O Fantasma da Ópera

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.

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 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 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.

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.