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 ...
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The Budapest Opera House's diva commits suicide after the owner ruins her career for having rejected his advances but her conductor-husband, believed killed in a fire, plans his revenge on all those he deems responsible for her suicide.
10 years has passed since a fire broke out in Paris - leaving only a mask behind... As the love story continues in Coney Island, NY, The Phantom's undying love has grown for the soprano ... 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 »
France, 1900. As a young girl, Christine is told by her father of the 'Spirit of the Music' - a guardian angel who comes to a select few with the gift of 'perfect music'. Ten years later, ... See full summary »
Darin De Paul,
Legend tells of a hideously disfigured masked murderer who once stalked the Garnier Opera House leaving a trail of terror and bloodshed in his wake. With strange occurrences haunting the ... See full summary »
Anthony D.P. Mann
A young soprano becomes the obsession of a disfigured musical genius who lives beneath the Paris Opéra House. He kidnaps the soprano and forces the owners of the play to keep her as the lead role of the play.
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 Carriere's dismissed. His arrogant successor refuses to let a woman of low birth sing in his opera, but graciously employs Christine as gadrobiere for his wife Charlotta, who's installed as first singer. He also fights the phantom, an unknown guy who lives since many years in the catacombs below the opera and was granted privileges by Carriere. However the phantom knows how to defend himself and at the same time helps Christine to her career.Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
The miniseries was only aired on television twice. It was initially broadcast as a four-hour, two-part miniseries on NBC for two nights on March 18 to March 19, 1990. It was subsequently shown in the mid-1990s on A&E. See more »
When Carlotta sings, her words don't match her lips. See more »
This version of "The Phantom of the Opera" (which was obviously written for the stage and carries that atmosphere throughout the movie) seems to have been made for those who savor a lush, epic feel- the music, framed around the operatic bits which are central to the story, is gliding and hypnotic (the "Angels Pure" finale may well have been badly dubbed, but I was too entranced to notice) and the sets are appropriately opulant and surrealistic (my favorites being, of course, the catacombs, as well as the scene at the Bistro). And it's rare that I see a movie that has succeeds so well in making almost every single actor, usually under candlelight or a faint bluish glow, look as ethereally beautiful as their surroundings. These two factors alone make the movie worth watching and, when it's all said and done, was probably what was most strongly impressed on me at the end of the four hours. It's very deliberately paced, forcing the viewer to drink in all of the movie slowly and, I think, reshaping the traditional way this story has been told--this movie is character-driven, not action driven, a way of storytelling that appeals to me. When the action finally does happen, we get a clear understanding of why.
The characters, though, weren't necessarily the most believable bunch I've ever seen, a fact that owes some to the writing, which gives them poetic but improbable dialogue, and the woe-is-me soliloquies, particularly on the part of Erik, start to wear. But of course, I can't complain too much--"Phantom" is played as either as a horror story or a melodrama, (or both), and thanks to the (overdone?) effort to make the viewer sympathise with the tragic antihero Phantom, it's not much of a horror story. The acting, too, is a little over-the-top...though a lot of that is probably intentional (and fun to watch!). I wished Christine was a stronger, less wishy-washy character (of course she really isn't shown as anything but, no matter which version, including the Lloyd-Webber "Phantom") and I wished that Phillipe was more of a presence, more of a deserving rival to the gloomy phantomized Erik. I also thought that the fact that Christine not simply sounded like, but also LOOKED like Erik's mother (prompting him to fall in love with her, the old Oedipean twist), shot down one of the main themes of the movie, voiced in Erik's complaint that Phillipe came to the opera for the wrong reason: the love of faces rather than the love of music. Much better if they would have used a different actress in the flashback scenes with Gerard (Burt Lancaster) and Belladora (?), the mother. Still, there are scenes which seem to shrug off the need for realistic dialogue or flawless acting in the beauty of their execution. Some of my favorite parts, the flashbacks, are more-or-less mimed, and to me, the movie is most effective either when the characters are singing or when scene is taking place without much dialogue. The movie is fantasy-oriented, after all, not gritty realism, and after a while you DO grow attached to the characters. All-in-all, the movie is best enjoyed in a dark room and a thick blanket, with a mentality open to fantasy and escapism and cynicism pushed off to the side.
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