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Amazon.com Although it's not as bold as Oscar darling Chicago, The Phantom of the Opera continues the resuscitation of the movie musical with a faithful adaptation of Andrew Lloyd Webber's blockbuster stage musical. Emmy Rossum glows in a breakout role as opera ingénue Christine Daae, and if phantom Gerard Butler isn't Rossum's match vocally, he does convey menace and sensuality in such numbers as "The Music of the Night." The most experienced musical theater veteran in the cast, romantic lead Patrick Wilson, sings sweetly but seems wooden. The biggest name in the cast, Minnie Driver, hams it up as diva Carlotta, and she's the only principal whose voice was dubbed (though she does sing the closing-credit number, "Learn to Be Lonely," which is also the only new song). Director Joel Schumacher, no stranger to visual spectacle, seems to have found a good match in Lloyd Webber's larger-than-life vision of Gaston LeRoux's Gothic horror-romance. His weakness is cuing too many audience-reaction shots and showing too much of the lurking Phantom, but when he calms down and lets Rossum sings "Wishing You Were Somehow Here Again" alone in a silent graveyard, it's exquisite. Those who consider the stage musical shallow and overblown probably won't have their minds changed by the movie, and devotees will forever rue that the movie took the better part of two decades to develop, which prevented the casting of original principals Michael Crawford and Sarah Brightman. Still, The Phantom of the Opera is a welcome exception to the long line of ill-conceived Broadway-to-movie travesties.DVD Features
The two-disc edition of The Phantom of the Opera has two major extras. "Behind the Mask: The Story of The Phantom of the Opera" is an hourlong documentary tracing the genesis of the stage show, with interviews by composer Andrew Lloyd Webber, director Harold Prince, producer Cameron Macintosh, lyricists Richard Stilgoe and Charles Hart, choreographer Gillian Lynne, and others. Conspicuously absent are stars Sarah Brightman and Michael Crawford. Both do appear in video clips, including Brightman performing with Colm Wilkinson at an early workshop, and Crawford is the subject of a casting segment. Other brief scenes from the show are represented by a 2001 production. The other major feature is the 45-minute making-of focusing on the movie, including casting and the selection of director Joel Schumacher. Both are well-done productions by Lloyd Webber's Really Useful Group. The deleted scene is a new song written by Lloyd Webber and Charles Hart, "No One Would Listen," sung by the Phantom toward the end of the movie. It's a beautiful song that, along with Madame Giry's story, makes him a more sympathetic character. But because that bit of backstory already slowed down the ending, it was probably a good move to cut the song. --David Horiuchi More on The Phantom of the Opera 
The Phantom of the Opera (Special Extended Edition Soundtrack) (CD) | 
The Phantom of the Opera (2004 Movie Soundtrack) (CD) | 
The Phantom of the Opera (Original 1986 London Cast) (CD) | 
Evita (DVD) | 
Andrew Lloyd Weber: The Royal Albert Hall Celebration (DVD) | 
Visit the Andrew Lloyd Webber Store |
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Reviews (659) 
RJ from Blacksburg, VA
Excellent!!The movie is much better than the Broadway production - better character development, better acting, better singing.Madame Giry is a much more intriguing character in the film.Christine's attraction to the Phantom is more understandable and believable. Plus, we get to see the Phantom's past and why he is the way he is.
In response to the comment about the sword fight:The Phantom would know very little about fencing because he's lived alone beneath an opera house all his life.You must practice fencing to become good at it.
All of my family members (ages from 10 to 47) highly recommend the film version of The Phantom of the Opera.(good music, comedy, suspense, romance, lavish costumes and sets)
Beautiful film, great transfer to DVD
I am not going into a long detailed explination of the script, acting, or performances, they are all what the producers wanted, and it all works very well, the film is gorgeous to look at, and the transfer to DVD is the best I have seen so far, it even surpasses the Lord of he Rings trilogy, and that is saying something, the effect is so good it's three dimentional (an almost impossible task when viewed on a 73" screen), my one gripe, and it's a big one, is intelligibility. or rather the lack of it, there was a time when film studios and record companies went to great lengths to make sure every word could be understood, in recent years this is a rarity, this film has far to much of the massed voices recorded so that way to much of it can't be understood, considering the quality of todays recording equipment, I find this to be a disapointment, if not downright disgraceful, but at least there is an english subtitle track, which of course most likely means they know it's the only way to be sure that all the dialog is understood, complaints based upon seeing the stage production just don't fly with me, what works on stage rarely if ever work on film, if it did, Producers could save millions and just film the stage production, view stage productions filmed for PBS, of the many I have seen the only two that have been successful at it are The Merry Widow, and Oklahoma
Film rivals book!
*gasp*
Dare I say it?
Yes, Webber's production is much better than Leroux's novel.
Will everyone agree with what seems to be my very deluded opinion?Of course not!
Perhaps I think like this because while reading Leroux's novel, I couldn't imagine a horrifying, stenchy Erik aka phantom...
forgive me but I just couldn't.I tried, and I shed a couple of tears when Daae ripped off his mask and he taunted her with his ugliness, but that's because I felt sorry for him.
The kidnapping part in the film ROCKED! it had so much action and suspense! while in the book the lights simply go out...*yawn* The chandelier falls in the movie! it also does in the book but while Carlotta is belting out her toad voice.
He horrifies Daae in the book, while in the film he seduces her.Both make sense, and I really can't argue on behalf.
The ring Daae wears as a gift from the phantom should have been included in the film.This makes Erik less of a lunatic.
He actually gave her permission to leave him so long as she didn't take the ring off or lose it.
The sword fighting scene was awesome! it totally makes sense how the phantom would lose to the viscount Raoul de Chagny.
This guy was trained to swordfight, while the phantom's department is music.Yeah it probably makes him look like a sore loser but it makes sense...he loses christine what's losing to a swordfight right?
Now for what I thought about the casting.
Emmy Rossum did a very sweet and innocent Christine. She has a very sweet voice!no complaints except for 2 major details.
1)While Rossums voice could charm a bird out of its nest, it's hard to believe that with such a voice you're expected to believe this girl to be visited by the so-called angel of music who gives her free voice lessons.Don't get me wrong, Rossum has an exquisite voice, but to say that it sounds inhuman is impossible.
There are MANY women out there who are privileged to posess inhuman pipes.I expected something ethereal, haunting, beautiful, jawdropping, INHUMAN, as the book mentions.
2) Perhaps it's because she was only 16 when she filmed the movie, or perhaps she does need to improve on her acting.
I didn't believe for a second that she was hypnotized at the sound of Erik's voice (but then again, who would be listening to Gerard sing right?) I really wasn't convinced that she was Christine Daae, I merely saw her as Emmy Rossum.I think she did good, but I expected for the second star of the movie to be more believable, real.
Patrick Wilson may have the voice, but the guy needs to relax those shoulders and ACT.You'd think he'd know since he's done broadway but then again stage isn't the same as camera.
I forgive him.
*sings* As for our star Mr. Gerard Butler...lol
Let's just say that in my opinion, he BECAME the phantom.
He became Erik.I would've never guessed it!
While his singing leaves much to desire, his acting is among the best around!I was impressed! He delivers presence, emotion, mystery, charisma, sensuality, menacy...
The man is spell-binding in this film.He manages to seduce both Daae and most of the female audience! At the same time, he manages to inspire compassion and a tear here and there.
He's very real!
Webber failed to clue us in on the name! so what's the phantom of the opera's name? As if murdering cold bloodedly and having a disfigured complexion weren't enough to subtract from his humanity.Now he's nameless? he's not an IT you know.
Regardless, it's a very dark and seductive film.
I recommend it any day at any time.Now if you're like my buds who've turned it down for seeming too lovey dovey, weird, or just because it's a musical...you're missing out BIG TIME!
Beautiful and sad!!
Anyone who doesn't like this movie probably doesn't like much of anything.It is visually beautiful and full of emotion.I have the soundtrack of the original play with Michael Crawford and Sarah Brightman; I also saw the play on Broadway with other actors.Frankly, I think the movie is better.Emmy Rossum sings like the innocent she is portraying and her voice is clear and sweet.Patrick Wilson has a nice tenor and is believable as her young suitor, ready to conquer the world for her. (Loved the hair!!)However, it is Gerald Butler who steals the show; he should be called the "Man of a thousand faces" and looks different in every movie I've seen him in.He freely admitted in an interview that he's not a singer; in fact, he had to take a crash course in vocalizing to sing the part.Given that bit of information, I think he did a fine job and his acting is superb. The only complaint is that it must have been hard to make him look bad, given his Scottish good looks. I was rooting for the Phantom for most of the movie, and I wouldn't mind if he wanted to lock me up in his dungeon. He is extremely seductive in the part, and I can't think of anyone in Hollywood who could have done a better job. With his mask, the Phantom is powerful, commanding, fearsome and magical.Without it, he is like most of the rest of us in the world--weak, vulnerable, and emotionally fragile.Minnie Driver was a bit of comic relief, as were the 2 owners of the opera, who made a fortune in "scrap metal" (junk). So far, I have watched the DVD 5 times since I got it, and I reach for the tissues at the end every time.I loved this movie!!!
LOVED IT!!!!!!!!!!!!!!!!!!!1
Yes, I know the last exclamation mark is a 1
This film has taken its place among my top 3 favorite movies, the first 2 being The Lord of the Rings trilogy and the first Pirates of the Carribean movie (they're making a sequel).
First, let's talk about the music. The music is brought to the grand scale that Andrew Lloyd Webber had always dreamed of, now that it is being played by a full orchestra and not a pit band.
The production design is extraordinary. I was rooting for the art department to win the Oscar for Best Art Direction. The grand scale of the stage show has been elevated to new heights.
The treatment of the show itself is excellent. I loved the added touches of backstory and action and mystery. I personally preferred the sword fight in the cemetary because it works better on film than what actually happens on stage (the Phantom throws fireballs.) I also love how Schumacher gave the characters of Madame Giry and Joseph Buquet so much more to do than in the stage version. Frankly, they're just throwaway characters in the stage version but in the movie, we realize what Buquet is all about and we get to see that Madame Giry had a more vital role to play in the Phantom's life.
Now for the cast:
Emmy Rossum has the voice of an angel and is perfect for the part. She's the right age and has a young, crystalline voice.
Gerard Butler as the Phantom. I don't agree that his singing voice is the best in the world. I know he's not really a trained singer but they could have trained him just a tad harder. Then again, Schumacher did not want a pretty voice for the Phantom. So, I forgive him. To tell the truth, his voice isn't that bad.
Patrick Wilson has vocal chords made of gold, which is only right since he has done Broadway. He is perfect as the dashing, romantic, swashbuckling, and somewhat wimpy Raoul.
Minnie Driver is hysterical as La Carlotta (I 'ATE MY 'AT!!!!)It's a pity that she's not really an opera singer.
Miranda Richardson has an ok singing voice. She also puts on a convincing French accent. I've noticed that Madame Giry is normally the only member of the cast who has to do a French accent. She's less of a throwaway in the movie than in the stage version and more of a driving force. We see that she truly cares about Meg and Christine. So when the new managers are checking the two out, she's like, "Don't even think about it!"
Simon Callow and Ciaran Hinds (pronounced KEE-ran HINDS; long I) are hysterical as the two managers (this never happened in the junk business; scrap metal!)I feel that Simon Callow's singing voice rivals Ciaran Hinds by far.
Jennifer Ellison is a little delight as Meg Giry. And she's the first Meg I've ever heard who can sing. She's so petite and adorable that I thought Kristen Chenoweth was playing the part!
Victor McGuire as Piangi is wonderfully hammy and henpecked. He has a wonderfully exaggerated tenor which gets crappy in all the right places. (Sad to return to find the la-a-a-and we love).
I still don't understand why that midget was there all the time.
Kevin McNally as Buquet. Well, he's better than the stage Buquet, who was a total throwaway character. At least he has more to do (like trying to catch the Ballet Girls getting dressed)
The makeup on the Phantom was somewhat of a let down. It looked more like he had an encounter with acid as a young child. Then again, in the movie, it's never established that he was deformed from birth, so that may be what happened.
The guy who played Monsuier Reyer was also funny (UNDERSTUDY!? There is no understudy for La Carlotta!)
Just for the record, the horse in the title song is a homage to the original novel. The Phantom takes Christine to his lair on a horse.
And now the special features:
The featurette on the history of the musical was really cool. I especially liked the film clips of the Sydmonton production, the current production in England and clips from the music videos (the British DVD has the full, unedited music videos. Lucky dogs! Oh, well, they've had this show and Andrew Lloyd Webber longer.)
The deleted song, No One Would Listen, is lovely even if it is really the first draft of Learn to Be Lonely.
It's an awesome film and if the upcoming movie versions of Rent, The Producers, and Dreamgirls once again kill the movie musical which has barely been resurrected by Chicago and Moulin Rouge, this will be a reminder that this generation had its share of movie musicals. What can I say? I'm a sucker for movie musicals. I even liked Man of La Mancha.
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From Hollywood's legendary Cocoanut Grove to the pioneering conquest of the wild blue yonder, Martin Scorsese's The Aviator celebrates old-school filmmaking at its finest. We say "old school" only because Scorsese's love of golden-age Hollywood is evident in his approach to his subject--Howard Hughes in his prime (played by Leonardo DiCaprio in his)--and especially in his technical mastery of the medium reflecting his love for classical filmmaking of the studio era. Even when he's using state-of-the-art digital trickery for the film's exciting flight scenes (including one of the most spectacular crashes ever filmed), Scorsese's meticulous attention to art direction and costume design suggests an impassioned pursuit of craftsmanship from a bygone era; every frame seems to glow with gilded detail. And while DiCaprio bears little physical resemblance to Hughes during the film's 20-year span (late 1920s to late '40s), he efficiently captures the eccentric millionaire's golden-boy essence, and his tragic descent into obsessive-compulsive seclusion. Bolstered by Cate Blanchett's uncannily accurate portrayal of Katharine Hepburn as Hughes' most beloved lover, The Aviator is easily Scorsese's most accessible film, inviting mainstream popularity without compromising Scorsese's artistic reputation. As compelling crowd-pleasers go, it's a class act from start to finish. --Jeff Shannon
"Bring in the milk!" 
IT WAS OKAY!
I Hate this unfunny show