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 »
In 19th-century France, Jean Valjean, who for decades has been hunted by the ruthless policeman Javert after breaking parole, agrees to care for a factory worker's daughter. The decision changes their lives for ever.
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
Because the chandelier scene is at the end of the film, as opposed to ending the first act as it does in the play, one of the lines in the song "Masquerade" had to be altered so that instead of referring to a "new chandelier" they talk of "friends that are here". See more »
In the "Point of no Return" scene, when Christine sings "...No dreams within her heart but dreams of love." She has one hand on the basket of flowers. When the camera goes for a wide shot, both hands are holding on to the basket. 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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