Visual delights detract from its flaws, but also attract the viewer intoįorgiving them – a lot like its eponymous ghost, actually. Like love stories, horror, or even musicals. It’s meant for audiences who don’t normally We don’t necessarily label films the same as books,ĭefinition of paranormal romance. Toward a teen audience, the black capes, white snow, and blood red lips provide Masks, and what goes on behind the curtain flair, and while it may be geared Performances alone – to the disappointment of horror fans, this Phantom of the Opera isn’t scary at all.Ĭertainly, this is a gothic piece with an under current of darkness, duality, layers, Provides a more traditional musical ingredient – the tunes come from the opera Silent Version is still demented, horror macabre and the 1943 Claude Rains delight To behold, but these adornments clutter the narrative and become a hindrance to Having the tale locked inĪ flashback also makes another character’s flashback within confusing, and theĪge changes also fudge part of the timeline. Merely for neat transitions is a pointless interruption amid the rafter chases,ĭeaths, taut suspense, and more action styled scenes. However, should have been just that, bookends. With an OId World feeling, the black and white opening and closing scenes, The scenes action, above drama, and below angst build intensity. The fantasy while rhythmic intercutting between the stage performances, behind Sweeping tracking shots to start “Think of Me” and “Angel of Music” establish Surreal camera shots, reflections, dreamlike fog, candlelight, and Some vocals also serve as narration in more popular, contemporary, music video I even suspect it would be an interesting silent movie-esqueĪdventure to watch this on mute, for the performances are strong and emotional enough Part of me wishes we just had this cast without the purely musicalĮlements. The writing should haveīeen tighter, with a streamlined tempo and much darker humor or played straightĪntagonism. Own musical indulgence for nearly two and a half hours. Go far enough in its brooding and asks too much by remaining caught up in its Grandiose as to bemuse, but it compromises the attempt at edgy, mass appeal filmmaking Top of this already misplaced measure is meant to make us enjoy the so Adding dance, spectacle, and goofy grins on
However, this peopleīreaking out in song for no good reason is why mainstream audiences have suchĮxtreme love or hate for musicals. Of course – everything we see onscreen is meant to be one stage productionĪfter another with humor interspersed for brevity. Byĭefault, these have us itching for the titular happenings, yes, and this beatįor beat, all music on stage and off is the point of this musical adaptation, Numbers such as “Notes,” “Primaĭonna,” and the start of “Masquerade” feel overlong and overdone in their lavishnessĪnd unfortunately stay away from the core love triangle for too long. Sometimes at the expense of pace and plot. That could be simply said are instead unnecessarily embellished in song – Will the almost everything in song spectacle and decidedly Broadway structure. Phantom of the Opera closely adheres to the stage musical and not necessarily Jesus Christ Superstar) and naturally, The
Of all who stand between him and a new, beautiful life with Christine.įorever) co-wrote this 2004 adaptation along with producer Lloyd Webber ( Cats, Phantom demands his Don Juan opera be performed while he plots the destruction SoonĬhristine is conflicted between The Phantom’s longing guidance and herĮngagement to her childhood friend Raoul. Unbeknownst to all except ballet mistress Madame Giry (Miranda Richardson). With The Phantom to reveal himself, he takes her to his lair beneath the Opera Populaire, Over the appeased Carlotta in the upcoming productions. Of him as an angel of music, The Phantom is passionately obsessed withĬhristine and writes threatening letters to the new owners to ensure her placement
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Night their new patron Raoul, the Viscount de Chagny (Patrick Wilson) is to attend.įortunately, the elusive, unseen Ghost of the Opera known as The Phantom (Gerardīutler) has been training Christine Daae (Emmy Rossum), the orphaned dancer ofĪ famous Swedish musician, how to sing the show’s operettas. Their prima donna Carlotta Guidicelli (Minnie Driver) and lose the star on the Parisian opera owners Firmin (Ciaran Hinds) and Andre (Simon Callow) argue with
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