By: debbie lynn elias
Since first hearing of the project a few years ago, I have anxiously awaited this latest interpretation of Gaston Leroux’s novel and big-screen adaptation of the Andrew Lloyd Webber stage musical and after seeing Joel Schumacher’s vision and interpretation of Sir Andrew’s magnificent work, there is only one thing to say – good things do come to those who wait. Visually impressive, at times to the point of mesmerizing and emotionally stimulating, the film touches the heart and soul…and once again reaffirms Hollywood’s (and the public’s) love of the movie musical.
Set in 1919 Paris, our story opens at an auction being held at the now dilapidated Opera House. Keying in on a breathtakingly beautiful chandelier and cymbal-playing monkey music box, we are suddenly transported to the late 1800’s when the Opera House was in its glory. Diva Carlotta, star of every production, believing herself too important, too big, for the leading role in the upcoming production, declines the leads, leaving the door open for an unknown 16 year old named Christine. With a voice beyond compare, the house’s owners, Firmin and Andre are bewitched with Christine and anxiously proceed with the production, albeit without their big name draw. But Christine’s voice also catches someone else’s ear – and heart – that of the Phantom. Long believed to be a legend, but as the movie-going audience can see (and as our Parisian opera lovers will soon learn), is very much a reality. Living both in the rafters and in an underground crypt hidden from all, the Phantom with face hidden by a half-mask, has seduced Christine while secretly giving her singing lessons.
But, as Christine’s talent and fame grows, so does the interest of those around her and none moreso than her childhood friend Raoul with whom she has rekindled a friendship that has turned into so much more, much to the chagrin of the Phantom and the terror of all who dare to question his madness.
At the heart of this production is the work of its principals – Gerard Butler, Emmy Rossum and Patrick Wilson. A brilliant move on the part of Schumacher and the producers, virtual unknowns were cast in the principal leads in order to focus on the work as a whole and not one big name to detract from the film’s overall splendor. But I assure you, anonymity will not remain much longer. Phantom is certain to change all that. Perhaps the most mesmerizing performance comes from Rossum whose natural beauty is here transformed into that of innocent elegance that gives a believability and sympathy to Christine during her seduction by the Phantom and ultimately as she is forced to chose between the two men that she loves. Beyond her beauty and stage presence, however, is her voice. Her rendition of “Think of Me” rivals that of almost every Christine that I have heard in countless stage productions. But even beyond Rossum is Gerard Butler’s Phantom. Quite simply – he is heart stopping. With a carefully balanced, emotionally textured performance that invokes terror, sympathy, awe, mystery, sensuality and love with the unnoticed precision of an atomic clock, Butler could rival the most infamous musical Phantom of them all, Michael Crawford. His chemistry with Rossum is undeniable and to such an extent that one may find themselves clutching their own heart as the story unfolds between the two. But, as with Rossum, even more astounding is his voice. Breathtaking, resounding and guaranteed to transport one’s senses and soul into 1870’s Paris, Butler is beyond reproach. Adding to the mix is Patrick Wilson’s Raoul. Perfectly cast as a counter balance to the mysterious strength and passion of the Phantom, Wilson gives a solidly measured performance and while his chemistry with Rossum is not that of Butler, it nevertheless works well here. Supporting roles have been just as carefully and suitability cast and of note is Minnie Driver as opera diva Carlotta. With a “mightier than thou” attitude, Driver’s facial and physical expressiveness conveys volumes with every scene,
But, there is no question that the success and spectacle of this production lies with Schumacher who both wrote and directed the piece. Truer to Webber’s work than to the original novel, the magnificence, opulence and grandeur that is most commonly associated with a Phantom production of any type, is captured and recreated on an equally as glorious, yet grander and more detailed scale, thanks to production designer Anthony Pratt and costume designer Alexandra Byrne. Cinematographer John Mathieson whose work you may be most familiar with from “Matchstick Men,” competes here with an artistry similar to that of Eduardo Serra in “Girl With a Pearl Earring.” With the richness and lushness of the vibrancy of a freshly painted canvas, Mathieson’s work compliments an already masterful production with a visual texturization that matches the film’s melodic themes, note for note. An effective use of black and white filming by Schumacher in “flashbacks” not only facilitates the story, but serves to underscore the opulent elegance of the overall work. And for film buffs and lovers of the Phantom not only because of Andrew Lloyd Webber, it also serves as a nice tie and acknowledgment to the original 1925 silent film starring Lon Chaney – a version which I also dearly love.
As with another movie musical for which I have unbridled passion, words fail me in describing the brilliance and exceptional quality of Schumacher’s Phantom. Andrew Lloyd Webber’s production has long been held dear to my heart, not only because of a special significance for me and one that I will always think of fondly with each note I hear from the show, but because of the very essence of the work itself. Stunned and awed by stage productions, the film, dare I say it, puts them to shame. A shining example of the best of Hollywood and the old-fashioned musical extravanaganza, Joel Schumacher has even gone one step better. This is a film to be savored by the senses. This is a story, a film, a love, that will transport you to another time, another place. This is a profoundly breathtaking and entertaining piece of cinema to be enjoyed for ages, the experience of which will pleasurable haunt you long after the credits roll, much like the Phantom has long lingered in the theater rafters.
Christine: Emmy Rossum The Phantom: Gerard Butler Raoul: Patrick Wilson Carlotta: Minnie Driver
Directed by Joel Schumacher. Written by Schumacher and Andrew Lloyd Webber based on the stage musical by Andrew Lloyd Webber and novel by Gaston Leroux. 134 minutes (PG)
