Phantom of the Paradise

I usually detest all musicals, with very few exceptions. 'Phantom Of The Paradise' is one of those exceptions. I still can't say I like many of Paul Williams songs (which he as well as playing the mysterious and egotistical record company mogul and producer Swan), but they don't make me want to stop watching the movie, which has a lot more going for it than his so-so score. Brian De Palma, who can be a most frustratingly uneven director, shows there is a lot more to him than attempting to channel Hitchcock. William Finley, who appeared in De Palma's underrated 'Sisters', and who went on to Tobe Hooper's misunderstood trash classic 'Death Trap', is excellent as flaky songwriter Winslow Leach. Jessica Harper, who would achieve screen immortality by starring in Dario Argento's cult favourite 'Suspiria', is very good as wanna-be pop star Phoenix. The late George Memmoli, who never seemed to fulfill his potential despite appearing in some excellent movies such Scorsese's 'Mean Streets' and Shrader's 'Blue Collar', is very amusing as Swan's gopher Philbin. Finally, if nothing else watch this movie to catch Gerritt Graham's hilariously camp turn as effeminate shock-rocker Beef! Graham had appeared in De Palma's two counter culture black comedies 'Greetings' and 'Hi Mom!' (both with Robert De Niro), and subsequently has had one of the oddest careers of any contemporary actor, working with everyone from Louis Malle to Jim Wynorski, starring as "Bud The Chud", and writing for both Disney and the Dead! Graham is a legend in my circle of friends, and playing Beef is a big reason why! 'Phantom Of The Paradise' is a rare beast, a worthwhile rock musical, and in my mind deserves a cult bigger than the incredibly overrated 'Rocky Horror Picture Show'.

This movie is beautiful. Its a consummate midnight movie. Okay, so Paul Williams, Bill Finley, and Jessica Harper may not be the best actors in the world. And sure, the effects, set, camera moves, and acting is SO VERY seventies, but that doesn't take away from the most beautiful score of any made for film musical, heart tugging writing, and a great villain. Also, the humor of this film is great. De Palma was obviously having fun. I mean, this movie can be viewed as a bad piece of overblown trash, or a studio trying to capitalize on a midnight movie craze, but wheres the fun in that? The direction is solid, the music is relevant, and the movie tells a story. Its fun, entertaining, and emotional. What more do you want from a movie? Plus, you have Rod "Twilight Zone" Serling doing the opening narration! What a beautifully cheesy movie.

This is an absurd and wildly entertaining glam-rock twist on the "Phantom of the Opera" story. Winslow Leach has his rock opera stolen by music biz icon Swan. After terrorizing the record company, Leach is in an awful (but rather hilarious!) accident that renders him disfigured. He terrorizes the opening night of Swan's new rock'n'roll palace, The Paradise.

This is the best horror film I've seen by De Palma. While it is mostly tongue-in-cheek, it does feature one of the most suspenseful uses of his trademark "split screen." The story is great--a surprisingly clever indictment of the music industry. The music is wonderful if you like glam, though the songs that Jessica Harper (the Christine figure) sings seem out of place and are about as deadpan as her performance. Gerrit Graham is a riot as Beef and steals every scene he is in. I recommend "Phantom of the Paradise" to fans of over-the-top productions such as Rocky Horror, as well as anyone looking for a unique twist on a classic tale that doesn't take itself too seriously. My Rating: 7.5/10

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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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.