Il fantasma dell'opera

I'm a brand new Dario Argento fan, having only seen 4 of his films (Phenomena, Tenebrae, Suspiria, and this). But I'm definitely planning to see more (my copy of Stendhal Syndrome is preordered and should be here next week). I bought this simply because it was Argento, and I was actually surprised. I was told that this was his worst film, and some even called it his swan song. I rather liked it, myself. If it is made by Dario Argento, it will be good. Dario took a few liberties, making this more of his own instead of yet another adaptation of the novel. I have to applaud him for that, even though some of it hardly makes sense. And there is the fact that electric light was not around at the time. But if you spend your life analyzing movies and hating them for the smallest detail, what's the point of watching movies? I watch to be entertained. The visuals aren't nearly as great as Suspiria, and the special effects are hardly special (you can smell a CGI shot from a mile away). Not to mention some performances. But I still liked it, because it had that Argento touch that all of is films have. Besides, Argento's worst films are still better than most of the 'horror' America has, today. I'd probably give it 3 out of 4 stars if I had to grade it. Check it out.

Yet again, a Dario Argento film that is absolutely horrible the first time, but somehow fantastic the second time you watch it. This phantom is pretty much different from the 1989 effort,starring Robert Englund, that also aimed for gory shocks and mayhem....and failed miserably. Argento's version is much better, never taking itself too seriously and telling a romantic tale that you actually care about. Julian Sands is good as the Phantom, when he learns that his lover Christine loves someone else, he listens to them kiss and he starts to sob, his acting is so good that it almost breaks your heart. Asia Argento is also a nice actress, I didn't care for her much in Trauma (and I've yet to see The Stendhal Syndrome) but her acting here has improved, she is a talented and beautiful actress. Now back to the movie itself, it's the best adaptation I've seen of the story yet, it is violent, but not too much. There's also a great sense of humour. "You will not play in Romeo and Juliet. If you defy me, I will hurt you. Do you understand me you fat cow?"

"How dare you-a speak-a to-a me-a like-a that!"(Italian accent)

The movie is really a lot of fun and I think I have a crush on Kitty Keri, but it's too bad she has her tongue ripped out.

This is not a remake; it's a reconceptualization. Thus, it should be expected to be true to the original only where the writers, Gerard Brach and Dario Argento, see fit. Many people are up in arms that the phantom's face isn't disfigured, but that is not the problem. The problem is Dario replaces the disfigurement with a raised by rats story, yet we get a Richard Gere type of suave, supposedly poetic phantom instead of an uneducated Christopher Lambert in Greystoke. What makes this worse is that a totally literate phantom still has almost no chance to utter any decent dialogue.

Virtually the entire movie takes place within the opera house, but this is in no way limiting or constricting to the look of the film because this is Dario Argento we are talking about. Argento creates a bizarre underworld in the depths of the opera house that is original, but at the same time evokes memories of Jeunet & Caro's City Of The Lost Children and Mad Max Beyond Thunderdome. Dario's pays great attention to detail when it comes to the look he wants, but seemingly could care less whether the set is plausible in the real world. This is Dario's world; accept it or watch boring, visually stunted, formulaic directors rehash bad scripts in a conventional manner.

The movie often succeeds in being darkly comedic, and the characters are only meant to be viewed in the sense of what the represent in the real world. This is why the outside world isn't normal the two times we see it. Julie Taymor's ancient Rome is the only one that had cars and video games, but that doesn't stop most people from thinking Titus is a good flick. Both are bold visionary movies that are not trying to be realistic. You can make a valid argument that certain unrealistic aspects don't add anything to the movie and/or simply dislike them, but things like electricity in the opera house were deliberate decisions that intentionally make it implausible in the sense of the real world.

The weakness of the movie, as usual, lies in the script. The most annoying aspect is that Sands has the special powers at the outset, but they mysteriously disappear when he needs them most as if they were provided by the Witchblade. The dialogue is definitely worse than the usual English as a second language stuff we get from Dario. The secondary characters are used well though, societal parodies. Some of the funniest work Dario has even done comes when he mocks the vulgarity of the opera society. The main characters don't provide chuckles or really elicit our love or contempt; it's hard not to be ambivalent toward them. The leading men seem to chase Asia because they become addicted to her at first site. Asia essentially professes to have no concept of love, so her feelings toward them are mostly based on their last action. Instinct vs. duality is a worthwhile concept, but unfortunately the characters only seem drawn to each other because they are supposed to be. It eventually clicks, but not until the final segment of the film.

The strength of Argento's movie, as always, is the look. Some aspects were a little below his own top standard, but this was not the typical Dario movie. The improvements in sets, staging, and costuming help balance off the areas that are obviously going to be weaker given the type of movie. He successfully branched out with the sex related scenes, particularly where the men are haunted by their desire for Asia. Scenes like these gave it the art house feel that made up for it lacking the haunted house feel Dario wasn't going for.

I don't see where the movie would have looked any better with an overbloated American budget. The only thing lacking visually is the innovation we used to get from Dario. There aren't any shots/scenes that really stick out in terms of being shockingly different or original. The tongue being bitten out was the gory highlight, but that would normally be no better than the 4th part you'd mention. The gore is mainly close-ups. Argento & Stivaletti do them better than anyone, but they've overused the grinding/biting/ripping stuff here.

The film doesn't have the edge or create the suspense Dario's used to. That's mostly purposeful because I don't believe Dario intended to make a horror film. Sands is the cartoon avenger who kills off grotesque characters and sinners that we should only feel contempt for, so why should we be worried whether they get decapitated? That's why rats were a great choice of animal to raise Sands. They aren't fluffy little kittens that everyone supposedly likes and can't stand to see harmed; they are vermin. The people who try to steal from the phantom, sin in his presence (note that he saves the little girl, who then returns and tells the tale only to get slapped by an adult), or outright harm `his family' are considered lower than vermin. Of course, no one films animals and insects better than Argento's crew. Sometimes he gets better `performances' out of them than from humans.

Sands & Asia do a very good job considering the extremely limited material. Sands is able to exude the right amount of confidence by being much lower key than usual. Unfortunately, there is not credible material to give him a chance to be scarred inwardly; he just seems too content. Asia is active enough with her body to get over the bad dialogue, but she sometimes looks ridiculous `singing' and the audio dub during these scenes is occasionally atrocious.

The movie certainly has many problems and doesn't hold a candle to Opera. That said, I'd still rather watch this than most films because it offers a unique visual experience that very few directors have the ability and the balls to provide. 6/10

'Suspiria' was scary. 'Tenebrae' was good. 'Trauma' was silly but all of Argentos movies were good. This film still proves that point. The actual plot for the movie is a lot like the book. Julian Sands is great as the Phantom and the other characters are creative. There are people who get killed which really deserve it. A paedophile. A thief. This movie is a lot better than your average slasher movie. 'Scream' was rubbish! A must see for Argento fans. 8 out of 10.

I believe that this version of Phantom of the Opera is one of the most unique ideas I've seen -- and believe me, I've seen a lot. I had to special order this movie just to satisfy my curiosity about it!

Phantom of the Opera - with Julian Sands - is a remarkable movie, despite it's outrageous amount of downfalls such as cheesy script. Yet there are several very good points which I will not get into at the moment. I adore the costumes for this movie - such as the overweight Carlotta's dresses. If a smaller woman were wearing the same style dress, it would look like it belonged on a Goddess...

Yes, Phantom of the Opera has it's major downfalls such as a lousy script, completely needless gore, and even over-dramatized scenes. Yet one of the only reasons I bought this film - other than the fact that it was titled Phantom of the Opera - was because of Julian Sands. It isn't his fault that he got a lousy script for a film that could've been done better.

I recommend that if you have not seen Julian Sands in any of his other films, then watch Warlock, Gothic, or any other number of his films. He is a spectacular actor when given the chance... and cute too!