously-acclaimed debut.
A dashing young nobleman, Raoul (Patrick Wilson), the opera company's aristocratic patron, immediately recognizes Christine as a childhood friend. A brief reunion plunges the two into feverish devotion and love. The Phantom, who because of childhood experiences, is somewhat maladjusted can't deal with HIS Christine being wooed by another and worse returning, with interest, amour.
The rest of the story centers on The Phantom's increasingly disturbing, anti-social behavior and Raoul's attempt to keep and then snatch Christine from the, um, ah, homicidal madman's obsessive attentions.
"Phantom" blazingly shows how film can complement a stage production without detracting from the very special experience live performance insures. I attended the Broadway opening of "Phantom" and I've returned several times. The visceral experience of the stage can't be duplicated through film and the show incorporates a host of special effects that virtually descends on theater-goers.
But film allows probing of emotions in ways that can not always be achieved in a theater, at least not for anyone past the first couple of rows. And not for a complex, sprawling production like "Phantom." Film makes the story intimate. The outstanding cinematography creates a kaleidescope of shifting colors closely attuned to the drama being played out. The Phantom's tortured mien in closeup is compelling, perhaps also repelling. Larger sets than can be employed on Broadway do not make the story less intimate - rather they create a fascinating make-belief world (very much as was done in "Moulin Rouge" several years ago).
The real star is quite young but experienced actress and singer, Emmy Rossum. Transcendently beautiful, her deep portrayal of Christine and her marvelous, light but lustrous voice eclipse that of the role's theater originator, Sarah Brightman. And Ms. Rossum keeps her eye on the ball - keeping Raoul whole while dealing with The Phantom - with a depth I didn't see in the first Christine.
Patrick Wilson is a fine Raoul, a nobleman deeply in love. As The Phantom, Gerard is no Michael Crawford when it comes to singing (high notes are an effort for him) but his acting is wonderful. Salaciously, irrefragably evil he also projects a wounded humanity.
Miranda Richardson turns in a fine performance as the theater's amanuensis, the mother superior of chorines. And Minnie Driver is funny - I bet she had a blast playing an over-the-top self-worshiping diva.
"The Phantom of the Opera" has been knocked by some film critics who don't get the fact that central to appreciating any opera (Mozart, Verdi, Puccini, Wagner) is the imperative to suspend disbelief. This IS an opera. Leave skepticism and analysis at the ticket booth with this wonderful film and you'll want to see it again and again.
And the soundtrack is terrific-I'm on my third listening.
10/10
Based on Gaston Leroux's nineteenth century novel, composer and script adapter Andrew Lloyd Webber created what he now admits is a runaway hit that he will never be able to duplicate much less exceed.
Who now doesn't know the story line? In the latter half of the nineteenth century a Parisian light opera company presents glittering productions, their star being one Carlotta (Minnie Driver). Mysteriously Carlotta, a high strung diva with an attitude, is rendered song-less, her ultra-pitched normal screeching turning to infernal caterwauling that would embarrass a respectable alley cat.
To the rescue, as a result of the machinations of a slowly emerging denizen of the flooded lower precincts of the opera house, The Phantom (Gerard Butler), comes Christine (Emmy Rossum). Unknown to the house managers, parvenu entrepreneurs with ambition and no taste, The Phantom is engineering Christine's soon-to-be-riotously-acclaimed debut.
A dashing young nobleman, Raoul (Patrick Wilson), the opera company's aristocratic patron, immediately recognizes Christine as a childhood friend. A brief reunion plunges the two into feverish devotion and love. The Phantom, who because of childhood experiences, is somewhat maladjusted can't deal with HIS Christine being wooed by another and worse returning, with interest, amour.
The rest of the story centers on The Phantom's increasingly disturbing, anti-social behavior and Raoul's attempt to keep and then snatch Christine from the, um, ah, homicidal madman's obsessive attentions.
"Phantom" blazingly shows how film can complement a stage production without detracting from the very special experience live performance insures. I attended the Broadway opening of "Phantom" and I've returned several times. The visceral experience of the stage can't be duplicated through film and the show incorporates a host of special effects that virtually descends on theater-goers.
But film allows probing of emotions in ways that can not always be achieved in a theater, at least not for anyone past the first couple of rows. And not for a complex, sprawling production like "Phantom." Film makes the story intimate. The outstanding cinematography creates a kaleidescope of shifting colors closely attuned to the drama being played out. The Phantom's tortured mien in closeup is compelling, perhaps also repelling. Larger sets than can be employed on Broadway do not make the story less intimate - rather they create a fascinating make-belief world (very much as was done in "Moulin Rouge" several years ago).
The real star is quite young but experienced actress and singer, Emmy Rossum. Transcendently beautiful, her deep portrayal of Christine and her marvelous, light but lustrous voice eclipse that of the role's theater originator, Sarah Brightman. And Ms. Rossum keeps her eye on the ball - keeping Raoul whole while dealing with The Phantom - with a depth I didn't see in the first Christine.
Patrick Wilson is a fine Raoul, a nobleman deeply in love. As The Phantom, Gerard is no Michael Crawford when it comes to singing (high notes are an effort for him) but his acting is wonderful. Salaciously, irrefragably evil he also projects a wounded humanity.
Miranda Richardson turns in a fine performance as the theater's amanuensis, the mother superior of chorines. And Minnie Driver is funny - I bet she had a blast playing an over-the-top self-worshiping diva.
"The Phantom of the Opera" has been knocked by some film critics who don't get the fact that central to appreciating any opera (Mozart, Verdi, Puccini, Wagner) is the imperative to suspend disbelief. This IS an opera. Leave skepticism and analysis at the ticket booth with this wonderful film and you'll want to see it again and again.
And the soundtrack is terrific-I'm on my third listening.
10/10