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I’ve never written a published review, but just for my own take on things I typed them up and saved them on my computer. Here’s one I did, for the 2004 version of “The Phantom of the Opera”. Beware though, its pretty long-winded…
SUMMARY
The year is 1919, and Paris’ rundown Opera Populaire is having an auction. Among the attenders are the Vicomte de Chagny, and the watchful Madame Giry. As the auctioneer goes through each piece up for bid, he reaches Lot 665, a barrel-organ music box shaped like a monkey. After some slight competition, Giry yields the box to the Vicomte, who cherishes it as a piece of his own memories. We soon see why, when the auctioneer mentions Lot 666…a broken chandelier, reputed to be from events 50 years earlier which involved the hauntings of a mysterious “phantom” in the opera house. The chandelier has been repaired, and as the stagehands lift it towards the ceiling, we are swept back in time to the days of glory for the Opera Populaire.
It is now 1870, and the Opera’s cast is rehearsing for a production of “Hannibal”. The property’s former owner has sold it to a pair of investors from the junk business, who are eager to make some serious money from the place. But when tempermental soprano diva Carlotta Geudicelli attempts a personal rendition for the new owners, her performance (and nearly her life) is literally crashed by a falling setpiece. A shadowy form flickers overhead, rousing the long-held “Phantom” suspicions among the chorus girls. To replace the enraged and shaken Carlotta, the owners reluctantly recruit Christine Daae, Madame Giry’s protege. Her radiant, soulful voice makes her an instant success, and draws the attention of Raoul (himself a much younger Vicomte de Chagny). But unknown to the masses, Christine’s been trained by a mysterious instructor, who leaves her black-ribboned roses when pleased. The identity of her “master” is soon revealed as that of the Phantom himself, a lonely obsessive soul living in the Populaire’s flooded depths. Taking the young starlet to his underground lair, he reveals that he has fallen in love with her.
Christine’s apparent disappearance soon results in a panic for everyone else, until she is returned by the Phantom to continue her career. A tempermental genius, the musical magician demands (through a series of notes) that she replace Carlotta indefinitely. When the managers refuse to follow his orders, the Phantom kills stagehand Joseph Buquet in retaliation, hanging him over the stage in the middle of a performance. Shocked and confused, a fearful Christine is comforted by Raoul, who professes his own love for her. Returning it, she kisses him in a passionate embrace…which enrages the secretly-watching Phantom, crushing his already-weakened resolve and drivng him mad. In a moment of desperate anger, he swears vengeance on Raoul and Christine, screaming in fury from the Populaire’s rooftop.
Months pass without incident, and the Populaire holds a masquerade celebration one night. Christine has secretly become engaged to Raoul, but worries about the Phantom’s possible return. Her fears are confirmed that night, when the solitary “master” crashes the party, presenting his finished opera score “Don Juan Triumphant” to the frightened owners. Raoul sneaks away to retrieve his sword, while the Phantom addresses the guests. Wishing to reclaim Christine for himself, he asks she be allowed to resume her training. Seeing her engagement ring, he tears it angrily from around her neck. Vanishing into a hidden door, the Phantom is pursued by Raoul. Nearly killed in a labyrinth of mirrors, Raoul is saved by Madame Giry, who confeses her own involvement in this tragic affair. Years ago, she visited a circus with the rest of her dancing troupe. There, among the attractions, was a barbaric display called the “Devil’s Child”. A young boy, disfigured, is beaten by his cruel and savage taskmaster. But on the night of Giry’s visit, she witnesses the victim murder his tormentor to escape. Helping him flee, she hides him in the depths of the Populaire. Remaining with the company all her life, she stays to help shield him from the world’s cruelties, and he eventually becomes The Phantom.
Informed of the terrible truth, Raoul meets with the opera house’s managers, planning to have the authorities arrest the Phantom at his “Don Juan” performance. Unaware of their scheme, the Phantom attends, killing and replacing cast member Ubaldo Piangi in the title role. His powerful voice is instantly recognized by Christine, who continues her role as the play’s main love interest. Watching them from the balcony, Raoul realizes that Christine has actually felt true love for the Phantom. All goes as intended for Raoul and the police, until the final moments of the finale. Following the song “The Point of No Return”, the lonely Phantom pleads with Christine to stay with him. Instead, she uses the moment to unmask his deformed visage before the audience. Betrayed, the Phantom kidnaps Christine and returns to his lair with her, crashing the Populaire’s ornate chandelier in the process. Realizing the Phantom’s hatred and grief have now consumed him, Madame Giry aids Raoul, showing him a hidden tunnel to the Phantom’s lair. Falling into an underwater booby trap, he barely escapes with his life. Meanwhile, the Phantom is confronted by a torn Christine, who says that his darkened soul, not his face, drove her away. The Phantom’s response is cut short by the arrival of Raoul, who is captured and begs for Christine’s release.
Refusing to be separated from the woman he desires, the Phantom offers Christine a terrible choice: if she remains with him, he will free Raoul; if not, she will be freed, but Raoul will die. Her grief and fear turning to hate, Christine accuses the Phantom of deliberate deception. Faced with only one choice left, she releases all her love for the Phantom in a passionate kiss. His cold heart melted, the Phantom frees them both, his last wish to be left alone, and for them to keep his existence a secret. But a lynch mob crusades down the flooded tunnels, bent on avenging the murders of Buquet and Piangi. Crushed, the Phantom destroys all the mirrors in his lair, retreating into a secret escape route. When the mob arrives, the only things recovered are the Phantom’s mask, and the barrel-organ music box. The story then returns to 1919, where an elderly Raoul has arrived at the cemetery to visit Christine’s grave (the headstone reveals she’d married him and bore children). Placing the music box at the foot of the grave, he notices something: a single red rose, with a black ribbon tied around it. Knowing this was the Phantom’s trademark, Raoul looks around briefly for any sign of him. There is none…only stillness, death, and love.
REVIEW
Released in 2004, Joel Schumacher’s adaptation of Andrew Lloyd Webber’s legendary stage production was a long time coming. The play first began in 1986, with singers Michael Crawford and Sarah Brightman as the Phantom and Christine, respectively. Webber later married Brightman, and had planned on her reprising Christine Daae for the silver screen. But their eventual divorce put an indefinite hold on the project; it would remain unfulfilled for over a decade. Webber had chosen director Schumacher (“Batman Forever”, “Phone Booth”) for “Phantom of the Opera” back in the early 1990s, due to his talented use of color and music. Eventually, a deal was struck with Warner Bros. Studios, and the two filmmakers agreed on two things: the cast’s overall ages would be reduced in this version (the stage actors were mostly in their late 30’s to mid-40’s), and all of them would do their own singing. This caused a slight problem with the addition of Minnie Driver, Webber’s only choice for the role of Carlotta. Webber dubbed her in-picture singing with a professional soprano, and gave Driver her own song for the film’s ending credits. In the main principal roles were actors Gerard Butler as the Phantom, Emmy Rossum as Christine, Patrick Wilson as Raoul, and Miranda Richardson as Madame Giry.
Thus is the basic story for the making of the film; upon its release, it was a commercial success in many respects, as fans of the stage musical were excited to see their beloved characters in a new form. The songs, costume designs, sets, and historical representations were all praised…and in my opinion, the film definitely deserves it. However, those unfamiliar with the tale should be cautious. Based on a novel by French author Gaston Leroux, both the musical and the film tell a story deeply mired in themes of romance, love, faith, (in)justice, and death. As such, it’s especially important for discerning hearts to be wary of a few elements.
Visually, the film’s biggest areas of concern are sex and violence. Unlike many films which revel in them, this film thankfully avoids that trap…and while the presence of such elements are important to the story, what’s more imprtant is for viewers to know ahead of time what they’ll be getting themselves into. Regarding sexual situations, the most obvious one is likely the many nude statues and carvings which adorn the walls and lobby of the opera house. While the camera doesn’t excessively linger on them (mostly presenting them as historical art pieces), their inclusion helps to sell the mood of the time in which this tragedy takes place. Costumes worn by many female characters are designed to enhance their curves, particularly above the waist. As for the violent content, the most extreme moments concern the murders of Joseph Buquet and the Phantom’s childhood abuser (the latter is shown in flashback). As for Piangi’s death, it is mainly done in a quick cut away, and his lifeless form appears shortly thereafter, embraced by a weeping Carlotta.
Non-visually, the other theme which fuels this story is the spiritual nature of music. Christine often likens the Phantom to her deceased father’s promise of sending her an “Angel of Music”, which could be interpreted as an allusion to Satan. Among the dark character’s many lines of song are phrases such as “let your darker side give in”; he also refers to himself as a “gargoyle who burns in hell, but secretly yearns for heaven”, a “repulsive carcass”, and a “beast” or “monster”. In the Don Juan performance scene, lyrics such as “when will the flames at last consume us” are present. Overall, an underlying message of this film is one of emotional and spiritual suggestion through the power of music. Used properly, music is a wondrous thing…but used irresponsibly, it can be a greater danger to people than a knife or firearm. Both sides of the collective canvas are presented, so people should know that going in. As a whole, this film gets a 8.5/10 in my book.
