Angel of Music, a Mask and The Phantom
Jun. 3rd, 2012 10:53 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
melodysparksWith the forthcoming movie of Les Miserables due for release in December it reminded me of my love of musical theatre and in recent time the transfer from the stage to the screen.
A few years ago I wrote the following piece as a member of Ciao a consumer opinion site about one of my favourite musicals
Angel of Music, a Mask and The Phantom - THE PHANTOM OF THE OPERA
FORWARD
In 1986 the new West End musical based on the novel by Gaston Leroux, The Phantom of the Opera took the theatre world by storm and now 18 years later it is the largest grossing stage musical of all time with over 60 million people having seen the spectacular show. However in 2004 this phanomenal show took a new turn and was transfered to the big screen in the spectacular and extravagent The Phantom of the Opera movie. As movie musicals go this film is not a musical like Moulin Rouge or Chicago but more like Evita and Jesus Christ Superstar, film adaptations of Lloyd Webbers previous successes. Hey but hang on just because the musical is mostly sung with little dialogue it doesn't mean you you won't like it, I would recommend you keep an open mind you might like it, I certainly did although some people will and some won't but the die hard Phantom fan will love it.
A LITTLE TASTER
The gloomy and grainy, black and white images reminiscent of motion pictures in their infancy open with an image of a derelict former opera house partially destroyed by fire fifty years previous and in the background is the noise of the hustle and bustle of post war Paris. A car rolls up and an old man is wheeled by a nurse inside, it is 1919 and a public auction is being held, only one lot is of interest to him, the papier-mâché musical box. With the winning bid, he buys the music box and wonders if it will still be playing in years to come.
In the background an eerie and haunting melody plays. The next lot numbered 666, a sinister number itself, is the chandelier in pieces. Fifty years previously, this chandelier featured in the disaster that destroyed the theatre and the “Strange affair of the Phantom of the Opera.” as the auctioneer explains. Partially repaired and fitted with electrical wiring the auctioneer speaks to the crowd, and offers to show the lot resting below a canvas “Perhaps we can frighten away the ghost from so many years ago with a little illumination?” He says. The canvas is whipped away.
Five powerful and sinister chords of organ music rising and descending burst forth as the overture begins. Slowly the chandelier rises, transforming itself and a wind forcefully gusts around the auditorium blowing away the dust and dirt, the debris and detritus, wiping away an accumulation of fifty years. The building begins to transform as the black and white images are slowly blown away as the clock turns back in time. The seats reform and become lush with their red velvet covers, the chipped and dust covered statues repair themselves and are wiped clean. The gilt paint now shines and gleams from the candle light as the 20,000 piece crystal chandelier now resides above the auditorium in its full and glorious magnificence and once more the splendour of the 1870’s theatre is revealed in full colour.
A powerful and dazzling beginning.
ABOUT THE AUTHOR
Gaston Leroux was an accomplished investigative journalist and author when he began working on the Phantom of the Opera taking his inspiration from his recent visit to the Paris Opera house with its maze of corridors, rooms and suites and down its many levels to the subterranean lake many feet below the auditorium. His penchant for mystery, thriller and horror and remembering the tragic accident when part of the chandelier had fallen and killed a woman in the audience in 1896 gave him an idea. The Phantom of the Opera was born: an insane genius that became a phantom svengali to an impressionable young chorus girl and striking fear into the cast and crew of the Opera House.
Over 70 years later, and after many manifestations in the realm of horror the Phantom of the Opera story took a new turn. Opening in the West End the musical had become not so much a story of an evil demonic anti-hero but rather a tragic love triangle. Whilst retaining a large part of the original story with an angel/devil scenario and set to the music of Andrew Lloyd Webber the story in effect became an opera of a kind, in its own right.
SYNOPSIS
The Phantom of the Opera is the story of the beautiful innocent chorus girl training in the Paris Opera House’s corps de ballet, Christine Daae (Emmy Rossum) , and a disfigured musical genius Erik, The Phantom, (Gerard Butler). The lonely genius takes her under his wing, from the shadows, and in the night, nurturing her talent and teaching her to sing. Christine believes him to be an angel sent to her by dead father to watch over her.
The theatre troops know of his presence that fuels the fear within an environment already filled with superstition and ready to place the blame of any accident on the mysterious ghost. He leaves little notes around the theatre and to please him they follow his instructions to the letter and always leave box five empty for his use. But Monseiur LeFevrer (James Fleet) has had enough and sells the theatre to Gilles Andre (Simon Callow from Shakespeare in Love and Amadeus) and Richard Firmin (Ciaran Hinds of Calender Girls and Cradle of Life) former scrap metal merchants with great expectations of making lots of money and moving up in society.
When the dancers impress and draw the attention, of the new owners, the temperamental lead soprano Charlotta Giudicelli (Minnie Driver), flounces out of the final dress rehearsal throwing a temper tantrum and throws the theatre into a panic. With no lead soprano, the show has to be cancelled until Madame Giry (Miranda Richardson) steps forward promoting Christine’s talents. Christine is given the lead role in that evening Gala and thrills the audience with her sweet and angelic voice.
However, the theatres new patron, Raoul, the Vicomte de Chagny (Patrick Wilson), has other plans. Christine was his childhood sweetheart and Raoul is dazzled by her transformation into a beautiful young woman and proceeds to woo her. But the phantom is not amused, his anger is evident considering Raoul an insolent boy basking in Christine triumphant debut, he appears and whisks Christine down through the depths of the opera house to his lair. Here Christine discovers the Phantom is not the Angel she thought him to be but just a lonely and disfigured man.
But all is not well the following day when the new owners are displeased with the phantoms demands that they continue giving his protégé the lead roles. He threatens retribution should his instructions be ignored. In flounces, the volatile Charlotta, in full rage brandishing a note believed from the owners, she threatens to leave and demands explanations, duly Andre and Firman grovel and plead and give her the lead role in the next production.
The production opens with Christine in a minor role and Raoul sat in box five, this does not sit well with the Phantom whose booming voice echoes and resonates around the domed auditorium demanding why his instructions were ignored. This causes a delay and during a quick change of cast, an accident happens. By now Christine is petrified and believing the Phantom will kill Raoul drags him away from the stage to the rooftops. Unbeknown to the young lovers, the phantom has hidden in the shadows, overhearing their plans.
The Phantom is heartbroken, all his life he has been rejected and shunned but this is one rejection he can’t take, Christine has betrayed him, he gave her his love, his knowledge, a voice and his music and she turned her back on him. Hurt, disconsolate and angered he vows revenge.
Three months go by without a note or a sighting of the ghost. It is New Year and the managers think he has gone for good. Hosting a masque ball for all their friends to celebrate the New Year, the golden light of thousands of candles shines down on the revellers dressed in black and white and each sporting a mask dancing, drinking and celebrating. In walks Raoul and Christine, newly engaged and join the celebrations however suddenly at the top of the grand staircase resplendant in a rich red costume wearing a white skeletal mask appears the Phantom. He tauants the managers and cast and throws down the gauntlet. He has written an opera and the company must perform it or face the consequenses. Christine must play the lead role but she has to return to his tutelage to further her training. The phantom then spies her engagement ring hanging around her neck on a fine chain, he grabs it and says " Your chains are still mine, you belong to me." then disappears...but that is not the end..yet!
THE ACTORS
Handsome Scottish actor Gerard Butler from Timeline, Cradle of life and Reign of Fire plays the role of the Phantom splendidly. As a much younger Phantom character with dark smouldering good looks, he is more charismatic but still a heart-breaking tragic character for whom his whole life has been rejection and isolation because of his disfigurement and Christine has become the main focus of his life. Butler makes an excellent dashing gothic horror bodice ripping anti-hero swirling his cloak, donning his leather half masks, and causing mischief around the theatre but also a sensitive romantic character that only wants to be loved. Although not musically trained as many of the other cast members, Gerry Butler has a rougher rock singer like tenor voice (well he was in a rock band in his youth) not quite as refined a singer as Patrick Wilson, but his acting skills more than make up for it to the point of acting rings around Wilson. My mother says he has a sexy singing voice and is rather taken with him as an actor, she says even with the mask off and with the prosthetic disfiguring make up that covers a third of his face, he is still better looking than my father. I must admit I agree with her there.
His two best songs undoubtedly are ‘The Music of the Night’ sung a little quieter but still with intensity and the blazing duet with Christine “Point of No Return” where the screen just sizzles and scorches with the passion between the two main characters. Although in the reprise of "All I Ask of You", a very important turning point in the musical he sings the lyrics "I gave you my music, made your song take wing, and now how you repaid me, denied me and betrayed me..." you can hear his sorrow and anguish as the Phantom breaks down in tears before his anger gets the better of him and with raw rough rage roars "You will curse the day you did not do, all that the Phantom asked of you..." For me the younger character works well and I liked the portrayal, I found myself swept along routing for the Phantom and feeling saddened by his plight.
The stunning youthful Emmy Rossum of Mystic River and The Day After Tomorrow,plays the beautiful but naïve, orphaned young soprano who lost her beloved father at the age of seven. She looks upon the Phantom as not only a mentor in the guise of an angel but as a friend and perhaps a father figure during her younger years but as she matures in her youthful innocence a suitor. But with the arrival of Raoul her handsome childhood sweetheart we see the romantic awakening of a young woman and she is torn between two men one dangerous and one dashing and every young girls dream. Rossum has a wonderful soprano voice; she trained with the Metropolitan Opera from a young age and easily handled all her songs. With “Think of me” her voice begins sweet and angelic with an innocent purity however as the musical unfolds and the character matures her voice becomes more vibrant. I liked the innocence and purity Emmy Rossum gave the role and for me she gave an excellent portrayal of the character.
Patrick Wilson from The Alamo and a former Broadway performer is the dashing and swashbuckling Raoul, Vicomte de Chagny the new patron of the opera and the third part of the love triangle. He is a frank and forthright noble who is at ease with command although sometimes forceful in his demands and requests. Although the character is only a few years older than Christine is, Wilson does display in his character more maturity. Stage trained to sing and perform, Wilson has an excellent tenor singing voice he really only has one main song in the musical “All I ask of you” the romantic rooftop serenade between the two young lovers but unfortunately, he is unconvincing with the emotion of a man in love and often lacking the expected adoration and passion in his expression. For me his voice has all the passion and appeal of a cold wet fish. I would chuck him back and choose the Phantom any day.
Minnie Driver of Good Will Hunting magnificently plays the squarking and egotistical primadonna Charlotta complete with ‘the world revolves around me’ attitude. She gives a new meaning to the word volatile with her portrayal of tempermental Italian diva Charlotta the lead soprano of the opera and a woman who easily flies off into vituperative tirade and believes the world and the opera are hers to command. With a larger-than-life persona fiery temper and exaggerated flouncing the character runs rings around the managers. Unlike many of the other cast members Minnie Driver does not sing a great deal in the film but provides the character’s dialogue. With much of the songs requiring an operatic voice, professional opera singer Margaret Preece, who performed the role onstage was used to dub Minnie’s songs, however, the beautiful song "Learn To Be Lonely" that is sung over the end credits and which has been nominated for a golden globe was sung by Minnie Driver. Driver outstandingly created in her character a woman who many would love to gag and I would be first in line to carry out the honours
Miranda Richardson portrays Madame Giry the ballet mistress magnificently, she is an actress who can turn her hand to any character. Madame Giry knows the Opera House like the back of her hand, it is her home, and more about the history of the mysterious Phantom and how he came to reside in the opera house. She watches and guards the Phantoms secrets but also she admonishes and cautions the cast not to annoy or mock him. Although not a large part but a necessary character Miranda Richardson plays her gracefully and superbly although I must admit the French accent she alone uses seems out of place considering the whole musical is set in France and most of the characters are supposed to be French but they sing without accents.
THE TECHNICAL DETAILS
With an incredibly powerful and moving score that is mostly sung rather than dialogue and some bits spoken rather than sung, there is still a theatrical feel about the musical, I know this musical is not Moulin Rouge but it is however, created on the same grand scale but you don't need to be sat five hundred feet away straining to hear a whisper or squinting through opera goggles to see expressions or details to enjoy it. Film is a different medium and I think ideal for musicals like this and that can reflected in the close ups of the actors where you can see the emotions and expressions and can hear the more delicately sung lyrics with their nauances and words that are barely above a whisper. You do not need to see it intensely sung to feel the emotion from the characters.
Although the story and vibrant musical score has not changed a great deal from the stage production, this movie however has been enhanced by the sheer magnitude of the lavish settings. The set design is a feast to the eyes reaching back into the sumptuous resplendence of 19th century France. The whole opera house was built on the soundstages at Pinewood studio recreating all the levels including the underground waterways and lake complete with their gothic atmosphere. The chandelier that features prominently within the story is a magnificent 20,000 piece created especially by Swarovski crystal (which is flagrantly advertised by a shop bearing their name in one of the black and white scenes) and housed in a beautifully painted dome. The Grand curving Staircase and foyer and ornate balconies are elegantly appointed, with busts and statues in gilt and gleaming marble and in the Masquerade scene shining in a golden glow of candlelight from hundreds of candles. However, one of the most interesting sets was the graveyard where Christine visits her fathers tomb with the massive mausoleums, headstones and sarcophagi shrouded in mist and climbing plants giving the eerie damp stillness you associate with them.
The costume design is wonderful. The gowns and dresses for the women are stunning from the many hued purple and lavender outfit you see Charlotta in to the fairytale gown worn by Christine at the Gala. The men don’t do too badly themselves. Raoul’s outfits show the quality of a noble gent elegant yet stylised as typical of a well dressed 19th century gentleman and his soldiers costume complete with riding boots, braids and brass buttons and sword for the masque ball would fit right into any episode of Sharpe. However the Phantoms costume reflects the dark and dangerous character with a sensual quality to it, black shiny high boots, dark trousers, ruffled shirts that opens to the waist and a swirling black cape.
When I first learned Joel Schumacher was directing the screen adaptation of Andrew Lloyd Webbers successful stage musical, my first thought was “Interesting choice.” More renowned for teen flicks such as Lost Boys and St. Elmo’s Fire, the blockbuster, Batman and Robin, and his dramas like Phone Booth and Veronica Guerin rather than period musical pieces, surprisingly he has pulled off this movie magnificently still keeping with grandeur feel of the theatre and the essence of the original musical. This production is handsomely created and will undoubtedly appeal to the fans of Phantom and those who loved the stage show.
AFTERWORD
This review is by no means one of the easiest I have had to write. I have tried to be unbiased and impartial but something within the movie grabbed a hold of me to the extent that I cannot get the lyrics and music out of my mind. Many of you will have read my review “Any moment now I will burst into song” cataloguing my top ten favourite musicals and I now realise exactly how inaccurate that list is: The Phantom of the Opera is not in it and should have been from the start.
However, in my defence I based my list upon the productions I had seen on stage and film omitting the one musical cast album that captivated my imagination as well as my emotion from the first time I heard it. The sensational soaring and emotional music alone should have placed the Phantom of the Opera very near the top. Unfortunately, when I did see the stage show I was extremely disappointed by the poor performances of the cast in the West End and that prejudiced me against the musical.
But it only took five chords of thunderous organ music running scales in the opening bars of the overture to shatter the false impression and once again show me the depth of the emotion and the beauty of the music. Why did I like this movie? That is a good question but I would say that this movie gave me the images I had in mind whenever I listened to the music. However, most of all it is a beautifully crafted drama of riveting suspense with stunning, dramatic and emotional music that reached inside and took my emotions on a roller coaster ride not to mention a rather attractive and sensual, (and I like this word: bodice-ripping) Phantom who I can tell you I wouldn’t mind teaching me to sing.
“The power of the music of the night.” is an understatement if there ever was one.
Running Time 143 minutes
Rated 12A
Thank you for your time.
Chris
A few years ago I wrote the following piece as a member of Ciao a consumer opinion site about one of my favourite musicals
Angel of Music, a Mask and The Phantom - THE PHANTOM OF THE OPERA
FORWARD
In 1986 the new West End musical based on the novel by Gaston Leroux, The Phantom of the Opera took the theatre world by storm and now 18 years later it is the largest grossing stage musical of all time with over 60 million people having seen the spectacular show. However in 2004 this phanomenal show took a new turn and was transfered to the big screen in the spectacular and extravagent The Phantom of the Opera movie. As movie musicals go this film is not a musical like Moulin Rouge or Chicago but more like Evita and Jesus Christ Superstar, film adaptations of Lloyd Webbers previous successes. Hey but hang on just because the musical is mostly sung with little dialogue it doesn't mean you you won't like it, I would recommend you keep an open mind you might like it, I certainly did although some people will and some won't but the die hard Phantom fan will love it.
A LITTLE TASTER
The gloomy and grainy, black and white images reminiscent of motion pictures in their infancy open with an image of a derelict former opera house partially destroyed by fire fifty years previous and in the background is the noise of the hustle and bustle of post war Paris. A car rolls up and an old man is wheeled by a nurse inside, it is 1919 and a public auction is being held, only one lot is of interest to him, the papier-mâché musical box. With the winning bid, he buys the music box and wonders if it will still be playing in years to come.
In the background an eerie and haunting melody plays. The next lot numbered 666, a sinister number itself, is the chandelier in pieces. Fifty years previously, this chandelier featured in the disaster that destroyed the theatre and the “Strange affair of the Phantom of the Opera.” as the auctioneer explains. Partially repaired and fitted with electrical wiring the auctioneer speaks to the crowd, and offers to show the lot resting below a canvas “Perhaps we can frighten away the ghost from so many years ago with a little illumination?” He says. The canvas is whipped away.
Five powerful and sinister chords of organ music rising and descending burst forth as the overture begins. Slowly the chandelier rises, transforming itself and a wind forcefully gusts around the auditorium blowing away the dust and dirt, the debris and detritus, wiping away an accumulation of fifty years. The building begins to transform as the black and white images are slowly blown away as the clock turns back in time. The seats reform and become lush with their red velvet covers, the chipped and dust covered statues repair themselves and are wiped clean. The gilt paint now shines and gleams from the candle light as the 20,000 piece crystal chandelier now resides above the auditorium in its full and glorious magnificence and once more the splendour of the 1870’s theatre is revealed in full colour.
A powerful and dazzling beginning.
ABOUT THE AUTHOR
Gaston Leroux was an accomplished investigative journalist and author when he began working on the Phantom of the Opera taking his inspiration from his recent visit to the Paris Opera house with its maze of corridors, rooms and suites and down its many levels to the subterranean lake many feet below the auditorium. His penchant for mystery, thriller and horror and remembering the tragic accident when part of the chandelier had fallen and killed a woman in the audience in 1896 gave him an idea. The Phantom of the Opera was born: an insane genius that became a phantom svengali to an impressionable young chorus girl and striking fear into the cast and crew of the Opera House.
Over 70 years later, and after many manifestations in the realm of horror the Phantom of the Opera story took a new turn. Opening in the West End the musical had become not so much a story of an evil demonic anti-hero but rather a tragic love triangle. Whilst retaining a large part of the original story with an angel/devil scenario and set to the music of Andrew Lloyd Webber the story in effect became an opera of a kind, in its own right.
SYNOPSIS
The Phantom of the Opera is the story of the beautiful innocent chorus girl training in the Paris Opera House’s corps de ballet, Christine Daae (Emmy Rossum) , and a disfigured musical genius Erik, The Phantom, (Gerard Butler). The lonely genius takes her under his wing, from the shadows, and in the night, nurturing her talent and teaching her to sing. Christine believes him to be an angel sent to her by dead father to watch over her.
The theatre troops know of his presence that fuels the fear within an environment already filled with superstition and ready to place the blame of any accident on the mysterious ghost. He leaves little notes around the theatre and to please him they follow his instructions to the letter and always leave box five empty for his use. But Monseiur LeFevrer (James Fleet) has had enough and sells the theatre to Gilles Andre (Simon Callow from Shakespeare in Love and Amadeus) and Richard Firmin (Ciaran Hinds of Calender Girls and Cradle of Life) former scrap metal merchants with great expectations of making lots of money and moving up in society.
When the dancers impress and draw the attention, of the new owners, the temperamental lead soprano Charlotta Giudicelli (Minnie Driver), flounces out of the final dress rehearsal throwing a temper tantrum and throws the theatre into a panic. With no lead soprano, the show has to be cancelled until Madame Giry (Miranda Richardson) steps forward promoting Christine’s talents. Christine is given the lead role in that evening Gala and thrills the audience with her sweet and angelic voice.
However, the theatres new patron, Raoul, the Vicomte de Chagny (Patrick Wilson), has other plans. Christine was his childhood sweetheart and Raoul is dazzled by her transformation into a beautiful young woman and proceeds to woo her. But the phantom is not amused, his anger is evident considering Raoul an insolent boy basking in Christine triumphant debut, he appears and whisks Christine down through the depths of the opera house to his lair. Here Christine discovers the Phantom is not the Angel she thought him to be but just a lonely and disfigured man.
But all is not well the following day when the new owners are displeased with the phantoms demands that they continue giving his protégé the lead roles. He threatens retribution should his instructions be ignored. In flounces, the volatile Charlotta, in full rage brandishing a note believed from the owners, she threatens to leave and demands explanations, duly Andre and Firman grovel and plead and give her the lead role in the next production.
The production opens with Christine in a minor role and Raoul sat in box five, this does not sit well with the Phantom whose booming voice echoes and resonates around the domed auditorium demanding why his instructions were ignored. This causes a delay and during a quick change of cast, an accident happens. By now Christine is petrified and believing the Phantom will kill Raoul drags him away from the stage to the rooftops. Unbeknown to the young lovers, the phantom has hidden in the shadows, overhearing their plans.
The Phantom is heartbroken, all his life he has been rejected and shunned but this is one rejection he can’t take, Christine has betrayed him, he gave her his love, his knowledge, a voice and his music and she turned her back on him. Hurt, disconsolate and angered he vows revenge.
Three months go by without a note or a sighting of the ghost. It is New Year and the managers think he has gone for good. Hosting a masque ball for all their friends to celebrate the New Year, the golden light of thousands of candles shines down on the revellers dressed in black and white and each sporting a mask dancing, drinking and celebrating. In walks Raoul and Christine, newly engaged and join the celebrations however suddenly at the top of the grand staircase resplendant in a rich red costume wearing a white skeletal mask appears the Phantom. He tauants the managers and cast and throws down the gauntlet. He has written an opera and the company must perform it or face the consequenses. Christine must play the lead role but she has to return to his tutelage to further her training. The phantom then spies her engagement ring hanging around her neck on a fine chain, he grabs it and says " Your chains are still mine, you belong to me." then disappears...but that is not the end..yet!
THE ACTORS
Handsome Scottish actor Gerard Butler from Timeline, Cradle of life and Reign of Fire plays the role of the Phantom splendidly. As a much younger Phantom character with dark smouldering good looks, he is more charismatic but still a heart-breaking tragic character for whom his whole life has been rejection and isolation because of his disfigurement and Christine has become the main focus of his life. Butler makes an excellent dashing gothic horror bodice ripping anti-hero swirling his cloak, donning his leather half masks, and causing mischief around the theatre but also a sensitive romantic character that only wants to be loved. Although not musically trained as many of the other cast members, Gerry Butler has a rougher rock singer like tenor voice (well he was in a rock band in his youth) not quite as refined a singer as Patrick Wilson, but his acting skills more than make up for it to the point of acting rings around Wilson. My mother says he has a sexy singing voice and is rather taken with him as an actor, she says even with the mask off and with the prosthetic disfiguring make up that covers a third of his face, he is still better looking than my father. I must admit I agree with her there.
His two best songs undoubtedly are ‘The Music of the Night’ sung a little quieter but still with intensity and the blazing duet with Christine “Point of No Return” where the screen just sizzles and scorches with the passion between the two main characters. Although in the reprise of "All I Ask of You", a very important turning point in the musical he sings the lyrics "I gave you my music, made your song take wing, and now how you repaid me, denied me and betrayed me..." you can hear his sorrow and anguish as the Phantom breaks down in tears before his anger gets the better of him and with raw rough rage roars "You will curse the day you did not do, all that the Phantom asked of you..." For me the younger character works well and I liked the portrayal, I found myself swept along routing for the Phantom and feeling saddened by his plight.
The stunning youthful Emmy Rossum of Mystic River and The Day After Tomorrow,plays the beautiful but naïve, orphaned young soprano who lost her beloved father at the age of seven. She looks upon the Phantom as not only a mentor in the guise of an angel but as a friend and perhaps a father figure during her younger years but as she matures in her youthful innocence a suitor. But with the arrival of Raoul her handsome childhood sweetheart we see the romantic awakening of a young woman and she is torn between two men one dangerous and one dashing and every young girls dream. Rossum has a wonderful soprano voice; she trained with the Metropolitan Opera from a young age and easily handled all her songs. With “Think of me” her voice begins sweet and angelic with an innocent purity however as the musical unfolds and the character matures her voice becomes more vibrant. I liked the innocence and purity Emmy Rossum gave the role and for me she gave an excellent portrayal of the character.
Patrick Wilson from The Alamo and a former Broadway performer is the dashing and swashbuckling Raoul, Vicomte de Chagny the new patron of the opera and the third part of the love triangle. He is a frank and forthright noble who is at ease with command although sometimes forceful in his demands and requests. Although the character is only a few years older than Christine is, Wilson does display in his character more maturity. Stage trained to sing and perform, Wilson has an excellent tenor singing voice he really only has one main song in the musical “All I ask of you” the romantic rooftop serenade between the two young lovers but unfortunately, he is unconvincing with the emotion of a man in love and often lacking the expected adoration and passion in his expression. For me his voice has all the passion and appeal of a cold wet fish. I would chuck him back and choose the Phantom any day.
Minnie Driver of Good Will Hunting magnificently plays the squarking and egotistical primadonna Charlotta complete with ‘the world revolves around me’ attitude. She gives a new meaning to the word volatile with her portrayal of tempermental Italian diva Charlotta the lead soprano of the opera and a woman who easily flies off into vituperative tirade and believes the world and the opera are hers to command. With a larger-than-life persona fiery temper and exaggerated flouncing the character runs rings around the managers. Unlike many of the other cast members Minnie Driver does not sing a great deal in the film but provides the character’s dialogue. With much of the songs requiring an operatic voice, professional opera singer Margaret Preece, who performed the role onstage was used to dub Minnie’s songs, however, the beautiful song "Learn To Be Lonely" that is sung over the end credits and which has been nominated for a golden globe was sung by Minnie Driver. Driver outstandingly created in her character a woman who many would love to gag and I would be first in line to carry out the honours
Miranda Richardson portrays Madame Giry the ballet mistress magnificently, she is an actress who can turn her hand to any character. Madame Giry knows the Opera House like the back of her hand, it is her home, and more about the history of the mysterious Phantom and how he came to reside in the opera house. She watches and guards the Phantoms secrets but also she admonishes and cautions the cast not to annoy or mock him. Although not a large part but a necessary character Miranda Richardson plays her gracefully and superbly although I must admit the French accent she alone uses seems out of place considering the whole musical is set in France and most of the characters are supposed to be French but they sing without accents.
THE TECHNICAL DETAILS
With an incredibly powerful and moving score that is mostly sung rather than dialogue and some bits spoken rather than sung, there is still a theatrical feel about the musical, I know this musical is not Moulin Rouge but it is however, created on the same grand scale but you don't need to be sat five hundred feet away straining to hear a whisper or squinting through opera goggles to see expressions or details to enjoy it. Film is a different medium and I think ideal for musicals like this and that can reflected in the close ups of the actors where you can see the emotions and expressions and can hear the more delicately sung lyrics with their nauances and words that are barely above a whisper. You do not need to see it intensely sung to feel the emotion from the characters.
Although the story and vibrant musical score has not changed a great deal from the stage production, this movie however has been enhanced by the sheer magnitude of the lavish settings. The set design is a feast to the eyes reaching back into the sumptuous resplendence of 19th century France. The whole opera house was built on the soundstages at Pinewood studio recreating all the levels including the underground waterways and lake complete with their gothic atmosphere. The chandelier that features prominently within the story is a magnificent 20,000 piece created especially by Swarovski crystal (which is flagrantly advertised by a shop bearing their name in one of the black and white scenes) and housed in a beautifully painted dome. The Grand curving Staircase and foyer and ornate balconies are elegantly appointed, with busts and statues in gilt and gleaming marble and in the Masquerade scene shining in a golden glow of candlelight from hundreds of candles. However, one of the most interesting sets was the graveyard where Christine visits her fathers tomb with the massive mausoleums, headstones and sarcophagi shrouded in mist and climbing plants giving the eerie damp stillness you associate with them.
The costume design is wonderful. The gowns and dresses for the women are stunning from the many hued purple and lavender outfit you see Charlotta in to the fairytale gown worn by Christine at the Gala. The men don’t do too badly themselves. Raoul’s outfits show the quality of a noble gent elegant yet stylised as typical of a well dressed 19th century gentleman and his soldiers costume complete with riding boots, braids and brass buttons and sword for the masque ball would fit right into any episode of Sharpe. However the Phantoms costume reflects the dark and dangerous character with a sensual quality to it, black shiny high boots, dark trousers, ruffled shirts that opens to the waist and a swirling black cape.
When I first learned Joel Schumacher was directing the screen adaptation of Andrew Lloyd Webbers successful stage musical, my first thought was “Interesting choice.” More renowned for teen flicks such as Lost Boys and St. Elmo’s Fire, the blockbuster, Batman and Robin, and his dramas like Phone Booth and Veronica Guerin rather than period musical pieces, surprisingly he has pulled off this movie magnificently still keeping with grandeur feel of the theatre and the essence of the original musical. This production is handsomely created and will undoubtedly appeal to the fans of Phantom and those who loved the stage show.
AFTERWORD
This review is by no means one of the easiest I have had to write. I have tried to be unbiased and impartial but something within the movie grabbed a hold of me to the extent that I cannot get the lyrics and music out of my mind. Many of you will have read my review “Any moment now I will burst into song” cataloguing my top ten favourite musicals and I now realise exactly how inaccurate that list is: The Phantom of the Opera is not in it and should have been from the start.
However, in my defence I based my list upon the productions I had seen on stage and film omitting the one musical cast album that captivated my imagination as well as my emotion from the first time I heard it. The sensational soaring and emotional music alone should have placed the Phantom of the Opera very near the top. Unfortunately, when I did see the stage show I was extremely disappointed by the poor performances of the cast in the West End and that prejudiced me against the musical.
But it only took five chords of thunderous organ music running scales in the opening bars of the overture to shatter the false impression and once again show me the depth of the emotion and the beauty of the music. Why did I like this movie? That is a good question but I would say that this movie gave me the images I had in mind whenever I listened to the music. However, most of all it is a beautifully crafted drama of riveting suspense with stunning, dramatic and emotional music that reached inside and took my emotions on a roller coaster ride not to mention a rather attractive and sensual, (and I like this word: bodice-ripping) Phantom who I can tell you I wouldn’t mind teaching me to sing.
“The power of the music of the night.” is an understatement if there ever was one.
Running Time 143 minutes
Rated 12A
Thank you for your time.
Chris
