Le fantôme de l'opéra

I found the premise not only intriging, but the cinematography combined with passionate performances combined with the music make for an entertaining evening. I was so pleased with this film that I went out to buy a copy of the soundtrack to listen to while I went to buy the movie. The leading lady is not only captivating in her role, but resembles Shannon Dougherty facially and gives a Meryl Streep performance. I found the music to be very original and heartfelt although some lip sync was done during production. Robert Englund is wonderful as the Phantom. I found myself wanting to sleep with the lights on. In an alley scene where theives try to rob him, Eric Dessler (The Phantom)cleverly asks what they will trade for his purse. His delivery is strong and clever as a cat which goes well with his final remedy of the situation. We can all guess the theives steal no more.

The end of the film finds an extremely original twist, as Eric is found to be the modern day leader of the group who is putting on the broadway play in New York. Love enduring is made so clear when certain death is avoided again, which in itself is expected but executed with dynamic acting.

Yes, I loved this film and feel those who don't lack the training and intelligence to appreciate the story to begin with...Go buy the movie. You'll be glad you did.

I like this movie. I'm a purist, which may be surprising, but I am and still like this movie. Why? Because it gives Erik his edge back. True, they give him a good bit extra, but in the novel, Erik could have cruel moments, he had an edge, a threat to him. Ever since the Lon Chaney (which is still the closest to the book version), Erik has lost his edge and become a sort of disfigured James Bond. While I don't have much of a problem, this is a nice beak from that. Robert Englund is one of my favorite actors, and this was the first or second movie I saw him in (the first, if it wasn't this one, would have been Urban Legend, decent movie on TV). He plays Erik with a sinister sensuality. His lanky frame and Kruegeresque swagger are fine qualities, he comes of confident. Erik was like that in the book many times, though he did become a lovesick puppy with Christine. Yes, it's a slasher, yes they make Erik quite cruel in it, but it does have many little tidbits from the book. Plus, it has the masked ball scene, which helps it score high with me!! Go in with an open mind and acceptance of a crueler Erik (or a sickness of a lovey-dovey Erik) and you should enjoy it. At least it's better than the Julian Sands version.

Gory slasher interpretation of the story. Overall I liked it. It did pander to a wider audience by beginning and ending in present day. This was also just a bit confusing, and seems to have been done in an attempt to lay the groundwork for some sequels. The makeup was very well realized, and I enjoyed how it allowed the Phantom to go out and about. The kills were gruesome and cruel, and Englund mostly managed to keep his performance away from Krueger territory. A bit of classical literature, mixed with 80's slasher, and some class act British performances, such as a young Nighy, make this a worthwhile watch. Perhaps the music could have been a little bit more engaging/hypnotic.

Yes, I am indeed one of those "Phanatics" as they're called (though I'm almost starting to think we have a bad reputation...), and I personally would like to say that I found this movie rather enjoyable. I think it could have done without the modern sequences altogether and stayed in the one time period, and yes, a few scenes are a bit cheesy or cheap. But believe it or not, I think that Robert Englund did a fairly good job. My favorite Phantom will always be Michael Crawford, but when one compares Englund to Gerard Butler's Phantom (even using Crawford as the standard), he practically blows that little pansy-ass out of the water. It's refreshing to see an old, decrepit Phantom again, with more subdued, majestic style than Butler's gaudy, emo character. Also, this time the Phantom isn't scared to spill some blood, restoring some respectable fear for Erik that the 2004 version kills. Englund's voice--at least when he isn't screaming--seems surprisingly perfect for the part, and all film critics alike will see that he can indeed act, but has merely been restrained by his previous Freddy typecasting. All in all, I'd say this film makes an excellent counter-balance to the 2004 film, and both those who like like Chaney's Phantom and Crawford Phanatics alike will definitely enjoy it.

Yes, folks, I am a PotO fan. I can listen to ALW's soundtracks all night and day. I also am a huge fan of Freddy's series. The Nightmares are my favorite of the slasher genre.

That said, let's continue into the commentary, shall we? The thing that struck me most about this movie is the music, Don Juan Triumphant. It's a haunting melody that just sticks in your mind. For me, it stayed for years. I was lucky enough when with friends (who were working, leaving me alone in their off-campus housing bored for several hours) to find a copy at the corner video store. It was a delight.

Christine is NOT what you expect--she has no accents, doesn't look much like Sarah B, and I haven't a clue if that was really her singing. They did play fast and furious with the book. This does not mean it's a bad movie! I can count if I thought for three minutes ten other movies that deviated from the books they were based on? *S*

Basically, the movie, to me, deals with reincarnation. When Christine locates and brings the lyrics and melody for Erik's inspired masterpiece to an audition, she is struck on the head by a sand-bag in mid verse. This has her traveling back in time to the days of the setting of the book, but in England rather than France. I actually don't mind the changes; they make the story fresher in my mind. There, we learn that this 19th century Christine has been learning from a mysterious stranger who has taught her singing and plans to make her a star. Jill is a lovely woman, and in the role, she shines as she dones the jewels of Faust's love interest in the opera. Robert as Erik is as usual a wonderfully mysterious, sinister, yet humorous "bad guy", if you can call Erik that.

After the climax of the 19th century, Christine awakens to find herself in modern times again (hence my belief that it was a tale of reincarnation rather than actual-time travel--the 19th century Christine was established well before the incident!) and assisted by the show's patron.

I adore the synthesized versions of the music, and was extremely pleased when the library was able to locate a copy of the CD OST for me to check out. It's just as good as I remembered. Amazon had the VHS, and I am good to go now! :)

If you're seeking consistancy, accuracy towards the novel, or something resembling Michael Crawford, you're in the wrong place. If you're looking for a good tale that sends shivers up your spine (it did me as she placed money in the hat!), then this is the place.

Enjoy!

Now to just collect the rest of the NoES series....