The Phantom of the Opera

Throughout the 20th Century, moviegoers thought of Lon Chaney as the quintessential Phantom on screen, but it was more widely known, accepted, and loved as Andrew Lloyd Webber’s legendary stage production. Webber took the novel Le Fantome De L’Opera by Gaston Leroux that was dark and brooding and turned it into one of the greatest tragedies ever performed on a stage. Even the most novices of theatre and opera patrons know the score and/or numerous tracks. Webber initially wanted to bring this to the silver screen by way of the original Broadway cast of Michael Crawford as the Phantom and Sarah Brightman as the heroine Christine Daae. However, he put the plans on hold due to Webber’s divorce from Brightman. Fans of “The Phantom...” should be very grateful of that, because the story calls for both the Phantom and Christine to be much younger than their stage portrayers are. Some twenty years later, Webber revived the project and he started production of his masterpiece.

After attaining the services of Joel Schumacher to direct (and help with the screenplay), the casting began. Webber knew that he wanted the actors to physically sing their parts, so the search was exhaustive. Coincidentally, the two leads, Gerard Butler and Emmy Rossum had never seen the stage play once. Only Minnie Driver, as laCarlotta, did not perform vocally.

The film begins 49 years after the story takes place. It is an excellent device to use non-linear storytelling when done correctly. “The Prologue” takes place in the Opera House where a public auction is being held for artifacts from its glory days. Raoul the hero, is back to salvage pieces from the time of Christine’s early career and thus begins “The Phantom of the Opera.” As he gets a piece, he recalls the day he came to the Opera House. This present day account is filmed in Black & White and his flashbacks are in vibrant Color. This was an excellent choice of artistic cinematography, which emphasizes the feeling that Black & White is “old” and Color is “new.” As we see the players rehearse and prepare, we are introduced to the principal characters: Christine (Emmy Rossum), Madam Giry (Miranda Richardson), Meg Giry (Jennifer Ellison), laCarlotta (Minnie Driver), Firmin&Buquet (Ciaran Hinds&Kevin McNally). Firmin&Buquet are the new owners of the theater and are introduced to all the theatrical performers and they in turn introduce their new talent, Raoul (Patrick Wilson). We only vaguely hear of the Phantom at this point, but he does take action. laCarlotta is a nervous and jealous wreck, who thinks that everyone is out to get her. When a stage background panel falls on her, she leaves in a fit of rage. Feeling frustrated, the new owners give Christine a chance to take her role, so that the show can go on. She does so brilliantly. When one views the film, it is hard to believe that such a beautiful voice can come from a 16 year old. Rossum was that age at filming. I was impressed by the vocal work, so I sought out who it was. I was pleasantly stunned to learn it was indeed Rossum’s voice. Being younger than Brightman, her voice carries the youth, fragility, and innocence of Christine that Brightman does not. In that regard, Rossum’s Christine is far more believable and beautiful. “Think of Me” never sounded so lovely. The romance between Raoul and Christine “begins” here, upon his revelation of a specific memory. Patrick Wilson, relatively new to the screen, is most notably recognized from the film, “The Alamo” as Colonel Travis. Here, he gives a better and more emotional performance. Having seen “The Alamo,” one may not think that Wilson has a voice, but it is fine. He delivers a beautiful alto voice that harmonizes extremely well with Rossum’s soprano.

After the success of the performance, the Phantom appears more or less for the first time as he sings duet with Christine with the famed song “Angel of Music,” which in turn flows flawlessly into the title track, “The Phantom of the Opera.” After stepping through a sliding mirror, the two walk their way to the Phantom’s lair. The set decoration is beautiful and haunting. Butler is a handsome man, regal and almost royal-like. However, he still is able to carry the role of “the Phantom” extremely well, because his emotion is believable, despite his debonair appearance. “The Music of the Night” is probably the second most well-known song of the play and Butler delivers it magnificently with his tenor voice. He drips with emotion and you feel his passion for Christine. Nevertheless, one wonders whether it is love or obsession. Having returned to her constituents, Christine is then put in her place by laCarlotta and the theatre owners. Not happy, the Phantom begins to show his passion. After an incident, Christine is scared and Raoul comforts her with “All I Ask of You,” unknowingly in front of the Phantom.

Is the Phantom a masquerade or a genuine suitor for Christine? How far will he go to prove himself? How far will Christine go to follow him? How far will Raoul go to “defend” her?

Although the film is breathtaking, it is not perfect. As brave as Driver was in attempting the role, the vocal over-dubs are unconvincing, since her voice is already so well known. There are a few editing glitches in it that can confuse as well. However, the casting was excellent. Richardson was subtle, yet kind. Wilson was courageous, yet gentle. Rossum was innocent, yet beautiful. Butler was strong, yet sympathetic. Having an appreciation for theatre and knowing this particular play does help in enjoying and understanding this film. As a fan of the stage production, I was nervous when I started viewing this. As the film went along, I recognized that genius had touched it. It is an incredibly faithful recreation from stage and novel to screen. It is amazing to think that the director of hideous flops such as “Batman & Robin” could help create such a beautiful piece of work. He showed inspired work here. Webber and Schumacher did an excellent job should be commended faithfully recreating one of the most popular stage productions ever written.