If you’ve always wanted to see The Phantom of the Operaonstage but couldn’t get to a performance or afford a ticket, now is your chance.
Joel Schumacher’s cinematic adaptation of Andrew Lloyd Webber’s musical is surprisingly faithful to the original script – something rare in Broadway plays-turned-movies.
Even though you aren’t sitting in a posh New York City theatre taking in a live show, the experience afforded by seeing Phantom in a local movie theatre is just as satisfying, if not more so.
The structure of the film helps alleviate any confusion those who have seen the play might have had, and a few additional scenes went a long way toward ensuring viewers understand who is who and what is going on.
The film is not only true to the script’s content but also its musical structure, complete with characters breaking out into seemingly random song at odd moments. But that’s not a fault – that’s what makes it a musical.
The tragic love story’s beautiful musical score is just as pleasing to the ears in a movie theatre as it is in a live theatre – and every bit as loud too.
But Gerard Butler’s portrayal of the Phantom was what took the show to the next level, even perhaps above the stage show. Though his singing was a little weak in places, and he missed a lyric in “Music of the Night,” those minor flaws are easily forgiven by the passion he pours into the character.
Butler brought an emotional dimension to the phantom that is largely missing in a live show simply because the audience cannot see the actor’s face. In the film, you don’t just see his face; you feel his pain and desperation.
When he cries, you want to cry with him. And you just might end up doing it by the end of the film.
Admittedly, one particular “extra” scene explaining the phantom’s beginnings goes a long way toward making him a more sympathetic character. However, Webber’s involvement in writing the screenplay should alleviate any fear that this scene does not fit with his intentions in the stage show.
Emmy Rossum’s phenomenal performance in the role of Christine Daae makes it hard to believe she is only 18 years old. Her looks, voice and acting quickly convince viewers that she is a more experienced actress, and any awards she receives for this role will be well deserved.
Moviegoers who are expecting less-than-opera-quality singing from Rossum will be pleasantly surprised by her powerful vocals. She seems to have a bit of trouble with some of the higher notes, but overall, her singing was quite impressive, and she was readily able to bring the necessary air of naÜvet to her character.
However, Christine’s love interest, Raoul, played by Patrick Wilson, often came across as being too “pretty” and not very sincere or endearing. There were few opportunities to become emotionally attached to him. This hurt some of the emotional impact of the closing scenes, but the wound was minor, thanks to Butler and Rossum.
Minnie Driver’s portrayal of uppity, self-important prima donna Carlotta was right on target and definitely worth a laugh or two. Her hand gestures and facial expressions alone are priceless.
Experiencing Phantom live onstage is certainly an unparalleled experience, but Schumacher’s rendition has the added benefit of bringing the viewer even closer to the action than is possible on Broadway.
Sure, there’s no after-show dinner or drinks in Times Square, but when you walk out of the theatre, you will still be every bit as amazed and enraptured as you would have been after seeing Phantom live.
“Masquerade … paper faces on parade … masquerade. Hide your face so the world will never find you …”Phantom of the Opera is currently playing at Real to Reel in Johnson City, Marquee Cinemas in Kingsport, Tinseltown in Bristol and the Abingdon Cinemall. For show times, ticket prices and additional information, visit www.gotricities.com/movies.

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