Having relocated to a vivacious amusement resort in Coney Island, The Phantom of the Paris Opera House uses a pseudonym to invite renowned soprano Christine Daaé to perform. She and her ... See full summary »
Famous film director Guido Contini struggles to find harmony in his professional and personal lives, as he engages in dramatic relationships with his wife, his mistress, his muse, his agent, and his mother.
The infamous story of Benjamin Barker, a.k.a Sweeney Todd, who sets up a barber shop down in London which is the basis for a sinister partnership with his fellow tenant, Mrs. Lovett. Based on the hit Broadway musical.
Helena Bonham Carter,
Begins when an opera ghost terrorizes the cast and crew of the French Opera House while tutoring a chorus girl. He finally drives the lead soprano crazy so she and her friend leave. The girl is able to sing lead one night but the soprano doesn't want her show stolen so she comes back. The ghost demands they keep giving his protégé lead roles. Meanwhile, His pupil falls in love with the Vicomte de Chagny, but the Phantom is in love with Christine, his student. The Phantom is outraged by their love and kidnaps Christine to be his eternal bride. Will Raoul, the Vicomte, be able to stop this dastardly plan? Written by
In Christine's debut performance as the star of the Opera House, she wears a costume that is an exact replica of the outfit Empress Elizabeth (aka "Sisi") of Austria wears in her most famous portrait. This includes the white diaphanous dress with full, billowing skirt, as well as the diamond star-bursts in her hair and earrings. This is not surprising when one considers the fact that Andrew Lloyd Webber is one of the most important collectors of artwork from this period, and would be familiar with the portrait in question. See more »
In the "Masquerade", Christine and Raoul are dancing and they have their masks in their hands. However, when the camera changes its angle, the masks disappear, and then again reappear. See more »
Sold. Your number, sir? Thank you. Lot 663, then, ladies and gentlemen.
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Superb Film - but stage to screen comparisons inappropriate.
I think some other comments here are harsh, especially towards the performance of Emmy Rossum, who I thought made the film. Her performance visually (i.e. expressions etc) is mesmerizing. I'm sure a lot of this is down to Joel Schumacher who successfully steers the film away from just putting the stage show on to film, but has actually created something powerful in its own right, so I believe comparisons of the stage show to film are unreasonable.
My only niggles are technicalities, the Phantom wears a mask which only goes just above his eyebrows in the Ball scene (and shows no deformation) and yet when the normal white mask is removed later the entire left side of his face is deformed. The lip sync hing is often poor, especially in 'Think of Me' which is disappointing, especially in the knowledge that all but Minnie Driver recorded their own singing parts anyway.
The Soundtrack has been given a spring clean and it really benefits from it, removing some of the synthesized feel of the original and giving it much more of an orchestral grandeur.
All in all, this film really took me by surprise. As I said above Stage to Screen comparisons do feel somewhat inappropriate with this film, but I was never that fussed about Phantom before or after seeing it on Broadway. I can safely say that this film has converted me.
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