Um Vulto na Escuridão

'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.

Being a fan of horror films, I was naturally intrigued to see that Italian horror legend Dario Argento had made a version of Phantom of the Opera. I rented it without hesitation. Well, it certainly isn't his best work, to put it mildly. The film introduces several new and interesting elements to the Phantom story, which by now has been rehashed ad nauseum. Some of these elements include - the Phantom having been raised by rats, the Phantom is not (externally) deformed, and therefore, does not wear the mask that is almost mandatory for the part (despite the fact that it appears on the cover - though it does make a haunting appearance in one scene, if you can catch it in the background). Unfortunately, the potential of these new ideas is never fully explored, rather, they are reintroduced and reintroduced as if to say, "Hey, look what I thought of! Isn't that great?" It seems that Argento got so caught up in the atmosphere and style of the movie that he forgot there was actually a story going on. The commitment to atmosphere is obvious - the costumes _are_ positively marvelous, and the cinematography is also quality. Beyond that, the film more or less falls apart. The acting is, for lack of a better word, absolutely terrible. I was sighing with relief everytime one of the few actors who managed mediocrity came onscreen. Julian Sands as the Phantom is flat, not surprising for an actor who fell off the face of the earth ten years ago. Andrea di Stefano as his rival Raoul is neither good nor bad, but certainly inexperienced. Asia Argento as the singer is disappointing compared to some of her other performances - but as one reviewer noted, she always seems to be holding back when working for her father.

The biggest problem I had with it was the hideous line dubbing. At least I _hope_ some of those lines were dubbed. Another problem is just how quickly the movie takes things for granted. Almost before I had time to take my popcorn out of the microwave and sit down, the singer and the phantom were madly in love and communicating psychically. Yes, psychically, another new idea that is interesting of its own right but doesn't work because it is presented far too suddenly and with very little supporting detail.

Overall . . . it has its moments. Those moments could have made for a very refreshing look at the Phantom story, as well as a darn good movie. Unfortunately, it managed to do only some of the former, and none of the latter.

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.

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

It is not the best movie ever made but it is watchable, mainly due to Morricone's Music and the opera selections. Asia Argento plays the main heroine, young talented opera singer Christine. I don't think she was bad and her face is unbelievably beautiful - she reminds Olivia Hussey of "Romeo and Juliet" (1968) and Uma Thurman if Uma ever decides to dye her hair dark. Production values, costumes, special effects, decorations, and the singing voices are very good. I noticed that I laughed a lot during the film - perhaps Argento made a dark comedy of the familiar story?

I did not like Julien Sands as a non-masked Phantom. He looks a lot like the creatures that raised him.

The film has an orgy scene that is so funny it could've came directly from "Caligula"

Overall - I had a lot of fun, and and can call it one of my guilty pleasures.