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Many people will survey at this film version of Andrew Lloyd Webber’s classic musical spectacular, THE PHANTOM OF THE OPERA with mixed emotions. There are people who will be upset that Sarah Brightman and Michael Crawford, who played the novel Christine and Phantom respectively, were not allowed to recreate their signature roles. There will also be people who’ll be disappointed that this version is not a literal translation of the stage musical. Finally, we have the critics of both Webber and director Joel Schumacher, who have both been accused of unhappy excess in previous projects in their individual careers. Taken as a film version however, this PHANTOM stands the test of time, not only as a amazing musical film, but as one of the more faithful versions of Gaston Laroux’s romance/horror recent.

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Starting with a dusky and white prologue, the film tells the anecdote of budding opera star Christine Daae and the two men who fight for her heart: the wonderful Viscount who she knew in childhood, and the mysterious Phantom of the Paris Opera House who hides his ugliness slow a half-mask while sponsoring Christine’s career. Like the stage production, this film is awash in splendid colors and sets that would establish many epics to shame. It’s well balanced by solid performances that support propel the romantic, if melodramatic, legend along.

Gerard Butler makes for a wonderfully dismal and obsessive Phantom, while allowing the character to keep the audience’s sympathy. Miranda Richardson is solid as the dour Madame Giry, who knows the Phantom’s secret. Minnie Driver easily gets the most laughs as the over-bearing diva, Carlotta. (It’s bright to stamp that Ms. Driver’s singing is dubbed in the film righteous, while she actually sings the modern closing credits melody “Learn to be Lonely.”) Patrick Wilson makes for a stalwart, if somewhat bland, Viscount. But the strongest impression is made by the shapely Emmy Rossum. Only in her unhurried teens when filming, she turns in a wonderful performance with a crystal certain mumble that does justice to Webber’s find. Joel Schumacher does a strong enough job in directing this film, allowing the music and the screenplay that he co-wrote with Webber to shine.

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In the kill, THE PHANTOM OF THE OPERA is a enjoyable spectacle that does justice in its beget method to both the stage current and Laroux’s book. As such, this is a film I highly recommend.

You know that a movie works when it follows you long after you’ve left the movie theater. I saw the Broadway tour of “Phantom of the Opera” a few years ago and it has been my common musical since. I savor it more than Cats, 42nd Street, West Side Memoir, Les Miserables, Miss Saigon…you name it. Its romanticism and graceful songs impartial blew me away.

I was then somewhat hesitant to gawk the film version, fearing that it would not live up to my expectations. A runt over two hours later and I found myself crying over the Phantom (Gerard Butler) and his esteem for the young Christine Daae (Emmy Rossum) as she decides between him or the nobleman Raoul (Patrick Wilson) .

In short, I admire this movie! It was everything I had hoped it to be and more. The sage is faithful to the stage version but it also gives the audience a closer perceive into the lives of the three main characters. The art direction, sets and costumes are comely and breath-taking. And the songs are brought to life superbly by the talented cast of young newcomers (Rossum, Wilson) and film veterans (Miranda Richardson, Ciaran Hinds, Simon Callow) .

I know many would argue that Michael Crawford was a splendid Phantom…that is, except for me. I always felt that Crawford’s whisper was too high-pitched and not manly enough. To me, Gerard Butler is more effective Phantom. Apart from being incredibly lovely (under that make-up), stout and well built, he also has this rough and raspy shriek that is very masculine and beefy of passion. He IS the Phantom! Emmy Rossum has a hauntingly elegant mutter and has an innocence and sweetness that fits perfectly for Christine. Her explain gives me goosebumps! Patrick Wilson’s romantic order contrasts well with that of the Phantom’s. After all, one is supposed to be a nobleman and the romantic hero while the other is shaded, mysterious and brooding (like the misunderstood Quasimodo of “Hunchback of the Notre Dame.”) But even without the singing, Gerard Butler turns in a memorable and passionate performance as the Phantom and you really do feel for him in the slay. If there was one fault to this film, for me, it would be Minnie Driver’s Carlotta. She was so over the top that I sometimes found her grating.

All in all, however, I walked out of the theater wanting to peer “Phantom of the Opera” again and again (I’ve now seen it twice and counting) . I couldn’t bag the music out of my head and have since purchased the CD. I can’t wait for the dvd to arrive out so I can behold it over and over. I highly recommend it to fans of the stage version, music lovers and incurable romantics everywhere. And if you loved the songs, be positive to capture up the equally gracious soundtrack. This phantom will haunt you long after you’ve left the movie theater….and I have gladly fallen under its spell. Good!

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