Now Haunting
in Select Cities
Production Notes
This will take you to
a different site.

 

 



Phantom of the Opera cast

Gerard Butler .... The Phantom
Emmy Rossum .... Christine
Patrick Wilson .... Raoul
Miranda Richardson .... Madame Giry
Minnie Driver .... Carlotta
Ciarán Hinds .... Firmin
Simon Callow .... Andre
Victor McGuire .... Piangi
Jennifer Ellison .... Meg Giry


Murray Melvin .... Reyer
Kevin McNally .... Buquet
James Fleet .... Lefevre
Imogen Bain .... Carlotta's Maid
Miles Western .... Carlotta's Wigmaker
Judith Paris .... Carlotta's Seamstress
Halcro Johnston .... Passirino
Paul Brooke .... Actioneer
Oliver Chopping .... Porter
Alison Skilbeck .... Nun/Nurse
Lee Sellers .... Chauffeur
Ramin Karimloo .... Christine's Father
Chris Overton .... Young Phantom
Jesika Cannon .... Young Christine
Annabel Porter .... Young Meg
Laura Lounsom .... Young Madame Giry
Max Thomas .... Young Raoul



Phantom of the Opera crew

Joel Schumacher .... Director
Gaston Leroux ... novel Le Fantôme de L'Opéra
Andrew Lloyd Webber .... musical libretto
Joel Schumacher .... screenplay
Richard Stilgoe .... musical libretto
David Zippel .... lyricist

Jeff Abberley .... executive producer
Julia Blackman .... executive producer
Louise Goodsill .... executive producer
Paul Hitchcock .... executive producer
Ralph Kamp .... executive producer
Andrew Lloyd Webber .... producer
Eli Richbourg .... co-producer
Austin Shaw .... executive producer
John Mathieson .... Cinematography
Terry Rawlings ... Editing
John Fenner ... Art Director
Alexandra Byrne .... Costumes

 


Phantom of the Opera songs

Overture

Perhaps we may frighten away the ghost of many years ago with a little illumination...

Our story begins at an auction. Items from the once thriving "Opera Populaire". A poster from one of the theatres productions. A papier mache' musical box in the shape of a barrel organ. And most startling is lot 666, a broken chandelier in pieces. how did it get that way? Hold on.

One of the greatest single moments of the stage musical of Phantom is watching the run down Opera house regain its former glory. With pipe organ blaring, dusty tarps disappear, curtains morph and rise, and with lightning strikes illuminating the way, the shattered chandelier rises and again takes its place high above the audience.

For any stage production, this presentation of time travel is an absolute thrill. Now, within the movie version we again take that journey. Running the length of the Overture, the Opera house again transforms from a grainy black and white to luscious color and sound. When the light fixture is restored, we are given a whirlwind tour of the workings of the opera house, including the orchestra, performers and backstage crew on the ground and in the fly system high overhead.

Eventually, we enter into a rehearsal piece of Hannibal. Here the filmmakers have a big advantage over the stage in giving viewers a look at what it takes to mount an opera at the Populaire. Especially with the scenery chewing Minnie Driver portraying the company soprano, Carlotta.

The new orchestration of the Phantom's Overture is sweeping and enrolling. It and all other pieces are well preserved.

 

Think of Me
The opera house is once again in turmoil, preparing for opening night of its production of "Hannibal". Adding to the confusion, the manager has chosen this day to announce his retirement for... err... health reasons. He introduces the new management team, Messieurs Firmin and Andre. Their first request is for the overbearing diva, Carlotta to sing the aria from Act 3 of "Hannibal".

To the companies detriment, the egotistical prima donna cannot resist the request. Hidden in shadow, the phantom expresses his displeasure in her performance by dropping a backdrop near Carlotta, upsetting her to the point of her vitriolic departure. Rather than refund the entire house for the opening night, the managers put in the chorus girl, Christine Daae' to perform the lead. And in true 42nd street fashion, that evening audience is very pleased... and so is the phantom.

There is a load to accomplish in a short period of time here as the Opera House must change management, introduce the rumors of an 'opera ghost', lose its soprano, pull an understudy from the chorus, open the show to thunderous applause, and introduce the love interest that will play a big part in the phantom's anger.

Again, the song sounds great by the time Christine is singing. Emmy Rossum's soft soprano is sweet and intoxicating. Something well established as the crowds are taken under her vocal spell.

Joel Schumacher has never been much of a subtle director and his camera work on Christine leaves you with little question about her physical beauty.

 

Angel of Music
After a smash success opening of Hannibal, the cast and crew are in celebration. All except the evening big star Christine, caught somewhere between elation and fear. When her dancing buddy Meg Giry finds her, Christine insists her talents are inspired by the "Angel of Music", a fulfilled prophecy from her dead father. Taking advantage of that mind set, the Phantom has been training her as if he were said

Angel. The piece ends with the Phantom making his first physical appearance to her... through her dressing room mirror.

In the creation of this film, Director Schumacher makes some minor changes, both in content and emphasis. One of the elements that is given more attention is Christine's attraction toward the Phantom based on her father's promise of an "Angel of Music". this certainly existed in the stage show, but it resonates stronger on film.

This is as good a time as any to talk about the scenic design, costuming and all around production values .Director Joel Schumacher began his career as a costume designer (most notably on Woody Allen's SLEEPER and INTERIORS) so the value of elaborate costumes is in no way lost on him. the screen is filled with fabrics and textures and lit by enough candles to illuminate the moon should the sun go out.

 

 

 

The Phantom of the Opera

I am the mask you wear... It's me they hear...

And now for a beautiful abduction. the Phantom has revealed himself to his muse and taken her down into the bowels of the theatre. Their surreal journey takes them down into the world he calls home. Down to a world where all must pay homage to music.

The journey down to the Phantom's lair appropriately begins reminiscent to a scene from Jean Cocteau's BEAUTY AND THE BEAST: enchanted candelabras lighting the path. Next, a black steed awaits to descend further, eventually leaving them traveling in a gondola trip into the Phantom zone.

The 'living' candelabras are certainly among the more fantastical creations used in the film as this version seems to 'explain' all magical elements in practical terms. Yet, practicality is tossed out at a moments notice to present a cool image. Like the fully lit elaborate candlesticks emerging from the water... they don't make sense... but they are beautiful.

The orchestrations and performance are a bit of a change from the Broadway Productions. It sounds more like the Steve Harley concept recording then the Michael Crawford rendition. In a way, it harkens back to composer Andrew Lloyd Webber's original intent, a rock opera. there's even an electric guitar solo just to make the purists shudder.

 

 

Music of the Night

Close Your eyes and surrender to you darkest dreams...

The Phantom takes Christine on a tour of his home while singing this show stopping number. Scattered throughout his 'christine' shrine are hints to his intentions, especially a mannequin of Christine wearing a wedding dress.

One sticking point to the screen phantom is the casting of Gerard Butler as the Phantom. Sure to be a splitting point even amongst fans, the film Phantom is much more aggressive and youthful - Well, at least until the mask is removed. Butler, who was in the recent film TIMELINE, performs the role with more of a rock singing voice,

unlike the melodic, controlled singers that often fill the stage role. I am actually of the opinion that Butler's interpretation is closer to Lloyd Webber's original intention. After all, before Hal Prince directed Michael Crawford as the original stage Phantom, Lloyd Webber had done a concept recording with Steve Harley (COCKNEY REBEL) screeching the title role.

So, Gerard Butler does not have the greatest of voices and so this song is an underachiever. Additionally short-sighted is the camera's reveal of the Christine wedding mannequin. It just suddenly appears with no visual clue of what it is until an hour later. To anyone not familiar with the play, her fainting spell is just confusing.

 

 

Prima Donna
The new managers of the Opera house have a lot to deal with. Tops on their minds is their new star, Miss Christine Daae who was abducted by a Phantom. Not only was this Phantom not on the bill of sale for the OPera house, neither was his penchant for giving orders while remaining hidden in the shadows. As if that weren't enough, Soprano Carlotta, the former house diva, still demands to be considered the opera House

superstar. Even though that stands in sharp contrast with the Phantom's written instruction, the managers give in to her request, casting Christine in a silent role while giving their Prima Donna the lead role... and adorning her with song.

The reading of "Notes" and the song "Prima Donna" are lighter elements of our story. on stage, the two Opera house managers, Andre and Firmin are as close to comic relief as the story gets. But with the film, their comic turn takes a backseat to the beefed up diva role Carlotta. minnie Driver (GOOD WILL HUNTING) has a blast with

her performance. Her extreme italian accent may not always be believable, but it is hilarious.

 

 

All I Ask of You
When the show goes on with Christine in a silent role, the Phantom expresses his dissatisfaction by making Carlotta sing like a toad. And when the managers try to minimize the damage by recasting the role mid-performance, a stage hand is killed. During the confusion, Christine and her suitor Raoul make their way to the rooftop. raoul tries to convince Christine that he can protect her and they both share their

love. they agree to keep their romance secret, but unfortunately someone did overhear...

the largest change between the film and stage versions occurs at this point during the show. this song takes the stage version into intermission, and it goes out with a bang as the Phantom crashes the chandelier down. It is a hugely visual ending that will be even larger on screen, if not as dangerous. in reconstructing the story to fit into

its film format where their is no intermission, the creators chose to relocate the Phantom's biggest attack to the climax of the story. While purists will have major problems with this, it also addresses some inherent problems. By moving the attack to the end, Firmin and Andre can truly be 'ruined' and the opera house closed. On stage with the attack at the act break, the audience must accept that the opera house could still continue to operate against all odds.

"You said yourself he is noting but a man..."

One of the more intriguing elements of the film version is the 'humanizing' of the Phantom. All his attacks and elements of magic are clearly shown to be either tricks, illusions or even practical attacks. We see the Phantom spike Carlotta's throat spray that provides her vocal ribbet. his magical lasso is not magical at all, just a noose that he uses from time to time.

of course, this also causes some problems.

"Keep Your hands at the Level of Your Eyes"

My understanding is that someone with their hand up by their eyes, prevents the Phantom's rope from getting a choke hold around the throat. Instead the rope would be wrapped around the throat AND ARM, keeping the noose from constricting the throat.

 

 

Masquerade
The Phantom has not been seen for awhile and so it's party time! What better way to celebrate than a Masquerade Ball. With everyone in some sort of disguise, the Phantom is able to take advantage and make an appearance. he is able to step out of the shadows into plain sight while still remaining anonymous. he delivers his latest instruction, for the opera House to mount his own opera based on the story of Don Juan.

he also expresses his dissatisfaction and concern over Christine's secret engagement to Raoul. In fact, he still claims her as his own.

Like the stage version, this number is not only an upbeat musical number with a large number of performers, it is also an impressive costume number. And with director Schumacher's career beginning as a costume designer, he takes full advantage. With everyone in black and white, the Phantom appearing as "Red Death" certainly

gives him the attention he deserves.

An interesting side note about the stage version. the crowded stair case for the number MASQUERADE is actually crowded with several non-moving mannequins in addition to the performers. But with the number choreographed around them, viewers are convinced they are watching a stage full of moving people.

in restructuring the story for the screen, they relocated the "Notes" number that was to follow into the middle of this scene, saving a location and allowing the Phantom to provide his own verbal instruction. Even purists should be okay with this change.

 

 

Wishing you were Somehow
Here Again

Raoul has had enough of this freak haunting his girlfriend. He works with the management to trap the Phantom. They will do his opera, using Christine as bait. She is frightened and escapes to her fathers grave site in search of guidance. Again, the Phantom takes advantage of her yearning, again taking on the persona of her Angel of Music. But this time, he is foiled as Raoul arrives just in time to prevent another

abduction.

If you're gonna leave the gaudy Opera House area, what better place to go then a humongous, gaudy snow covered cemetery. With red roses held in Christine's hand, in sharp contrast to her black mourning gown, she is again pulled toward danger. Schumacher includes a sword fight between the Phantom and Raoul during this

scene. It doesn't add much to the story except maybe a jolt of excitement and a cure for the 'wimpiness' that plagues the stage Raouls.

 

 

 

The Point of No Return

Opening night of Don Juan Triumphant. The Phantom's show begins to the discomfort of the audience who find the work discordant and ugly. throughout the opera house, police watch for any appearance by the murdering Phantom... but they don't check the stage. the Phantom murders and replaces the male lead to take the stage opposite Christine, hidden in his Don Juan mask and costume. Eventually,

Christine realizes this is indeed the Phantom, and removes his mask exposing the disfigured beast below. Angrily, the phantom releases the chandelier, crashing it down to the crowds below. During the confusion, he grabs Christine and again escapes to the bowels of the opera house. Eventually, Raoul arrives in the Phantom's lair as well were he is welcomed with a lasso around his neck. the Phantom offers Christine a choice, She either spends the rest of her days with him or she sends Raoul to the death. Christine chooses to save raoul, she will live her days with the phantom. she shows her choice by passionately kissi8ng the monster, something he never expected. he is so shocked that he lets both her and raoul go. the Phantom disappearing somewhere in the labyrinth under the opera House.

with the exception of a weird dance section in the background of this number, POINT OF NO RETURN is the one section I found more satisfying on film then on stage. Maybe it is the cool visuals, or seeing the final choices made at a close proximity. maybe it was having the Phantom face only hidden by a mask rather than the

clumsy hood used on stage.

One of my concerns from early on was the physical appearance of the Phantom. it appeared that they were downplaying the deformity and actually making the Phantom look more like someone taken from the cover of a romance novel. So I was ironically pleased to see that he is certainly deformed under that mask. Nothing from a romance novel.

One final visit to the black and white future, we get a look at what happens after the stage story ends. We see an elderly Raoul visit the grave of his late wife Christine. But, before he can be taken away, he notices evidence of someone... or something else who still visits Christine's grave all these years later...

 

 

 

 


Phantom of the Opera from stage to screen

After many years and false starts, the Phantom of the Opera is finally haunting movie theatres around the country. before i talk specifically about the film I must admit that I am a fan of the stage production. I must also admit that the idea of Joel Schumacher directing left me under whelmed. In fact, I am prepared to rip the film to shreds. But, fortunately, that won't be necessary.

The rumors have been flying for years... Antonio Banderas will play the Phantom... Michael Crawford, the original stage Phantom is not out of the running and would make many purists happy... John Travolta has been mentioned to wear the mask... Shekhar Kapur who brought ELIZABETH to the screen is attached to direct... Well, as they say... Far too many notes for my taste... the speculation is over...

Coming from a theatre background, I always found THE PHANTOM OF THE OPERA and Andrew Lloyd Webber in general as polarizing as any recent Presidential election. We've got the Purple States that love the show and the Orange states that despise it. The folks in the purple states still seem to carry the majority as the Broadway and London production continue to break box office and show run records. Then we have the orange states, where we have the very vocal opposition. They devote much of their time to vitriolic hatred toward the show and its creator (I am not making this up). there strategy involves repeating negative lines over and over again in hopes that they will eventually become true. just like in the election, most of the people don't fall into either category, rather those of us who like theatre or like movies. These people (and many in the purple states) will be the people who will enjoy this film. (Of course, many in the extreme purple states will hate this film as it has gone through some changes and Michael Crawford is not starring in it.)

In the theatre, THE PHANTOM OF THE OPERA is quite a feat of staging. Hal Prince weaved a quickly moving piece filled with both spectacle and heart.

Now, in adapting the show to the screen there are areas that succeed and those that fail.

One of the greatest advantages to the film version is in its use of the opera house. This setting is in itself a character of the film. Even upon first viewing, someone can determine the workings of the theatre, even secret passageways. being able to understand the theatres layout helps keep the story in perspective.

Peppered throughout the film is material featuring an old Raoul, Vicomte de Chagney. Shot in a beautiful grainy black and white, it offers some insight into the story unavailable on the stage, including a glance at the fate of both Christine and the Phantom. This technique is similar to material used for the film CHICAGO and again works well.

Also included is an extended section examining how a young side-show orphan transitioned into a murdering phantom and how he found solace in the bowels of the opera house. This is material I'm not in love with. It is well done but, other than some new musical scoring done by Andrew Lloyd Webber, it is somewhat of a distraction.

Lloyd Webber also composed a new song that is played over the closing credits. LEARN TO BE LONELY is not the greatest song in the show, but it will be the only one eligible for Academy Award consideration as it is the only song written for the film. Oscar voters will often reward a song from a movie with several good songs in it. "Lonely" is sung in the credits by Minnie Driver who did not do her own singing during the film as Carlotta.

One area where the sheer size of the film is a burden to the story comes in the heart department. With all the focus on fabrics, textures and tunes, some of the more heartfelt segments are watered down. that emotional tug could turn this good film into a great one.

I do have to reconsider my initial opinion about Joel Schumacher, someone I did not think had it in him to deliver a worthy Phantom. In hindsight, his visual focuses seem to be appropriate for the story and he brought many valuable things to the story.

The greatest accomplishment of all, for everyone in both purple and orange states, is that THE PHANTOM OF THE OPERA, which cannot be seen without shelling out close to a hundred buck a seat, is now more accessible for a fraction of that cost.

 

if you like to discuss

or this website, please
contact us here


Phantom of the Opera Store

Order the
Phantom of the Opera
Motion Picture
Companion Book
Order the
Phantom of the Opera
Motion Picture
Poster
Order the
Phantom of the Opera
Motion Picture
Expanded Soundtrack
Order the
Phantom of the Opera
Motion Picture
Basic Soundtrack
Order the
Phantom of the Opera
Original London Cast
Recording
Order the
Phantom of the Opera
Original London Cast
Highlight Recording
Order the
Phantom of the Opera
Canadian Cast
Recording
Order the
Phantom of the Opera
Studio Cast
Recording
Order the
Complete
Phantom of the Opera
Coffee Table book
Order the
Phantom of the Opera
Sheet Music
Order the
Phantom of the Opera
Easy Piano
Sheet Music
Order Gaston Leroux's
Phantom of the Opera
novel
 
Order the
Andrew Lloyd Webber
Coffee Table book
Order the
Andrew Lloyd Webber
5 disc box set
"Now and Forever"