Although it's not as bold as Oscar darling Chicago, The Phantom of the Opera continues the resuscitation of the movie musical with a faithful adaptation of Andrew Lloyd Webber's blockbuster stage musical. Emmy Rossum glows in a breakout role as opera ingénue Christine Daae, and if phantom Gerard Butler isn't Rossum's match vocally, he does convey menace and sensuality in such numbers as "The Music of the Night." The most experienced musical theater veteran in the cast, romantic lead Patrick Wilson, sings sweetly but seems wooden. The biggest name in the cast, Minnie Driver, hams it up as diva Carlotta, and she's the only principal whose voice was dubbed (though she does sing the closing-credit number, "Learn to Be Lonely," which is also the only new song).

Director Joel Schumacher, no stranger to visual spectacle, seems to have found a good match in Lloyd Webber's larger-than-life vision of Gaston LeRoux's Gothic horror-romance. His weakness is cuing too many audience-reaction shots and showing too much of the lurking Phantom, but when he calms down and lets Rossum sings "Wishing You Were Somehow Here Again" alone in a silent graveyard, it's exquisite.

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Those who consider the stage musical shallow and overblown probably won't have their minds changed by the movie, and devotees will forever rue that the movie took the better part of two decades to develop, which prevented the casting of original principals Michael Crawford and Sarah Brightman. Still, The Phantom of the Opera is a welcome exception to the long line of ill-conceived Broadway-to-movie travesties.

DVD Features
The two-disc edition of The Phantom of the Opera has two major extras. "Behind the Mask: The Story of The Phantom of the Opera" is an hourlong documentary tracing the genesis of the stage show, with interviews by composer Andrew Lloyd Webber, director Harold Prince, producer Cameron Macintosh, lyricists Richard Stilgoe and Charles Hart, choreographer Gillian Lynne, and others. Conspicuously absent are stars Sarah Brightman and Michael Crawford. Both do appear in video clips, including Brightman performing with Colm Wilkinson at an early workshop, and Crawford is the subject of a casting segment. Other brief scenes from the show are represented by a 2001 production. The other major feature is the 45-minute making-of focusing on the movie, including casting and the selection of director Joel Schumacher. Both are well-done productions by Lloyd Webber's Really Useful Group.

The deleted scene is a new song written by Lloyd Webber and Charles Hart, "No One Would Listen," sung by the Phantom toward the end of the movie. It's a beautiful song that, along with Madame Giry's story, makes him a more sympathetic character. But because that bit of backstory already slowed down the ending, it was probably a good move to cut the song. --David Horiuchi

Enamoring!

Despite what some forlorn critics -young and old, amateur or expert- may make of this film; it is undeniably a beautiful spectacle empowered by lush orchestration.
Filmed without the support of a major production studio, ALW'S The Phantom of the Opera proves beautiful as well as mesmerizing!
For many who do not know the story plot, this film is based on Gaston Leroux's gothic/horror romance novel that tells of Erik; a disfigured musical genius dwelling in the cellars of an Opera House. There he hides his disfigurement and composes some of the most beautiful melodies. His inspiration lives in the voice and beauty of a lovely, opera singer. More than his muse however she becomes the object of his passion and obsession.
But to his dismay, he is not well corresponded; for in his love's heart dwells the shadow of another man. Determined to win her love, Erik will stop at nothing and 'no one'.

It's an old horror story of love and obsession. The film richly contributes seduction, betrayal, tragedy, and passion.
It falls very faithful to it's original source and yet expands it even more.

In my most humble opinion, not since Titanic has a romance film been so tragic, so poignant, so seductive, and so absolutely beautiful and lavish.


While there have been many people that disagree with how 'attractive' Erik is; I feel that apart from the facial disfigurement, the true monstruosity dwells inside of his being.
That said, he may not be that 'monstrous' on the exterior in this film, but the distortion of his soul remains intact. Gaston Leroux did describe Erik as being physically horrifying, but in the end, the most strong and horrifying degeneration of them all and the one we cannot entirely overlook is the one that lies in the inner depths of the soul.

A treat in every way!

The play created history. The music created history; and I think the film does justice!

What does one expext from this film, if one has not seen the play (which I have not)? Sheer lavishness, grandeur, a heartfelt narratative of romance and awesome music. You'll have experienced all this and more once you have seen the film!

Right from the beginning of the film, one can sense the artistic sensibilities that have gone into making this film.
The film begins with a beautifully picturised scene of an auction in Paris. The image is black-and-white, aprears broken, and the sound seems fragmented. At the auction. when the chandelier (connected with the never-completely-solved mystery of the Phantom Of The Opera) is revealed- the scene transforms into lavish colour, loud brilliant music; then story of the past begins- the story of the Choir girl Christine, her love Raoul and the Phantom of the Opera himself.

It is interesting to see that here, unlike in most films, the present is shown in black-and-white scenes (which give you the feeling of old undeveloped images), and the past is shown in lavish colour.

The only negative aspect of the film is that at times, actually at very few times, you'll find yourself yawning. The film does get slow at a few places- but those places are too few and far-between to hamper the overall impact of this magnificent film.

Even though it is a musical, and most of the narrative is through song, one never wishes it wasn't that way. The songs and how they are sung keep you engrossed.

This mesmerising, excellently-made film is truly a must-see.

Outstanding

Having seen Phantom of the Opera on stage several times (first time with Michael Crawford) I was very skeptical and reluctant to see it transformed to film. So much that I did not find time to view when it was in release. I have just purchased and viewed this production and now wish I had seen it on the large screen. Although some of the story line has been altered, the changes included actually are from the original book and better explain the ending of the story. I found it very entertaining and would recommend it to anyone.