The Phantom of the Opera

3 more reviews

1. ›[ESP-ENG] Film Review: The Phantom of the Opera (2004) | Mystery and passion behind the masks and melodies.@naath640d

   

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   Hola amigos de la comunidad de Movies & Tv, espero se encuentren bien el día de hoy. Hace unos días ví con mi hermana una de sus películas favoritas: El Fantasma de La Opera, una película con una historia enigmática que permite ver cómo a través de la voz de este personaje oscuro y aterrorizante según los rumores puede encantar a una bella joven dentro del teatro donde ocurre tanto el encanto de la música y las presentaciones cómo los miedos de los habitantes tras conocer que hay un ser detrás de las grandes paredes del teatro que se cree el dueño del lugar y que además desea poder unirse con la mujer que lo cautivo con solo escucharla cantar.

   Hello friends of the Movies & Tv community, I hope you are well today. A few days ago I saw with my sister one of her favorite movies: The Phantom of The Opera, a movie with an enigmatic story that allows us to see how through the voice of this dark and terrifying character according to rumors can enchant a beautiful young woman inside the theater where both the charm of the music and presentations occurs how the fears of the inhabitants after learning that there is a being behind the great walls of the theater who believes himself the owner of the place and also wants to be able to unite with the woman who captivated him just by listening to her sing.

   

   

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   La trama comienza relatando la historia que se desarrolla en París, un lugar lleno de vida pero sobre todo de amor al arte y a la música, dónde existe un teatro muy reconocido que se encuentra al borde de la quiebra y dónde muchos tienen sus sueños e ilusiones ya que han dejado gran parte de sus vidas en ese hermoso teatro. Cuando las cosas se comienzan a poner difíciles por falta de dinero y por una persona al que llaman el fantasma de la opera quien envía cartas a todos los trabajadores para que le paguen "el sueldo" por permitirles usar el teatro, no les queda más remedio que continuar y tratar de llevar las cosas con calma, pero el misterioso hombre oculto detrás de la oscuridad del gran teatro tiene otros planes, desea poder estar junto a la joven promesa del canto llamada Christine Daaé.

   The plot begins telling the story that takes place in Paris, a place full of life but above all of love for art and music, where there is a renowned theater that is on the verge of bankruptcy and where many have their dreams and illusions as they have left much of their lives in that beautiful theater. When things begin to get difficult due to lack of money and a person they call the ghost of the opera who sends letters to all workers to pay him "the salary" for allowing them to use the theater, they have no choice but to continue and try to take things calmly, but the mysterious man hidden behind the darkness of the great theater has other plans, he wants to be with the young promise of singing called Christine Daaé.

   

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   Poco a poco se van desencadenando eventos drásticos en cuanto a la historia entre el fantasma de la opera y su amada Christine quién no lo conoce pero si ha notado que cuando escucha la voz de este hombre queda completamente hipnotizada y pierde el control de sus acciones. A pesar de que ella teme conocerlo en una ocasión mientras el fantasma de la opera cantaba para ella, logro llevársela a los más oscuros lugares del teatro dónde el se esconde producto de una vida marcada por el dolor y la soledad. Entre canciones se va contando la historia de amor que siente el fantasma de la opera hacia Christine quién está embelesada por su hermosa voz pero que al momento de volver en sí, se encuentra con un hombre de cabellos oscuros y una máscara que le cubre la mitad del rostro y la curiosidad hace que tome una decisión drástica: revelar su rostro, un rostro marcado y desfigurado.

   Little by little, drastic events unfold in the story between the phantom of the opera and his beloved Christine, who does not know him but has noticed that when she hears his voice she is completely hypnotized and loses control of her actions. Although she is afraid to meet him on one occasion while the Phantom of the Opera was singing for her, he manages to take her to the darkest places of the theater where he hides from a life marked by pain and loneliness. Between songs, the story of the love that the opera ghost feels for Christine, who is enraptured by his beautiful voice, but when she comes to, she meets a man with dark hair and a mask that covers half of his face and curiosity makes her take a drastic decision: to reveal his face, a marked and disfigured face.

   

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   Sin embargo a pesar de que el fantasma de la opera resintió ese gesto de arrancarle la máscara que usa para esconder la verdad en su rostro, también hay alguien más dentro de esta historia que los une en un completo y tortuoso triángulo amoroso, el joven Vizconde Raoul quien está profundamente enamorado de Christine y que no piensa perderla de ninguna manera así tenga que enfrentarse a el lado más maligno del fantasma de la opera. Este triángulo amoroso hace que la historia sea emocionante y a la vez te llena de intriga mientras los escuchas cantar de una manera sublime y con mucha emoción la historia de lo que están viviendo en ese momento, que muestra el temor de ambos hombres a perder a la joven Christine.

   However, even though the Phantom of the Opera resented this gesture of tearing off the mask he wears to hide the truth on his face, there is also someone else in this story that unites them in a complete and tortuous love triangle, the young Viscount Raoul who is deeply in love with Christine and does not intend to lose her in any way even if he has to face the most evil side of the Phantom of the Opera. This love triangle makes the story exciting and at the same time fills you with intrigue as you listen to them sing in a sublime way and with a lot of emotion the story of what they are living at that moment, which shows the fear of both men to lose the young Christine.

   

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   Debo decir que la película me gustó a pesar de que no suelo ver musicales, es una película muy bien ambientada y perfectamente estructurada en cuanto a los personajes, la escenografía y las puestas en escena. El teatro es un lugar increíble y muestra una forma arquitectónica única de esa época en París, también me resuena que eligieron esta ciudad por la razón de que más allá de ser una historia sobre un hombre con un pasado difícil que ahora intenta tener a su amada, podemos ver que es una época donde habían muchos prejuicios y era muy difícil el ser una persona con una marca física como la de él, dónde se tuvo que refugiar en su propia soledad para no ser atacado por la sociedad por su físico y esconderse resultó ser la única manera de sobrevivir y de mantenerse ocupado cuidando del teatro.

   I must say that I liked the movie even though I don't usually watch musicals, it is a very well set film and perfectly structured in terms of characters, scenery and staging. The theater is an incredible place and shows a unique architectural form of that time in Paris, it also resonates with me that they chose this city for the reason that beyond being a story about a man with a difficult past who now tries to have his beloved, we can see that it is a time where there were many prejudices and it was very difficult to be a person with a physical mark like his, where he had to take refuge in his own solitude to not be attacked by society for his physique and hiding turned out to be the only way to survive and keep busy taking care of the theater.

   

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   "El Fantasma de la Ópera" es una obra maestra del cine musical que conjuga drama, romance y música en un torbellino de emociones y pasiones. Con una dirección magistral de Joel Schumacher, una partitura inolvidable de Andrew Lloyd Webber y actuaciones inolvidables de un elenco estelar, la película trasciende los límites del género para convertirse en un clásico moderno que sigue capturando la imaginación de audiencias de todas las edades. A mí me ha encantado poder ver algo diferente de mis gustos, es una película increíble con una historia profunda y única que te mantiene viéndola hasta el final, mi hermana me comentó que también hay una película que es una versión más antigua de la historia y también existen múltiples obras de teatro donde las personas pueden ir y disfrutar de esta historia a través de la música.

   "The Phantom of the Opera" is a masterpiece of musical cinema that combines drama, romance and music in a whirlwind of emotions and passions. With masterful direction by Joel Schumacher, an unforgettable score by Andrew Lloyd Webber and unforgettable performances by a stellar cast, the film transcends genre boundaries to become a modern classic that continues to capture the imagination of audiences of all ages. I was delighted to be able to see something different from my tastes, it is an amazing movie with a deep and unique story that keeps you watching until the end, my sister told me that there is also a movie that is an older version of the story and there are also multiple plays where people can go and enjoy this story through music.

   

   Gracias por llegar hasta el final de este post, espero que les haya gustado y agradezco su apoyo y sus comentarios, les envío un fuerte abrazo 🤗

   Thanks for making it to the end of this post, I hope you liked it and I appreciate your support and your comments, I send you a big hug 🤗

   

   Todo el texto de esta publicación es de mi autoría - All the text in this publication is my own.

   Las imágenes fueron editadas con la versión gratuita de Canva - The images were edited with the free version of Canva.

   La traducción del texto fue realizado con la versión gratuita de Deepl - The translation of the text was made with the free version of Deepl

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2. ›Film Review: The Phantom of the Opera (2004)@drax742d

   

   Gaston Leroux's 1911 novel, The Phantom of the Opera, was originally combination of gothic horror and detective fiction, but, thanks to Lon Chaney Sr. and his famous role in 1925 silent Hollywood adaptation, became one of the most iconic works of horror genre. However, today's audience is more likely to know The Phantom of the Opera through Andrew Lloyd Webber's 1986 musical, which was adapted into an eponymous film in 2004, directed by Joel Schumacher.

   The plot of the film, set in 1870 Paris, follows the new owners of the Opera Populaire as they introduce their new production to their wealthy patron, young aristocrat Viscount Raoul de Chagny (played by Patrick Wilson). The opera house is haunted by a mysterious masked figure, the Phantom (played by Gerard Butler), who hides in the tunnels below and makes various demands on the establishment. One of these demands is for Christine Daaé (played by Emmy Rossum), a talented dancer who was secretly tutored as a singer by the "Angel of Music." Christine falls in love with her childhood sweetheart, Raoul, but when it is revealed that the "Angel of Music" is actually the Phantom, his rage is ignited, leading to a tragic confrontation.

   Webber, who originally wrote the musical for his then-wife Sarah Brightman, had planned to adapt it to the big screen almost from the start. He even personally chose Joel Schumacher as the director, impressed by his 1987 cult horror film, Near Dark. However, the collapse of Webber’s marriage to Brightman and Schumacher's other commitments delayed the film's production. While Webber had luck with two of his screen adaptations – Jesus Christ Superstar and Evita – the luck ran out with The Phantom of the Opera. Despite decent box office, the film received mixed or scathing reviews and is generally considered a failure.

   Visually, the film appears to be a large-scale, old-school musical, with a large budget and meticulous recreations of 19th-century Paris in Pinewood Studios. However, Schumacher's direction, which was bombastic, operatic, and reminiscent of his disastrous Batman & Robin, detracts from the overall experience. The film's saving grace is Webber's source material, which provides audiences with memorable musical numbers.

   Webber insisted on casting young and relatively unknown actors for the three main roles. While this proved unfortunate for some, Emmy Rossum's ingenue image and looks made her a suitable Christine Daaé. However, Patrick Wilson, who played Raoul, was much older than the character he portrayed, making his performance less convincing. Gerard Butler, the Scottish actor who played the Phantom, lacked singing experience and had to be specifically trained for the role. While commendable, his performance was one of the least convincing and memorable in his career.

   One of the film's most egregious flaws, although probably not noticeable for most audience, is its disregard for historical accuracy, setting the story in 1870. If set year earlier or later, plot wouldn’t have to coincide with Franco-Prussian War, thus avoiding characters failing to notice German siege of Paris, arguably one of the most traumatic events in the history of that great city. This oversight represents another example of Hollywood utter disregard for non-US history and one of the worst cinematic atrocities for history buffs.

   The Phantom of the Opera is a disappointment for fans of the musical, failing to capture the emotional depth and gothic grandeur of the source material. While it may be tolerable for die-hard Webber enthusiasts, the film ultimately falls short as a cinematic adaptation, lacking the power and resonance of the stage production.

   RATING: 3/10 (+)

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3. ›Film Review: The Phantom of the Opera (1925)@drax882d

   

   Universal Pictures in 1930s made a number of classic horror films that would permanently associate that studio with the genre. The seeds for that were sown a decade earlier, during the silent era, when Universal produced The Phantom of the Opera, 1925 film directed by Rupert Julien that would become one of the greatest Hollywood hits of its time and arguably the most iconic film in the career of legendary actor Lon Chaney.

   The film is based on 1910 novel by Gaston Leroux. The plot takes place in 19th Century Paris and revolves around grand Paris Opera House, which was built on top of the network of underground tunnels and catacombs, used for torture during troubled revolutionary past. Most of the opera’s staff either ignores and choses not to think about this unpleasant facts, and that involves Christine Daaé (played by Mary Philbin), young, beautiful and talented singer who is an understudy for the house diva Carlotta (played by Virginia Perason). She have been noticed by Vicomte Raoul de Chagny (played by Norman Kerry), young and dashing cavalry officer who wants her to marry him. Christine, however, wants to dedicated herself to the singing career and reveals that she has been tutored by mysterious unseen figure who describes himself as “Spirit of Music”. At the same time opera management hears about mysterious figure called “Phantom” which haunts the opera house, scares and sometimes kills staff, while leaving threatening messages about Carlotta. His latest demand is that Carlotta be replaced by Christina during performance of Faust. When Carlotta performs anyway, huge chandelier falls into the audience, resulting in deaths and injuries. Christine later enters secret corridor and finds Phantom (played by Chaney) who reveals his name to be Erik and declares his love for her. When she removes his mask and reveals his hideously disfigured face, she is disgusted, and Phantom wants to keep her underground. She pleads for her freedom and Erik agrees under condition that she never meets Raoul again. Christina, however, decides to run from Paris with Raoul, but Erik learns about that and plans terrible vengeance.

   Rupert Julien, New Zealand director whose career would soon end with an arrival of sound, is credited as director, but the real author of The Phantom of the Opera is producer Carl Laemmle. He launched the project after visiting Paris and meeting Leroux, being fascinated by his novel and easily recognising its melodramatic potential. He turned The Phantom of the Opera into prestige production with immensely high budget which reflected in massive sets in Burbank studio, which represented faithful reconstruction of real life Parisian Opera Garnier. The sets were so massive that they had to be reinforced by concrete, making their subsequent removal impractical. As a result, they were kept and being occasionally reused for other productions until being finally torn down in 2014. Those sets, and especially those depicting Phantom’s underground lair, look quite impressive and this might explain why the audience was thrilled by such spectacle.

   That same spectacle, on the other hand, also served the film well by hiding some of the flaws in the uninspiring, melodramatic script authored by number of writers. Character of Christine, although convincingly played by Mary Philbin, is stereotypical, Raoul is bland and the ending seems like an afterthought. This might be explained by extremely complicated and troubled productions, during which Julien got fired from the set. Script was constantly being altered and that, as well as silent Hollywood’s practice of making multiple versions and different cuts of the film, makes The Phantom of the Opera quite confusing for the audience. A good example is character of Ledoux (played by Arthur Edmund Carewe), policeman investigating Phantom’s crimes, who was originally, like in the novel, known as the Persian who had taught Erik his skills; the change in the film was brought simply by adding different intertitles.

   What ultimately makes this film is classic is grand performance of Lon Chaney, who clearly shows why he was revered as silent Hollywood’s grandest actor. He clearly portrays Erik as madman and villain, but also adds him a bit of human dimension by motivating his deranged campaign by love for angelic Christine and making audience almost sympathising with his plight. Chaney further contributed to the film by developing special make-up for Erik, making his hideous look as close to the description in Leroux’s novel as possible. The result is another iconic character in history of horror, which helped cement Chaney’s reputation of the “Man with Thousands Faces”. Chaney at the end managed to make The Phantom of the Opera his film, just like his successors Bela Lugosi and Boris Karloff would do the same with their own iconic performances in Dracula and Frankenstein.

   Many of the film’s flaws will be, at least for viewers accustomed to silent cinema, be compensated by its relatively short running time. In 1929 Universal attempted to further exploit the film by partially reshooting it and adding sound, but that version is now believed to be lost. Instead, the film served as an inspiration for Universal 1930s horror classics, and, more importantly for popular 1986 stage musical by Andrew Lloyd Webber.

   RATING: 7/10 (+++)

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