| | |  | BALLET LESSONS | Home » » » The Phantom of the Opera (Full Screen Edition) | | | | | | | Product Promotions: | | | | | Description: | | Musical Drama based on Andrew Lloyd Webber's celebrated musical phenomenon. The Phantom of the Opera tells the story of a disfigured musical genius (Gerard Butler) who haunts the catacombs beneath the Paris Opera, waging a reign of terror over its occupants. When he falls fatally in love with the lovely Christine (Emmy Rossum), the Phantom devotes himself to creating a new star for the Opera, exerting a strange sense of control over the young soprano as he nurtures her extraordinary talents. | | | Product Details: | | | Actors:
| Gerard Butler, Emmy Rossum, Patrick Wilson, Miranda Richardson, Minnie Driver | | Director:
| Joel Schumacher | | Format:
| AC-3, Closed-captioned, Color, Dolby, Dubbed, DVD, Subtitled, Full Screen, NTSC | | Language:
| English, French | | Subtitle:
| English, Spanish, French | | Number of Discs:
| 1 | | Studio:
| Warner Home Video | | Run Time:
| 143 minutes | | DVD Release Date:
| May 03, 2005 | | Average Customer Rating:
|  based on 1433 reviews |
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| | | | Customer Reviews: | |
Average Customer Review:
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 Love it!!!!Jul 29, 2010
This is the first drama/musical that hooked me from the beginning. Grasp your emotions because they will twist and wind around every scene- happy, sad, lust.
 Like watching Fabio in a 1 hour "I can't believe it's not butter" commercialJul 26, 2010
The images are stunning. The costumes are devine. The cast is beautiful. The music is haunting. I can't believe I used up my "promise to see one chick flick with you" that my husband gave me on this. How could something with so many lovely parts be so wrong? I loved the Broadway production. I own the book. But this film which I waited for with baited breath was so....... Okay. If the cover on a romance novel could come to life it would be this movie. Seriously. And at the end when they pull off Eric's mask... the dude is handsome. My husband leaned over and whispered, "Oh, no! I've got a zit! I'm hidious! Don't look at me!" And the ending (which they had to change so people who read the book and saw the play would have something new to see) is depressing. For all of it's breathtakingly beautiful parts, the whole is a Frankenstein.
PhantomJul 21, 2010
I saw the Opera and then I went on line and got the movie. Both are worth seeing.
1 of 1 found the following review helpful:
 An insult to the viewer (not to mention to the story in itself)Jul 21, 2010
I'm not going to dwell about the most obvious mistakes, such as the over-directing, the waste of money on all-too-costly (and plastic) sets, the "modernization" of the soundtrack (a very unfortunate idea with an even more unfortunate result), the attempt to make soft porn, the mistake of placing it 1870 (why not use the stable year of 1789 while they're at it...) and everything else that pretty much makes this movie a 2,5 hours instruction video about everything that is wrong with Hollywood.
No, the major flaws of this piece are in the very core of the matter - the story, the characters and their performances.
Someone wrote in a review about the Phantom of the Opera (and I will take the liberation of quoting): "It's a somewhat haunting book but not nearly as scary as the apparent inability of all mankind to translate it into any other medium without crass simplification, overindulgence and hysterical, overwrought pity for the man in the mask. And most of the films took tremendous liberties with the story, adapting both setting and characters as far from their archetypal roots as seemed conceivable; the results were chilling, and not in a good way."
This reviewer captures the two most essential mistakes about this adaption - the simplification of the story and the twisting of the characters.
We should remember the Phantom as one of the most intricate figures of modern time, a creature half man, half living corpse, whose distorted face and body is revenged in a supernatural voice "which was loud as thunder or soft as angels' voices, at will". In the same manner, his mind also has the great range between high and low, from the most exquisite genius to the warped madman, and his soul is capable of both callous cruelty and sublime compassion. Even though we are supposed to pity him from time to time, we should never be made to forget that he is a lost soul who will never be quite human.
It then goes without saying that anyone who portrays him on the screen should, first of all, be able to sing and, just as important, actually be a rather non-attractive man. The miscast Gerald Butler fails in both aspects, with no musical training and a face which, even without mask, is better looking than 99 out of 100 men in this world. It is of course the responsibility of the director and, to be fair, Butler is giving an effort within his own range, but has not understood the nature of his character and fails therefore to display the vulnerable madness of, for example, Michael Crawford (whether you like his voice or not, there is no denying that he is one of the most heartfelt and emotional actors of our time). We are then left with a one-dimensional character who never imbues either fear or pity.
Christine is in the same way left to be nothing but a humiliating shadow of the girl from the book. The Christine we knew was indeed inexperienced due to her youth, but had more the character of a young person who suddenly finds herself caught in a complicated and dangerous situation in which her inner strength and moral convictions are put to the test. Trying to save herself, spare the Phantom and protect the clueless Raoul from his own naivety, she is faced with several decisions where she finally, in an act of pity, let herself fall pray for the Phantom's obsession. It is clear from the book that she was mesmerized by his voice and moved by his sad fate, but she was never sexually attracted or romantically interested in him. Neither did he represent a father figure for her (a common misconception) - although he evoke in her a memory of a favorite childhood-legend, frequently told by her father.
Who then came with the idea to transfer her to one of the most stupid, vapid, weak and stereotypical female lead (and there are plenty to choose from in that category) the screen has ever seen? We are asked to care about an obviously retarded girl who without any willpower freely goes between two men depending on which one calls to her loudest at the moment. The characterization in this film is neither fair nor interesting and is made worse by the inadequate performance of Emmy Rossum, who is taking the art of failing to a new low. Where Butler at least tried to make something out of his role, Rossum displays no effort or will to give Christine a personality or even mobility. (In fact, she doesn't even take the effort to change her facial expression throughout the movie.) It is clear that someone told her the lie that if you are just beautiful enough you don't have to bother to do any acting (if such a stone face can indeed be considered beautiful - I suspect that those who finds her attractive in this movie are mostly males whose every romantic encounters have been with an inflatable doll, since that is what she is made to resemble).
We are then coming to Raoul, the third part of the threesome. Raoul has been constantly criticized for being the most inept excuse of a hero in ages, which is a very fair observation given that he was never supposed to be a hero at all. In fact, the original character is a sympathetic anti-hero who is just as young and inexperienced as Christine but who is yet willing to sacrifice whatever he can out of love for her (which he ends up doing in a rather clumsy way). But most of the time he is confused, lovesick and rather whining - far from the sword fighting savor on the white horse. (Just consider that scene for example - in the book Raoul sneaks after Christine to the churchyard, where he then hides during the whole scene. He does eventually encounter the Phantom - after Christine, who was never aware of his presence, has left - but only to faint of fright by the look of his face, which almost makes him freeze to death before someone discovers him in the snow. Somewhat different from the scene in the movie, huh?)
It is virtually impossible to give a review of Patrick Wilson's performance in this movie due to his anonymous role. I suppose he sings well enough to suit a musical and can pass as an actor. There is no charisma or much of a screen presence, but then again, how could it be different with Raoul?
I have seen the stage play several times in London and thoroughly enjoyed it each time. The differences in the adaption may seem only minor at first glance, but they are significant and leaves the audience with a whole other impression.
The characters are still twisted, but not to the absurd. The costumes and sets are impressive, not tacky. The sexual theme is suggestive, not vulgar. And the Phantom actually has a distorted face.
But most of all - here we have a cast who cares! Here we have performances who can sing and act and who puts their heart and soul into the show. When they believe in their own characters, then so do we, and suddenly we forgive the poor characterizations, we forget the holes in the plot, we don't notice the other flaws and we are more amazed at the special effects in the theatre than in the film.
If a script is deficient, it takes a whole lot of heart to compensate and unfortunately this movies was made with focus on style rather than story. This could have been a chance to improve and make the stage version more complete, instead the audience is left cheated both of their time, money and expectations. Why this obvious contempt for your viewers, Webber and Schumacher?
The Phantom of the Opera (Widescreen Edition)Jul 14, 2010
My wife and I love the "Phantom of the Opera". Being able to watch a broadway show on big screen TV in the comfort of our home, and not have to pay over hundred dollars for the broadway tickets--this is priceless.
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