Count de Chagnie has discovered Christine's singing talent on a market place and sent her to his friend Carriere, the director of the Parisian opera. However just when she arrives ... See full summary »
Paris, 1900: a couple are horribly murdered by a masked man with a metal claw who rips their hearts out. The sole survivor and witness to the massacre is a young girl. Twelve years later in... See full summary »
Riccardo Serventi Longhi
A newspaper reporter and a retired, blind journalist try to solve a series of killings connected to a pharmaceutical company's experimental, top-secret research projects and in so doing, both become targets of the killer.
Sándor Korvin, the conductor of the Budapest Opera House tutors his wife Elena as Marguerite in FAUST. She drowns herself after a bad review rigged by the sinister Baron Hunyadi, whose ... See full summary »
An animated version of Gaston Leroux's everlasting tale of "The Phantom of the Opera". Christine has been acting strange the last days: she first of all got the lead part on a new opera and... See full summary »
Standard story of the Phantom does have one major variation - The phantom is not a disfigured individual, but rather is an unwashed orphan abandoned in the sewers under the Paris Opera & raised by rats. The Phantom invokes death upon anyone who dares harm his beloved rats. In fact, The Phantom's nemesis is the chief exterminator who develops a rat-catching machine. Written by
John Sacksteder <firstname.lastname@example.org>
Cinematographer Ronnie Taylor has worked in three other adaptations of Gaston Leroux's novel "The Phantom of the Opera". He was cinematographer in Dario Argento's previous Opera (1987) as well as camera operator in Brian DePalma's Phantom of the Paradise (1974). He also did the cinematography for Popcorn (1991), which is considered to have been inspired by the novel. See more »
I beg you pardon?
I thought you said something
I said nothing. But I caught myself thinking about you. Thoughts that surprise me. And I'm not easily surprised.
Thinking about me? Why?
I wanted to tell you, your voice fills my heart with divine light. Shhhhs. Listening too you is sublime, wonderful. This must be our secret. Tell nobody, then no one will know we'll meet again.
When you hear my thoughts, you'll know where to go
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Try to watch it like a parody of classic opera and you will get the point!
For start, I agree with most of comments about this movie. Yes - plot is totally stupid (raised by rats ??!). Yes - Julian Sands is awful in this role. Yes - direction is completely flat and non-Argento like. Yes
there is bizarre Turkish-bath scene which is something never-seen
from Argento... everything is correct! But, you must watch this as an "classic opera-styled movie" and things works! Let me explain: movie definitely look like classic opera in a movie shape - it is full of cartoonish characters that constantly overact and look and act funny (usual thing in operas), almost every scene contains fabulous Morricone score - even dialogs and other shots that are usually not scored, here have some music in the background (normal in operas - they are made of music!). So, how you can expect then to have amazing POV shots, insane camera work and other classical Argento trademarks that will, in this context, ehm, "stand out like a turd in a punch bowl" (Leisman from "Up the Academy") ? This type of flat direction and overacting, too funny characterisation of almost every character (every character is funny and looks and acts just like characters from comical operas except leading roles: Asia, Sands and Di Stefano - their acting is not comical), some totally stupid dialogs (check some dialogs in operas!) and even stupidity like "raised by rats" (some classic operas have more silly ideas than this one is) fit int this opera-style movie perfectly! Then, even Turkish bath scene, rat killing machine and other insanities with bizarre over the top gore are great fun to watch! And it still has some Argento touch - some ideas and shots in a catacombs are truly great (when phantom chase unexpected visitors and one of them try to hide...).
I especially like ending. Asia is great in final scene and even Sands is better than in a rest of movie (he really sucks... ) and with absolutely amazing Morricone theme, final scene is very emotional and truly touching.
This movie is highly underrated and completely misunderstood among Argento fans. I mean, most of people say - if it is not like anything that Argento made it is automatically sh*t? Do not watch it thru the eyes of Suspiria, Inferno, Deep Red... Try to watch it like a sort of parody of classic opera and you will get the point!
At least, it is funny and entertaining as much it is silly.
10 of 12 people found this review helpful.
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