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One, Charles Dance is always terrific, playing good, bad or indifferent guys with equal aplomb and skill. (This time he's a good guy who, unfortunately, is not blessed with good looks.) Two, the sets and music are superb. And three, the final climactic aria is Charles Gounod's fabulous goosebump-raising "Anges Pur, Anges Radieux" ("Angels Pure, Angels Radiant") from "Faust". No, we don't see the Phantom's face....but Christine does, and her expression tells us everything.

Aside from the original musical, this is probably the pick of the crop out of the cinematic versions of the story.

Charles Dance does an outstanding job, making good use of the script and direction, both of which are well above average. Other performances were pretty excellent too. The music is engaging and well worth adding to any non teenage-dirtbag collection!

This could easily have been a disaster, but instead turned out to be surprisingly - and pleasantly - good with interesting variations on a theme. Good, clean entertainment that the whole family can enjoy without the usual Hollywood crass to spoilt it! All in all, a big thumbs up to all concerned.

Beautiful Adaptation of the Phantom of the Opera. This is NOT the musical Broadway version. The only music here is the Italian operas the opera house is performing. This version based on a stage version of the book, by noted playwright Arthur Kopit, is beautiful and well performed. I love this movie because of its character development and lack of individuals breaking into song for absolutely no reason, what so ever. The use of the Phantom's various masks to convey his mood is a very unique approach, in this film. The climatic duet between Christine and Eric and a beautiful scene with Burt Lancaster and Charles Dance (Carriere and Eric) are both very moving.

A beautiful, and tragic love story.

If your looking for mindless gore and horror, look elsewhere. If you are looking for a phenomenal story, incredible cinematography, lavish costumes, superb acting, and all the elements from Phantom of the Opera that you've ever wanted to see wrapped up in imaginative, risk-taking dialog, see this one. Charles Dance is the perfect blend of sympathetic monster and mad, love obsessed gentleman. He loves deeply with an innocent passion. Teri Polo plays Christine with such angelic sweetened and bitter remorse, you'll love, hate, and love her character time and again. Add to that Burt Lancaster's majesty and Andréa Ferréol's over-the-top performance as Carlotta, and this is the strongest PotO cast I have ever seen. Plus, you get to hear real opera beautifully sung throughout the film.

I saw this 2 parter on NBC back when Andrew Lloyd Webber was sitting on top of the musical world with his Phantom of the Opera. This is a decent musical story version of the Leroux tale. The year before in 1989 Golan and Globus hired up Robert Englund a.k.a. Freddie Krueger to do a slasher movie version of the story which was a total off the original storyline of the Phantom of the Opera. That movie in all honesty, sucks ! When Yestin and Koppit released this mini series they returned Erik to Paris, France and to his beloved Opera House and once again he is deeply in love with engenue chorus girl and understudy to La Carlotta, Christine Daae, who's beauty and angelic voice reminds him of his dead mother, a nice back story line added to the original storyline with one more family member added in for the first time, the Phantom's friend and father played by venerable veteran actor Burt Lancaster. The soundtrack to this movie is available on RCA C.D. and Tapes under the simple name Phantom. It is the original theatrical stage production that this mini series was based on by Yestin and Koppit.

This was the eleventh film adaptation of Gaston LeRoux's classic to be made and the seventh I have watched myself (the others being the 1925, 1943, 1962, 1974, 1983 and 1998 versions); therefore, the two most significant ones left out there for me to catch up with, I suppose, are those made in 1989 and 2004. Coming so late in the game and so close to the Robert Englund remake – whilst also being accorded the lengthiest running time (185 minutes – although IMDb curiously gives it as 168!) of all – I guess it stands to reason that this was going to be a very different Phantom to the ones we were used to. For starters, it is an adaptation of Arthur Kopit's theatrical rendition of the original source and, in fact, the author himself wrote the teleplay here; the cast (Burt Lancaster, Charles Dance, Jean-Pierre Cassel, Andrea Ferreol and Ian Richardson) and crew (Kopit and Oscar-winning director Tony Richardson and composer John Addison) roped in for the production also lend the whole a classy distinction missing from previous or later versions. 77-year old Lancaster is in fine form in his Golden Globe-nominated portrayal of the former Opera manager with a secret (so much so that one can hardly believe that he would be dead in four years' time!); Dance is quite wonderful in the title role and I am surprised his performance did not earn him more plaudits (even if the fact that his facial features are always hidden behind a variety of masks may have been behind this oversight); Cassel seems somewhat wasted at first as the laid-back investigating Inspector but his role grows in stature in Part II; Richardson is enjoyably hammy as the initially skeptical but increasingly flustered Italian impresario replacing Lancaster and installing his own wife Ferreol (playing La Carlotta) as the primadonna of the Paris Opera. The all-important role of Christine Daae' is well-served by the lovely Teri Polo (who also portrays The Phantom's mother in a series of flashbacks!) but Adam Storke (as the subsequently reformed Count de Chagny) is blandly handsome at best. As usual, the problems with deviations from the familiar original source crop up here but, as I said earlier, these are to be expected in this case (more so than, say, in Hammer's first Dracula picture which was still a fairly fresh property for moviegoers in its day!): Lancaster is fully cognizant of the Phantom's lair underneath his theater because he is his biological father; in fact, Erik was even born there and, besides devoting himself to music, he also dabbled in painting and building a little woods for himself!!; the Phantom's obsessive love for Christine is not merely attributable to her unique voice but also because she is a dead ringer for his own late (and former opera star) mother; Carlotta does not lose her voice in mid-performance due to the Phantom's foul play but instead it's Christine who does so thanks to the machinations of the jealous Carlotta; the Phantom is not a mistreated composer but an accomplished opera singer who (wait for it) joins Christine in a duet from "Faust" from his proverbial Box 5 in full view of the audience and the gendarmes…even though he was virtually at death's door a few moments earlier!; the Phantom subsequently invites death himself on the Opera rooftop at the hands of his own father rather than from Christine's aristocratic lover, etc. The biggest departure, of course, would be that the film (and the play) 'fumbles' the very highlight every spectator is always waiting for in this story: the unmasking scene (which here occurs with the Phantom's back to the camera and we merely see Christine's fainting reaction to it)!! In the end, there may be more opera than horror here but the lavish production values, the fine performances and the evergreen fascination of the story itself win the day.

The Phantom of the Opera in this movie is not the classic Leroux or Webber version that many people envision. However, the story told is a good one. If you have some free time and you are ready for a good romance novel with a little bit of action, then pick up this movie. Charles Dance creates a sentimental Phantom of the Opera, but he shows a more powerful side by the end of the movie. Definitely a love story!!

If you are a Phantom phan, or know anything about POTO, then it may help you to know that this is the movie version of the Yeston/Kopit musical. It doesn't have the songs, but it follows the same basic plot line.

I have seen all other film version of this story, and have read the original novel, and I can say this is absolutely the best adaptation. It surpasses the original story, it is presented with A-list actors, superb mounting, flawless film-making savvy across the board, but most importantly the changes to the original story, and the ignoring of every previous film effort, have made this TV production of The Phantom of the Opera the Classic cinema adaptation! I assume the fact of my missing this film in 1998 is due to it being an overseas TV production but the DVD I viewed is available in at least two of the giant rental chains in the U.S. And I found the soundtrack CD on Amazon.

The Phantom of the Opera directed by Tony Richardson, with Charles Dance and Ian Richardson in it? Should have been great! Sadly, wasn't. It is beautifully filmed at the Paris Opera House, but it is tediously long and the classic story is weakened with unnecessary changes. The Phantom is supposed to be a man of mystery; this Phantom is a wimp. He wasn't rejected by his mother, abused by society... he just lived under an opera house, and acts like a spoiled kid. And what is it with Charles Dance and that dreadful fake American accent? Please!

1990 two-part Brit film, made for TV to take advantage of the interest in the then hit Broadway musical. This one is not a musical, but has numerous excellent operatic scenes. A young Comte, patron of the opera, hears a beautiful singer at a country fair, sends her to the impresario of the opera house to arrange for singing lessons. That manager has just been dismissed, succeeded by a scurrilous couple played by jealous, demanding soprano Andréa Ferréol and her husband, fawning Ian Richardson. He's in a very different role for him, which couldn't keep out his usual officious nature behind a very strange semi-Italian accent! I imagine he relished every second of it. Ferréol demands the leading roles in every opera, refuses to give lovely ingenue Teri Polo lessons, but lets her stay on as her costume girl and dresser to lesser players. Veteran character actor Charles Dance does a fine job as Erik, the Phantom, as does Burt Lancaster as the ousted manager. Unlike that famous organ scene in the Lon Chaney 1925 silent, we never see Erik's face. When he is unmasked, his back remains to the camera. I've seen most if not all of the film "Phantoms" and deem this the finest of all. Direction, sets, locations are all absolutely outstanding. The TV film originally ran on two different nights, with complete, long opening titles and closing credits run both times. The first installment ends suddenly with the huge chandelier crashing down on opera patrons. Tres abrupt! Viewers must fiddle around with controls to jump to the "next scene", the film's concluding half, and sit through those titles again. Should have been re-edited for home viewers. But the performance itself is well worth it, after one figures all this out. A very strange trailer is included as the third CD "scene".

I watched this movie because I wanted to see what Andrew Lloyd Webber was up against. I honestly thought it was going to be horrible. After, I saw the movie not only was I very impressed, but I couldn't get enough of it. I loved the cast. I was extremely pleased not none of Yestin's and Koppit's songs were used.(Now, I saw the Yestin's and Koppit's play long before I even knew a movie of it had been made.)I didn't like what they did with Eric's background story. I felt that it took away from his character. I hated that they didn't make Philippe more of a hero and that he had scenes in which he smoked!!! I was disappointed that we only saw Eric's face once and that it wasn't more believable. His face also really wasn't scary. I also thought that young Philippe, young Christine,and young Eric should have, at least, some dialogue.

I adore this version of Phantom. And though the Erik in this version is certainly not skilled in combat or have the stiff-necked pride that I have come to love in Susan Kay's version, I adored Charles Dance as Erik. I cried vehemently at his end. And still today I choke back tears and yell obsenities at the little twit Christine and her wimpish boy toy Phillipe! Charles gave me the Erik that I see in my head when I read Kay's marvelous adaption. And though the dubbing could have been better (to say the least), I feel a swell of emotion watching Erik preform in his opera house with his chosen prima donna. If you have been reluctant to watch it, I urge you to go out and get a copy today. It's amazing how much one story can change your life!

As a child of the Millennium, I always thought that the 2004 version would be my favorite and my forever version.Until the day that I tripped on this one. It is not Leroux's version. It is not Andrew's luxurious musical version. It is something else. While it doesn't look as visually stunning as the musical, it has more depth and more development to it. You can watch and re-watch and never really get tired of it. Charles Dance made a unique Phantom. Charismatic, with a particular sense of humor and a lot more feeling than the 2004 version. More personal history and background too, for all of the involved characters. For Charles Dance performance alone this movie deserved more spotlight.

There are few films which manage to capture a sense of magic and mystery at the beginning of their runtime and maintain that same sense throughout the rest of the film. This is one of them, however, and it never disappoints, no matter how many time you see it. The acting is inspired, the music and sets are stunning, and the storyline and character development are some of the best you'll find.

Christine Daae (Teri Polo) is a young French country girl with an angelic yet untrained singing voice, and she meets the womanizing Count de Chagny (Adam Storke) by chance. He sends her to the Paris Opera House to get singing lessons from his old friend Gerard Carriere (Burt Lancaster), but Carriere has just been replaced by the greedy Alain Choleti (Ian Richardson) and his screeching wife Carlotta (Andrea Ferreol). Christine goes to work in the opera house, hoping for a chance to become a singer, and soon begins taking secret lessons from a mysterious "maestro" in a mask (Charles Dance). This maestro turns out to be the famed Phantom of the Opera, who has haunted the opera house for years and remains a total mystery. The film follows Christine, Carriere, de Chagny, and the Phantom as they discover their unlikely connections and struggle against the inevitable end of life as they know it.

"She thought she loved me. And she did, but only for a moment. Still, a moment like that is worth living for."

Charles Dance is simultaneously charming, terrifying, hopeful, tragic, and morbidly humorous in his role as the Phantom, aka Erik. He never overacts or underacts, simply delivers his lines in a way that makes you believe he truly is "bereaved of light," as he says. Watch his subtle facial expressions beneath the mask and the casual way he speaks; it seems he was born for this role. His dramatic flair and brilliant dialogue make him an unforgettable Phantom, far superior to any other in my opinion.

Burt Lancaster is best known for his roles as gangsters and hard-boiled protagonists when he was young, but he shows an incredible amount of dignity and kindness in this role. His relationship with Erik is one of the best parts of the film, and the scenes they share are poignant and solid. Lancaster's eyes almost seem to tell a story of their own, one that seems to overshadow each event that unfolds as if he has already lived this story many times and knows how it will end. Undoubtedly, this is one of Lancaster's greatest roles.

Teri Polo and Adam Storke are more noticeably American than Lancaster, but they still carry their roles well. Polo is an absolutely lovely presence in the film, though her acting is better in some scenes than in others. Her double role as Christine and Belladova is nicely performed, though occasionally a bit confusing. Storke could have used more sympathetic characterization, but he still manages to be endearing and convincing. The love story between Christine and the Count pales in comparison to the passion displayed between Erik and Christine, but then, we don't watch it for them, do we?

In supporting roles, Ian Richardson, Andrea Ferreol, and Jean-Pierre Cassel are equally engaging and important to the story. Richardson and Ferreol are an oddity in villainous couples, in that they seem genuinely fond of one another despite their constant conniving, selfishness, and incompetence. Ferreol's performances onstage during the operas are hilarious, as is Richardson's simple delivery of, "Your bucket!" Cassel is a foxy yet honest inspector brought in to hunt down the Phantom, and his presence is welcome in every scene he appears in. Other minor performances - Jean Rougerie as the kindly curator Jean-Claude, Jacques Mars as the bellowing opera star playing Mephisto, and the silent actor playing a young Gerard - are beautifully done as well.

Highlights of the film include the gorgeous opening credit sequences at the Paris Opera House; the first encounters of Christine and the Phantom; the comedic moments during rehearsals for Faust; Christine and Carlotta's singing duel at the Bistro; Carlotta's unfortunate rodent problem; Gerard's storytelling of Erik's past; Erik's complete shift in personality during his breakdown; the final conversation between Gerard and Erik; the absolutely unforgettable climax between Christine and Erik; and of course the tragic yet fitting ending.

Don't miss seeing this one - it's a treat that only seems to grow more beautiful over the years.

To start with, this Phantom reinvents the story line with things that Gaston Laroux never had in his book. Like characters that were never in the book, and to add insult to injury, the reviews of the Kopit/Yestin musical claim it is closer to the book than the more famous Andrew Lloyd Webber version. It actually stuck close to the Lon Chaney classic. Even Phantom star Michael Crawford said many times that he based his characterization on the magnificent work of "The Man Of A Thousand Faces."

While utilizing actual sets of the Paris Opera House, it's sumptuous production values mask an almost ludicrous storyline that make Erik the Phantom a plagued wimp.

What infuriated me most about this entry in the Phantom film history was that after religiously taping the two parts and eliminating all commercials, the director/writer doesn't even show you the Phantom's face. Instead, we are "treated" with looks of horrified disgust by those who supposedly did see his ugly visage. What a gyp.

Actors Burt Lancaster and Charles Dance have been better used elsewhere, and both of them should hang their heads in shame for being connected to this complete overhaul of the great original. To date, the only true Phantom Love The Opera is the 1925 silent classic starring Lon Chaney Sr.

To make matters all the worse, this Yestin and Kopit version was made into an even less memorable musical with totally forgettable songs.

This version of "The Phantom of the Opera" (which was obviously written for the stage and carries that atmosphere throughout the movie) seems to have been made for those who savor a lush, epic feel- the music, framed around the operatic bits which are central to the story, is gliding and hypnotic (the "Angels Pure" finale may well have been badly dubbed, but I was too entranced to notice) and the sets are appropriately opulant and surrealistic (my favorites being, of course, the catacombs, as well as the scene at the Bistro). And it's rare that I see a movie that has succeeds so well in making almost every single actor, usually under candlelight or a faint bluish glow, look as ethereally beautiful as their surroundings. These two factors alone make the movie worth watching and, when it's all said and done, was probably what was most strongly impressed on me at the end of the four hours. It's very deliberately paced, forcing the viewer to drink in all of the movie slowly and, I think, reshaping the traditional way this story has been told--this movie is character-driven, not action driven, a way of storytelling that appeals to me. When the action finally does happen, we get a clear understanding of why.

The characters, though, weren't necessarily the most believable bunch I've ever seen, a fact that owes some to the writing, which gives them poetic but improbable dialogue, and the woe-is-me soliloquies, particularly on the part of Erik, start to wear. But of course, I can't complain too much--"Phantom" is played as either as a horror story or a melodrama, (or both), and thanks to the (overdone?) effort to make the viewer sympathise with the tragic antihero Phantom, it's not much of a horror story. The acting, too, is a little over-the-top...though a lot of that is probably intentional (and fun to watch!). I wished Christine was a stronger, less wishy-washy character (of course she really isn't shown as anything but, no matter which version, including the Lloyd-Webber "Phantom") and I wished that Phillipe was more of a presence, more of a deserving rival to the gloomy phantomized Erik. I also thought that the fact that Christine not simply sounded like, but also LOOKED like Erik's mother (prompting him to fall in love with her, the old Oedipean twist), shot down one of the main themes of the movie, voiced in Erik's complaint that Phillipe came to the opera for the wrong reason: the love of faces rather than the love of music. Much better if they would have used a different actress in the flashback scenes with Gerard (Burt Lancaster) and Belladora (?), the mother. Still, there are scenes which seem to shrug off the need for realistic dialogue or flawless acting in the beauty of their execution. Some of my favorite parts, the flashbacks, are more-or-less mimed, and to me, the movie is most effective either when the characters are singing or when scene is taking place without much dialogue. The movie is fantasy-oriented, after all, not gritty realism, and after a while you DO grow attached to the characters. All-in-all, the movie is best enjoyed in a dark room and a thick blanket, with a mentality open to fantasy and escapism and cynicism pushed off to the side.

I saw this movie 1992 I think... and very often after that, so often that I memorized it. Then someone ruined the VHS- tape and it was lost, but I thought about it many times over the years. Now I just saw it again and I swear I got goosebumps! I love it. I think the last scene with the phantom and Christine (the singing) is the most beautiful confession of love I have EVER seen or heard. I can really feel their emotions (and even the emotions of Philippe where he sits). When an actor can make me feel what the character is supposed to be feeling... that is good acting! I love the costumes, I love how every character seem to fit, even the cop is a little compassionate in the end... I just love it. 10 out of 10

This is my favorite version of The Phantom of The Opera. Burt Lancaster did a wonderful job as Gerard, Erik's Father. My favorite scene was when Gerard and Erik are talking and Gerard finally tells Erik the truth that he is his father. Erik says "i was wondering when you'd say".

Gerard gives him a look.

Erik says something like" My eyes are the only thing i can look upon in the mirror with out wanting to break the glass, but they aren't her eyes, they're yours." (Erik and Gerard were talking about Erik's Mother)

So Erik knew all along that Gerard was his father.

The movie made me cry so much. I haven't seen that movie since it aired in 1990, but i remember that scene.

i wonder if it's on DVD or VHS somewhere.

Short version of this review (which won't contain any plot summary): **This isn't horror, more drama/Gothic romance. Great writing and acting, gorgeous music even though it isn't a musical, and filmed at the REAL opera house in Paris. See it - if you're able to get it.**

I recently rediscovered this 2-part mini series, on YouTube of all places. It doesn't seem to have been shown much on TV, and one has to make an effort to track down DVDs as well. Generally, this has never been distributed the way it should have been IMO, which is a disgrace. We taped it from a Norwegian TV airing when I was a kid and watched it time and time again, yet sometimes it's like it exists in a vacuum.

This version might well have the best Phantom of them all, played by Charles Dance of recent Tywin Lannister fame. Wonderfully written and acted, he's pretty different from other versions; a sardonic British gentleman (in manners if not accent), yet passionate and vulnerable. Not insane as much as unstable, and much more sympathetic (and boy did the teen girls on YouTube notice that! Well, at least I hope they're teens..). This Phantom is like if you provided Gerard Butler (2004) with more dignity, less selfishness and a sense of humor. And he STILL comes off more threatening.

Christine is played by a young Teri Polo, she's pretty good, but a bit overwrought, and annoyingly naive.

Poor Adam Storke gets the ungrateful task of playing Raoul, or Phillipe, as he's called here (his brother's name in the novel). Everybody always hates Raoul, because he gets the girl over the main character even though he's not a traditional hero (in other aspects his characterization varies). However, he remains Christine's childhood sweetheart, and the one who offers her a normal, healthy life, something the Phantom wants to deny her. And Christine does not love the Phantom in a romantic way; she loves Raoul. Storke does a good job if you can look beyond his blonde tresses and raspy voice (was he trying to sound French or what??) His version of Raoul is less condescending to Christine than Andrew Lloyd Webber's.

Others worth mentioning are Burt Lancaster in key role and Andrea Ferreol as a very evil AND very funny Carlotta.

For a TV movie with presumably restricted budget the production values are truly outstanding. The movie was filmed in the real Opera house Palais Garnier in Paris, apparently as the only Phantom version so far. The sets are very atmospheric and a welcome relief from the kitschy production values of the 2004 movie.

The music needs to be mentioned. This is no musical (though was later made into one, very confusing), but uses real operas combined with a haunting original score by John Addison. Christine and the Phantom have opera singing doubles, but believe me, this is one instance where that works, as the voices chosen (Michele Lagrange and Gerard Carino) are exquisite. I love Lloyd Webber's music, but this is just as good if not better.

The only problem I can think of with this mini is some pacing issues in Part 2, where it slows down a bit, which makes it all the more annoying that it was never cut down to movie length and released in cinemas. Well, I guess DVDs and Youtube are better than nothing. Unless you loathe romances (this is deeply romantic in an old-fashioned, Gothic way) - see it.