Un fantasma en el paraíso

Mix "the Phantom of the Opera" with "Faust" and "the Picture of Dorian Gray", sprinkle it all with 1970's electric glam-rock, Gothic horror and uttermost baroque scenery and costumes. And there you get "Phantom of the Paradise", a picture that has everything to be the perfect cult movie, and would deserve much more attention than its more famous counterpart "The Rocky Horror Picture Show", released one year later.

Whereas "Rocky Horror" remains a farce all the way through, "Phantom of the Paradise" is a real tragedy in the original meaning : the story of a genial but naive musician who gets his work swindled by an evil baby-faced producer who has sold his soul to the Devil. Besides, "Phantom" is more a film about music or a film with songs in it than a proper musical, and it's better so because the story is really interesting. Like "Rocky Horror", " Phantom" is full of parody and incredible gimmicks, but the plot and the soundtrack are far superior, and on the whole, "Phantom" has a lot more class.

Many people who have seen the movie when it was released were teenagers, and it's one of those movies I know many people to have seen ten times or more. Looked at from a mature point of view, it is true that "Phantom" appears somewhat kitsch and not so profound, and it is obvious that the director must have had great fun shooting such a delirious show. But let's say then that as "typical midnight movie", "Phantom of the Paradise" remains a gripping and creative kitsch masterpiece, and still keeps up with its cult movie status thirty years after. That's what classics are all about.

Countless scenes and details would deserve comments, but let's say that two of them are really hard to forget: when the hero gets his face destroyed in a record-press after his escape from Sing-Sing in a toy box, and when he murders the campy music-hall star who usurped his music in the middle of the stage, by shooting a neonlight across his chest as the climax of a hysterical rock concert.

Interesting to know that the same three singers successively impersonate a parody of a sixties group with banana hairdos and falsetto voices, a nutty band in pants and wigs, and finally appear with ominous black and white make-up in a hard-rock performance that reminds of "Kiss". I guess you wouldn't tell if you didn't know.

The casting is very good although none of the actors seemed to have achieved real stardom. You don't get to see so much of William Finley because he wears a mask throughout much of the film, but Paul Williams, who has had a rather mediocre singing career, was perfect for the role as machiavelic producer Swan. The angelic blond face and the malign nature of the character make a very powerful contrast.

However, I found the most impressive performance was given by Jessica Harper. Her big dark eyes and deep voice make her stand out both as an accomplished actress and singer. Her talent has been unfortunately never used any better than in this movie, which was her first star role, and that's "the hell of it".

As for director Brian de Palma, I have not seen many of his films outside of this one, so I'm not too sure, but it looks like "Phantom" really has a place apart in his career. For instance, "Carrie", which got more attention, appeared very disappointing to me in comparison, much more like a B-grade horror flick. Mr de Palma certainly seems to have a fascination for blood, and "Phantom" has of course its fair share of it. Contracts are even signed with blood instead of ink...

Still playing on double-bills with The Rocky Horror Picture Show in England, Brian DePalma's foray into the psychodelic world of the musical excesses that was the 70's becomes more than just another rock musical. With a fusion of Faust, Dorian Grey, Phantom of the Opera, the Twilight Zone (courtesy of an opening narration by Rod Serling)and Psycho, using multiple camera angles cleaved into split screens, we follow the tragic trials and tribulations of one Winslow Leech (William Findley, the scary side splitting surgeon of DePalma's "Sisters"), composer, whose music is stolen by mook henchman Philbin (George Memmoli, Joey Clams of Scorsese's "Mean Streets")on the orders of his boss, rock impresario Swan (song writer Paul Williams, in a role that must have had him giddy) to be used in the opening of his new rock palace, The Paradise.

Attempting to get his music back, Winslow befriends a young, up and coming singer called Phoenix (Jessica Harper, who many have accused of being woefully miscast. Watch for her in "My Favorite Year"). Beaten by Philbin, set up on drug charges by Swan, subjected to stainless steel dentures because of Swan's own campaign to wipe out dental decay in the penal system, Leech escapes prison upon hearing his music on the radio, breaks into the record factory, and when caught, accidentally has his faced mauled by a hot record press, and sent moaning in pain into the East River.

Swan continues his preps for the opening, using his former 50's doo-wop group, the Juicy Fruits, now a surfer band called The Beach Bums (Later, they become a Kiss-like bunch called The Undead. The band is made up of the same three actors, Archie Hahn, Jeffery Commanor and Harold Oblong. Watch for Hahn in many more films, including "Innerspace" as the deadly deliveryman), to perform Winslow's music. A shadowy figure, donning a leather bodysuit, lame lined cape and a hawk-like mask invades the Paradise and starts reeking havoc.

From here, all the cliches play out from Phantom of the Opera, but in one absolutely looney twist is the addition of a fay glitter rock star called Beef (Gerrit Graham, singing voice by Ray Kennedy), who delivers a Hitchcock homage that will never let you look at Janet Leigh in the Bates Motel shower the same way ever again. Toss in a bit of Dorian Grey, with a videotape instead of a portrait taking on the years(and we wonder about Dick Clark's never aging profile!), a strange transformation of several musical themes, all familiar but somehow morphed into different personnas, and you have a cult classic on your hands.

This movie fits into so many different viewer interest groups. First, the DePalma fans, watching his early work before classics like "Sisters", "Carrie" and "Dressed To Kill"; for musicians/soundtrack fanatics, the mutation of a handful of themes into different works, as well as an incidental soundtrack filled with string quartets, classic piano and organ; for movie trivia fans, the appearance of the star of one of DePalma's all time suspense/horror classics as a production associate, not as an actress (I'm not telling you. watch the credits!).

For the rest of us, a great popcorn night movie that will leave you laughing, tapping your feet and wondering "Where was I when this movie came out and how did I miss it the first time?"

A composer has his music stolen by a big-time record producer and vows his revenge. Things get more complicated after he gets sent to jail and apparently commits suicide in the river...

Howard Maxford feels the film is "dated", and that is the best criticism one can make of the film. The songs do not hold one's attention well. The plot in general is decent, but the music -- a central focus of the movie -- is just average.

Brian de Palma, the director of "Carrie" and "Black Dahlia", is in charge here. He makes a visually appealing film, with angles and colors that call to mind Stanley Kubrick's "2001" and "A Clockwork Orange", as well as Dario Argento's "Suspiria" (which star Jessica Harper would appear in after this film).

Gerrit Graham ("TerrorVision") as Beef is great, and a nice send-up of glam rock. The critics had called the film "funny" and "hilarious", but both are exaggerations. The humor is very subtle, with this being a musical first, horror film second and comedy third.

The references to Dorian Gray are awesome, and unspoken. There are also cues from Poe and previous "Phantom" films. Some have said there is even an homage to Orson Welles' "Touch of Evil" (and I believe them, but I have not seen the film yet). Sissy Spacek is credited as a "set dresser"... you decide what that means.

This viewer feels obliged to point out that his hometown - Winnipeg, Canada - is one of the two cities in the world to truly embrace Brian De Palmas' operatic spoof of the glam rock era. (The other being Paris, France.) Therefore, it's mystifying that it should have taken me so long to finally watch it, but now I'm glad that I have.

It's a thoroughly flamboyant, marvelously designed and decorated rock musical that combines the themes of Phantom of the Opera, Faust, and The Picture of Dorian Gray. William Finley stars as Winslow Leach, a naive, trusting singer-composer who is taken advantage of by conniving producer Swan (who's played by real-life singer-composer-actor Paul Williams). Several circumstances later, the disfigured Leach seeks revenge against Swan while falling madly in love with aspiring pop star Phoenix (the radiant Jessica Harper).

The late, great character star Finley and the engaging Williams were never better than in this funny and fast paced exercise in style. It gets off to a great start with opening narration by none other than Rod Serling. Well shot, by Larry Pizer, and designed, by Jack Fisk, it features some thoroughly catchy ditties by Williams. The parodies of such performers as Sha-Na-Na and the Beach Boys are spot on. De Palma is also most effective at capturing the insanity of the emerging shock-rock trend, especially with the effeminate rocker Beef, one of the all- time best roles for top character actor Gerrit Graham.

Harper is beautiful and extremely appealing and it's a shame that neither she nor Graham nor anyone else here ever became big stars. Williams is great fun, and Finley fully embraces the tragic arc of his character. Heavy set George Memmoli is also solid as Swans' gopher Philbin.

This film manages to maintain that feeling of fun throughout while also being rather sad at the same time.

Trivia note: Fisks' wife, actress Sissy Spacek, who went on to play the title role in De Palmas' next film, the feature adaptation of Stephen Kings' "Carrie", was the set dresser here. And look for such familiar 70s actresses as Jennifer Ashley, Janit Baldwin, Janus Blythe, Robin Mattson, Patrice Rohmer, and Cheryl Smith among the groupies.

Eight out of 10.

Talented underground creators. How great it is to be in their worlds! that's when we get them at the height of their more uncontrolled and pure creativity. unmanipulated, wild. The outcome of what they do when they work within the underground is hardly the best work they produce, but it's often their more passionate creations, and practically always indicates what they will master when they "grow up".

Here we have a film that exists in 3 levels (at least 3 that matter to me):

• this is a film within a social and cultural context. The kind of music we hear here (not the multiple parodies, but the music that is intended to be "good") was a reaction to the 60', or the next step of the evolution. Within the same underground spirit that created this film, there was a growing tendency to extend and invent forms that would accommodate the fantasies of new musicians. That's what today we know as progressive rock. This film would pave the way for Tommy, for Live at Pompei, and for The Wall.

• Paul Williams, great mind, great talent. Much of what works here is his vision, from the mood even to some roots of the story. His parodies are great, but his real stuff is good enough. I enjoyed getting to know him better, and it Is funny that he comes to perform the guy who steals his own music.

• de Palma, who was my first interest when coming to this. The fact is i didn't know so well what to expect, and i ended up appreciating more the other levels than this one of the director. Apparently by this time he had clarified what he wanted to explore, but he was far from mastering any of his enormous visual skills, or this film was such a collective work that he just couldn't make his personal statement so well. Anyway we have here eventually the first split screen of his career (i'm not absolutely sure of this), something he would take all his careers with incredible results. Other than that, we don'te have his magical camera eye yet.

The story matters only for the fact that we have a battle between creative and money grower, something that all the people involved here might know pretty well back in those days.

Jennifer Harper has a pretty face, and illuminates the set when she sings.

My opinion: 4/5

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