The Phantom of the Opera

2004 [english]

Action / Drama / Musical / Romance / Thriller

The Phantom of the Opera

2004 [english]

Action / Drama / Musical / Romance / Thriller

33%
84%
7.2

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33% - Critics
84% - Audience
7.2

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Synopsis

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? —Niki.

Uploaded By: FREEMAN

Aug 18, 2021 at 06:22 PM

Director

Cast

  • Chris Jarvis as Ballet Boy / Flamenco Dancer / Masquerade Dancer

grade Movie Reviews

  • Reviewed by kirby-21 grade 10 / 10

    A visual and sensual feast!!!!

    We had seen only the original silent movie, not the stage play, (or even the soundtrack) before going. So we knew not what to expect. But at the very opening, as the long-dead chandelier rises to life, swinging in what seems like one endless arc, and scatters the colour of memories about as it flames back to life, and the theatre is washed in colour and majesty not seen in decades... we both knew this was going to be good. And it was. When it comes to sets, scenery and cinematography, they spared no expense. Every scene is drenched in rich detail. At the risk of sounding the heretic, I must say that a movie version removes the limitations of space and time to set up the stage, and so has the upper hand in the scenery and sets department. Some of these shots must have taken weeks to compose, and I'm glad they invested the time. The music is just wonderful. I'd dare say that even if you are not a musical fan, if you are at least romantically inclined, you will LOVE this movie. By the end of some songs, like, "All I ask of you" I'm restraining myself from singing the song out loud with them! The movie kind of departs from the setting of the original silent movie, in which the Phantom is actually quite hideous. This Phantom is more "mysterious" than hideous. But the attraction between him and Christine is pure, raw sensual. I mean it borders on erotic it's so strong. During "Past the point of no return" I'm sitting there with my wife, literally falling under the spell myself. "Yea... maybe she *should* be with this guy after all..." But that's the whole point. She WAS influenced by him, and he did cast a strong spell, and he was very alluring. The movie made it so real I was beginning to feel it myself. Some people have derided Gerard Butler's performance. Frankly, I find his throaty, sometimes raspy voice to be right on par. I heard so much ado about Michael Crawford that I went to Amazon and listened to some of his renditions of these songs. Verdict: Give me Gerard Butler! His voice is masculine, seductive, and hypnotic. In the final verdict, I find the movie versions of these songs to be FAR superiour to the Broadway versions. I say "Bravo!" to the selection of Gerard.Definitely worth seeing in a theatre if you can. Don't wait for the DVD. See it BIG and LOUD. My favs: Masquerade! "All I ask of you," and "Point of No Return." Wow... Point of no return had ME believing!!!!What raging passion floods the soul,what rich desire unlocks its door,what sweet seduction lies before us, ...past the point of no return...Oh yeah, that's the stuff!


  • Reviewed by LadyBeth10 grade 10 / 10

    Stunning!!! Magnificent!!! Powerful!!! Beautiful, Sexy, and Tragically Heartbreaking

    I can't believe I waited so long to see this movie. I've never seen the stage play. I lived in L.A. for about 17 years, attended acting school, and performed in some musicals before, but was never that crazy about seeing them, so I really didn't know what to expect. I thought "Chicago" was okay. I went to see it on a whim. But when that chandelier went up and the sweeping transformation happened to the opera house from black and white dusty ruin to a lush landscape of red velvet and gold ornate statues to the equal sweep of that unimaginably beautiful music, I literally forgot to breathe. Every time I see it I still get goosebumps. You feel that you've just been magically transported to another world. I loved every frame, every note, every performance from the very beginning to the very end. The critics must be crazy. This movie should be up for every award ever made!! I can't stop watching it. I've seen it ten times already and can't wait for the next time. It's definitely now in my top ten of all time. Joel Schumacher, and Andrew Lloyd Webber have created a MASTERPIECE!!!What can I say about the performances that hasn't been said, they were superb. Emmy Rossum was innocent, beautiful, and angelic with a voice to match. Patrick Wilson was perfect as Raoul; handsome, and with a voice as smooth as silk. However, I can't say enough about Gerard Butler. His emotional range is absolutely stunning. Not since Richard Burton or Larry Olivier in Richard III have I seen an actor who can encompass so many different levels on the turn of a dime: Murderous rage; intense sexuality and longing; incredible vulnerability. I can't believe the comments I've seen on his singing. His voice was beautiful, sensuous, and the amazing thing was his singing matched every emotion he was feeling from highest to lowest. In the beginning we see a very confident, strong, domineering individual partial to strangling people when cornered, (not the most sympathetic of individuals,) who nevertheless shows a sensitivity and sweetness despite all of his extremely fatal faults; that is, in the more than competent hands of Gerard Butler. His performance is so beautifully and deftly drawn that gradually by the end of the film we see what's been behind the mask all along: He's just a lost little boy who never grew up. I also have to comment on the "Point of No Return" number. That has got to be the sexiest scene I've EVER seen. And neither of them lost a stitch of clothing. Well, accept maybe a cape and a mask. But I digress. I'm sorry, but I would have dropped Raoul like a hot potato just to lie in that swan bed and let him sing to me ALLLL day, and ALLLL night, among other things.....use your imagination. So he lived in a sewer and had a little anger management problem. We could have worked through it with a good therapist. I mean this guy gave Christine what every hot blooded woman wants: Total and obedient worship. Am I right girls? Anyway to all you naysayers, I say this movie would have been nothing without him. To tell you the truth I kept wondering, "Who is this guy, where did he come from? So I did what the rest of you do and looked him up on "imdb." I'd seen "Dracula 2000," and "Timeline," but I didn't recognize him at all. Since then I've seen his other film roles, (to be honest the films weren't that great, but that's not his fault. You've got to take what you're offered.) So I just have to note another of his astonishing talents: I swear he changes with every role. His voice and his face, even his body molds to whatever character he's playing. I cannot believe that he is not up for Best Actor, or that this film is not up for at least ten Oscars. Incidentally, I shall be boycotting them this year, and I urge you to do the same. Compared to this film, the rest is just drivel. Anyway, Mr. Butler is an amazing actor. I'm so glad Mr. Schumacher had the tremendous insight to cast him. I hope now he will get the roles he so richly deserves. I'd pay admission to watch that man walk across the street. I can't believe he'd never had a voice lesson before. I hope he does more recording. I still can't get those songs out of my head, got the CD and still can't stop playing it. To all those spoil sports, GET OVER IT!! This is a MOVIE, it's not the stage play. You must embrace it on it's own turf. And WHAT a movie, I can't wait to purchase the DVD so I can savor it like the finest wine that it is to my hearts content. If you haven't seen it yet, you've missed something extremely special. It's one of the finest and most beautiful films ever made.I have to thank you "imdb," at least we, for once, get a chance to air our opinions. I will never see another movie without consulting my fellow "little people" again. Thank you so much for this opportunity.


  • Reviewed by endymion82 grade 10 / 10

    I Really Liked This Movie...

    So, I usually don't qualify my reviews, but this movie is sort of special, and the comments I've read are from all over the map so I feel I should give some idea of where I'm coming from too. I've been an playwrite, actor, and director for years, with work of mine have been doing both domestically and internationally, and having appeared in plays both amateur and professional and every level in between, including a professional opera and many a musical: whenever I watch anything, I approach it on three levels: artist, critic and audience. Also, I grew up seeing shows on Broadway, both mega-musicals and little indy plays in the Village, and while generally speaking my tastes lean more towards "arty and indy", I do have a broader pallet and it would be more accurate to say that my real interest is piqued by anything that is genuinely good at being what it is- which is one way of describing "Phantom of the Opera." Because yes, it's not as complec and intelligent as the work of Sondheim, or Kander and Ebb, but for what it sets out to be, an enthralling and absorbing Gothic romance (a genre that is rarely done well on stage, let alone as a musical), it achieves on every level: the score (which is soaring and crashing and large, just like the emotions of the characters who sing it), the design (ornate and overwhelming and grand guigol to the hilt), the story (which is totally ridiculous on some level, but since gothicism and romance are both genres which celebrate the extremes of our minds and imaginations, this is totally appropriate). "Phantom" is a brilliant example of art where the content and the style of the rendering of that content fit each other to a tea, and while it may not be YOUR cup of tea I sort of feel that anyone who thinks it's crap has basically missed the point or is just sour grapes because the thing is so damn popular and so damn good at being what it is (and lets face it, it's hard not to resent a success sometimes). Genius is often ridiculed, especially genius of an unusual nature or in a somewhat unconventional field (and Gothic romance, be it novel, film or musical, is looked down on in general, usually for the very qualities that make it interesting) and Webber's work is genius, because "Phantom" is, for all its faults, tightly written, a brilliant balance of camp, melodrama, satire and fairy tale, and while the style of music might not work for each listener, it effectively illuminates the story and conveys what is most important about the characters: their titantic (albeit, somewhat simple-minded) emotions, desires, fears and obsessions.*SPOILERS*The movie, in my opinion, takes what is best about the play and does it even better. Though some of my favorite bits from the stage show (the rehearsal of Don Jaun where the piano plays itself, Raoul's part in "Wondering Child") are gone, they have been dropped in favor of brilliant improvements, namely having the chandelier crash at the conclusion of the film (it really brings the whole thing full circle), and allowing more glimpses of Paris 1917, finally explaining why it is Raoul returns, what happens to the Phantom, etc. Other good bits that we see now but never saw onstage: an affectionate moment between Meg and Madame Giry, some history of the Phantom, a deeper sense of what Meg may know or not know about the Phantom's presence, the stalking of Josephe Bouquet, the life of the underclass of the opera house, the Hall of Mirrors from the book, etc. Also, the music has been beautifully re-orchestrated, and never sounded better. I'll take orchestra over canned synths, any day, thank you.The cinematography is beautiful and the "opera" moments are well done- complete with the cornball, almost intrusive dancing and vibrant but totally unrealistic sets and costumes that characterized "grand opera" at the time. The sense of constant claustrophobia back stage is great, and adds to that sense of what it was like to live and work in this tiny world where everyone is a performer and half your wardrobe comes from the costume department (did anyone else catch that moment where Christine takes her dress from the wardrobe?), adding to the central question at "Phantom's" core- what (who) is real, and what (who) is an illusion- and is real preferable to illusion, or vice-vera? The bleedingly bright colors and deep shadows of the movie help echo all of this- reminding us always, this story is not real, hero on white charger and all, but we don't want it to be: it's a legend, it's a fairy tale, it's a farce... it's a masquerade. It's, as the Auctioneer says, "a strange affair." "Phantom" told and acted realistically, totally wouldn't work, so don't ask it to, or judge it that way.The best thing about this movie is the performances, and the director has done a wonderful thing by moving AWAY from Michael Crawford and Sarah Brightman, both of whom gave role defining performances, neither of which are any more "correct" than any other. The question isn't, are Butler and Rossum as good as their predecessors, but rather do their versions of the characters work, and the answer is: yes. Return to "Phantom" as a text, not as a show with a history, and you'll see that Christine is supposed to be dreamy, lost, emotionally unstable and young, just as Rossum plays and sings the role. Butler, with his harsher singing and deeper range, is much more believable as a madman who is sometimes pathetic and pitable, but still ultimately a deranged egomaniac who lives underground and makes wax statues of the woman he loves. The rest of the cast is equally good, with Minnie Driver giving a heroically hysterical performance, Jennifer Ellison combining strength and curiosity with innocence and a certain grounded quality (I've always believed the audience is ultimately supposed to identify with Meg, who is the only character who never panics and maintains a healthy sense of "reality) that contrasts nicely with Rossum's morbid dreaminess, and Patrick Wilson doing much more with Raoul than any of the actors I've seen on stage. I wish Simon Callow had had more to do, but such is life- at least he was there. Miranda Richardson continues to prove she can play anything, and conveying more with a look than most actresses can with a full script of dialogue. Her accent is totally brilliant: it sets her apart, makes her glamorous and mysterious, and at the same time, is another sly tongue in cheek reminder that what we are watching should only be believed to a point: it is, after all, just another version of beauty and the beast.


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