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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.

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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. ... Read more

Amazon.com

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

DVD Features
In his commentary track, director Martin Scorsese offers his own impressions of Howard Hughes and rattles off his memories of experiencing Hughes's films.He mentions how he made Cate Blanchett watch every Katharine Hepburn film from the '30s on the big screen, and observes that Kate Beckinsale had "a real sense of the stature of a Hollywood goddess."But in general he doesn't talk much about the craft of making the film.That area is covered better by editor Thelma Schoonmaker, who also appears on the commentary track, and producer Michael Mann makes a few appearances (all were recorded separately).The picture is brilliant, but the 5.1 sound is not as aggressive in the rear speakers and subwoofer as one might expect, other than some nice surround effects in the Hell's Angels flying sequence.

The second disc collects almost three hours of features.There's one unnecessary deleted scene, and an 11-minute making-of featurette that's basically the cast and director heaping praise on each other.More interesting are the short featurettes on visual effects (including the XF-11 scene, of course), production design, costumes, hair and makeup, and score, and Loudon Wainwright discusses his and his children's musical performances.Historical perspective is provided by spotlights on Hughes's role in aviation and his obsessive-compulsive disorder, and a 43-minute Hughes documentary from the History Channel (part of the Modern Marvels series, it focuses on his mechanical innovations and spends less than a minute on his movies).More unusual are DiCaprio and Scorsese's appearance on an OCD panel, and a half-hour interview segment DiCaprio did with Alan Alda.--David Horiuchi

The Personalities ofThe Aviator

Click the links to explore more movies by these stars.

Leonardo DiCaprio as Howard Hughes "Sometimes I truly fear that I... am losing my mind. And if I did it... it would be like flying blind."

Cate Blanchett as Katharine Hepburn Howard Hughes: "You're the tallest woman I have ever met." Katharine Hepburn: "And all sharp elbows and knees. Beware."

	Kate Beckinsale as Ava Gardner Howard Hughes: "Does that look clean to you?" Ava Gardner: "Nothing's clean, Howard. But we do our best, right?"

Gwen Stefani as Jean Harlow Jean Harlow in Hell's Angels: "Would you be shocked if I put on something more comfortable?"

Jude Law as Errol Flynn Errol Flynn in Captain Blood: "Up the riggings, you monkeys! Break out those sails and watch them fill with the wind that's carrying us all to freedom!"

Director Martin Scorsese "You get a sense of Howard Hughes being Icarus with the wax wings. Those wings were great for a while, but he flies too close to the sun." --Martin Scorsese

Other Movies by The Aviator's Oscar® Winners

Production Designer Dante Ferretti
Film Editor Thelma Schoonmaker
Costume Designer Sandy Powell
Cinematographer Robert Richardson
See all the Oscar® winners atOscar Central

The Aviator at Amazon.com

The Aviator soundtrack

The Screenplay

Howard Hughes: The Real Aviator

Howard Hughes movies

Great movies of the 1930s

The films of Martin Scorsese

Reviews (147)

"Bring in the milk!"
Let me state a few facts about myself and, in doing so, set up a very sincere question about "The Aviator."

1) I'm a huge fan of Howard Hughes, an absolute buff on the guy.I've read two biographies of him and have to say he's one of the most interesting historical figures of the past century: His brilliance, his wealth, his flaws, his successes, his peculiarities and the periods in which he lived all combine to create a fascinating figure.

2) I'm a tremendous fan of Martin Scorsese.He's made some of my favorite movies and I think he's probably one of the top five greatest directors working today.There's just something about the way he photographs images and people that makes even his worst movies worthwhile.

3) I also think Leonardo DiCaprio is a really good actor, a fact that has been publicly obscurred (but not hampered) by the "Titanic" hype and by some poor choices (or lack of choices, in recent years).

4) And I think "The Aviator" was probably the best produced movie of 2004.The cast is excellent, the sets and costumes and designs are fabulous, the cinematography is exquisite.

So, THAT SAID, why didn't I like the movie more?It's an impressive achievement but I seem to appreciate the parts more than the whole.And as good as DiCaprio is, I think he may have been miscast.Only a star of his level could've gotten this kind of budget, but he simply doesn't look right in the part.It's not until after he grows a moustache that he really start to resemble Hughes.Most of the time, Hughes looked like a guy who was quietly trying very hard not to leap out of his skin but DiCaprio seems more intent on burrowing deeply *into* his body.
He just doesn't have the same kind of intrinsic uncomfortability.

Still, it's an impossible movie not to recommend.There are long stretches of space but every so often, there's a brilliant explosion.

The opulance and scope. Brought to you by Scorsese.
This film is entertaining, and much more effective than any one biography of Howard Hughes. The pace of the movie, coupled with the fantastic acting by Leonardo DiCaprio as the livid Howard Hughes, gives an aura of 3hrs much in the way of inspiration. For underachievers this is a shockingly, unbelievable film. You can feel the energy pulse out of the life of Howard. Sharing his passions for aviation. Revealing the breadth of his contributions to air america. The esprit de corp is flavorful, in symbolisms of the fastest jet planes and the hardest hitting reality at zero hour. A much more breaking of the usual norm of film. It is so wonderful to think that movies such as these aren't being overlooked by the latest craze. When will Scorsese win a *(**( academy award for best director!

IT WAS OKAY!
THE AVIATOR WAS OKAY I REALLY DIDN'T CARE TOO MUCH ABOUT IT IT WAS TOO LONG!

FROM KIRSTEN

Another Oscar-worthy epic from Martin Scorsese.
Director Martin Scorsese makes filmmaking look so easy sometimes.With "The Aviator" he once again breaks from the Gangland themes of his more famous films such as "Mean Streets" and "Goodfellas" and journeys off on yet another unexpected road (e.g. "The Age of Innocence," "Kundun," "The Last Temptation of Christ").Yes, he recently directed "Gangs of New York," but he followed that with yet another left turn by doing a biography on the intensely eccentric Howard Hughes, "The Aviator."Leonardo DiCaprio owns his role here of the off-center genius who has frequent and exponential mental breakdowns, leaving all around him wide-eyed and wondering why he keeps repeating himself as if a record in his brain is skipping.This is easily the best work he has done in years.There are two other actors here that match him.One is Cate Blanchett who nails her characature of the late, great Katherine Hepburn and her short-lived romance with Howard Hughes.Her performance is a breath of fresh air amid all the seriousness of the story.The other is a diabolical and utterly slimy turn from veteran actor Alan Alda.It doesn't hurt that he has some of the best lines in the script, but his scenes with Leonardo DiCaprio have some of the best ebb-and-flow, subtelty acting that I've seen in a very long time.The two pros are butting heads and enjoying every minute of it!There are many solid acting performances from a stellar cast of name actors, though it would have been nice to see the character of Ava Gardner, played competently here by Kate Beckinsale, in depth and her more substantial connection to Howard Hughes.But the movie was long enough, anyway.The visual effects and overall production value are excellent, and the scope of the picture is epic and professionally done.This is top-notch filmmaking in every respect, and is easy to recommend.

Hughes Air West
You have to give credit where credits due. "The Aviator" is a fantastic film.I think it will be more appreciated by film fanatics, it's not what I would call a "popcorn movie".I enjoyed the cinematography more than anything.I have never seen a film using the shades of colours they used.It was enough to wake up the senses.The acting was phenomenal, Leo was fantabulous as were the rest of the cast.Cate Blanchett soared as Katheren Hepburn, in some scenes emulating Ms. Pac Man with those outrageous red lips flapping away."The Aviator" soared with creativity and good quality film making.The score, which evokes a deep yet frantic appeal tells the story of a flawed, troubled soul as it unravels into a quary of intense and manic emotions. Martin Scorsese directs another classic film, although overlooked by the Academy (which seems to have cast a blind eye).R U blind or do u have 20/20 vision, "The Aviator" paints an abstract portrait of someone who had too much and didn't know what to do with it. ... Read more

Reviews (39)

NOT the original version of the show - music edited
If you are one of those idiots who says "oh shut up and stop complaining, it's just the music, waaa waaa", take your DVDs and BURN them. You know nothing about what it means for the music to be an important part of the show and are just a complete moron (I can't express in words the anger that goes through me reading someone go "it's just the music"; it's NOT just the music!!!, it's the SHOW that is screwed up!!!)
Quantum Leap is one of those shows where the music is crucial aspect of show; the music is not just some background noise; it sets the mood. The show is completely ruined and is not worth a cent without the original soundtrack. Awful job on the part of Universal.

excellent series
No matter what this series is excellent. Anyone griping about the music must remember its better to have the series on dvd rather than not available at all. Hopefully season 4 will come out soon as its my favorite!

Hey, Universal, call me when you come to your senses.
Having read that Universal once again mucked up the music, I won't be buying Season 3 of Quantum Leap.There are some shows in which the music doesn't really matter - Laverne & Shirley's first season, for example, mentions on the box that the music is different, but the songs in Laverne & Shirley are merely incidental, background sounds.In QL, the music was a major part of the show, helping to set the time period, helping to set the mood.

I have read some of the reviews from people who claim that the change in music makes no difference (generally such comments are written in a boorish, bumptious, hectoring tone, a fact which I find rather interesting and quite telling).No?Close your eyes and imagine the Lord of the Rings movies with elevator music instead of the soaring splendor of its real score.Ponder "American Graffiti" with the sort of synthesized slop that has replaced the original music in QL. Then try to tell me that music doesn't matter.

The choice is not these travesties or nothing for most QL fans; it's a choice of a poorer-quality taped-from-TV video with the real music, taking up more shelf space than a DVD set; or a better-quality picture with no commercials that has had much of the atmosphere stripped from it. I'll take my tapes, thank you very much.If Universal comes to its senses and releases QL in unmangled form, even if it costs more, I'll buy it. Until then, count me out.

Classics never get old!
I have been waiting for this season for a long time now. The series reached its peak with episodes like "The Leap Home" and "The Boogie Man". Scott and Dean do their best work when the story really gives them the chance and the episodes of the third season really give them the best chances of the entire five-year run! It is pure pleasure to watch them perform. It is a shame that they only got five years! They could have gone on for many more!!!
(BTW, if anyone is confused by the other reviewers complaints about the change in the music, don't worry about it. What you heard on TV is what you get. They didn't change the music for the DVD release - which is exactly what I thought they were complaining about!) So buy this DVD set! You won't regret it!

Forget It
Music replacement abound, once again.A truly great show is being given the shaft by Universal, who only percieves it's formidable fan base as an open wallet.Boycott.Don't listen to the soulless collectors who only want to line their DVD shelves.QL without the original music arrangements is a travesty. ... Read more

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.

Read our CD buying guide

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

... Read more

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. ... Read more

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Like its predecessor Ocean's Eleven, Ocean's Twelve is a piffle of a caper, a preposterous plot given juice and vitality by a combination of movie star glamour and the exuberant filmmaking skill of director Steven Soderbergh (Out of Sight, The Limey). The heist hijinks of the first film come to roost for a team of eleven thieves (including the glossy mugs of Brad Pitt, Matt Damon, Bernie Mac, and Don Cheadle), who find themselves pursued not only by the guy they robbed (silky Andy Garcia), but also by a top-notch detective (plush Catherine Zeta-Jones) and a jealous master thief (well-oiled Vincent Cassel) who wants to prove that team leader Danny Ocean (dapper George Clooney) isn't the best in the field. As if all that star power weren't enough--and the eternally coltish Julia Roberts also returns as Ocean's wife--one movie star cameo raises the movie's combined wattage to absurd proportions. But all these handsome faces are matched by Soderbergh's visual flash, cunning editing, and excellent use of Amsterdam, Paris, and Rome, among other highly decorative locations. The whole affair should collapse under the weight of its own silliness, but somehow it doesn't--the movie's raffish spirit and offhand wit soar along, providing lightweight but undeniable entertainment. --Bret Fetzer ... Read more

Reviews (197)

Please spare us Ocean's Thirteen
Genre: Comedy, Mystery

Genre Grade: A-

Final Grade: B-

This was a good follow-up to the first movie, although it did not even get close to matching the thrill of it. The story was MUCH weaker in this one, most of it contrived so confusingly that when you find out the outcome you are mad at how they took such an easy way out. You either like the tricks they do in this movie or you feel cheated. Or you feel a little of both, as I did.

I can't say much about the plot because there are so many spoilers, but I will say there is a big surprise with one of the characters from the first movie that is quite funny. Some people hated it (one of the "cheap" moments) but I thought it was great. There are many plot holes but director Soderbourgh keeps you so interested in the characters and flashy style of the movie that you might not even notice them. No other director could get away with it, that's for sure.

There is mild controversy over who, exactly, is Ocean's twelfth member. I honestly can't say 100% for sure because there are three people who could be considered as such. But there is one person who seems a little more likely to be that person because of a certain...event?

In conclusion, I hope that if Soderbourgh decides to give us another helping of this franchise that he gets a much more clever story for Ocean's Thirteen...

The real theft;steal your money with a bad sequel!
Hollywood returns to "independent" type cuts, erroneously assuming that it is the latest cash crop craze.So they hire youngsters to waste film and money shooting scenes that distract from quality dialogue, acting, and storyline.This is an excellent example of how NOT to make a movie.Don't waste your time unless you are a film student wishing to learn from others' mistakes.Not worth the price of popcorn!

Don't Waste Your Money
This movie should never have been made. It was dull and unispiring. The acting seemed forced and rather then everyone playing a part, a few characters were seen through out and nothing more. If you truly liked Ocean's 11 then leave it at that. My personal recommendation is that you do not watch this movie and rather just stick with the first film. You will be better off by far.

Save your money
Wow - what a bad movie. The all-star cast needs to exercice better judgment before accepting parts like these. The favorite side characters you'll remember from the first movie and played by solid/enjoyable actors (Don Cheadle, Bernie Mac, etc...) are left with meaningless lines and no part to play. Brad Pitt's on camera eating habits in the first movie were something to smile at, in this one, it's simply annoying. Julia Roberts pretending to be Julia Roberts - what a stretch for the writers! The camera action is exhausting and attempts to add pace to a movie that does not have any. The plot is so twisted, it's unbelievable and ... without any interest. Soderbegh has done some excellent movies - this is probably his worst. Save your money, don't fall for the marketing hype. If you want Clooney at his clever and charming best, get "Out of Sight". If you want some good Soderbergh (nice camera work, interesting cinematography), get "Traffic". And I can't come up with something decent to suggest for Pitt since "Seven" or "Fight Club".

Much better than expected
Quite a few people I know told me the movie wasn't good so I didn't go see it on big screen. Now that I've watched in on DVD, surprisingly I quite like it and actually think it's as good as its prequel [in a different way though].

I like the combination of light action, romance, comedy, and a bit of suspense here. The strongest point of the movie must be a medley of huge stars [Clooney, Pitt, Damon, Garcia, Zeta Jones,Roberts]. Even supporting actors are all first-class! All of them play their parts really really well and even the supporting cast could hold their own against the big actors. It is amazing that you can feel a burst of energy and charms from these people in almost every scence. I actually felt like watching a celebrity party in a way, LOL.

Another thing I like in the movie is the sizzling romance. They didn't even have to use cheap sex scenes to tell the story. The chemistry between Clooney and Roberts is okay and the Pitt-Jones pairing is just incredible.

More good things: neat script with lots of funny quirky lines, good editing and delicious outfitting [but well we all know that Clooney, Pitt, Damon, Zeta Jones, and Roberts would look good even if they wore paperbags!]

Okay, now the weak points: The plot is kinda weak and not very believable. The movie could be confusing at times. I had to watch it twice to pick up some of the details. Also, those who go in expecting series of action would surely be disappointed. There is not a single violent scene in the movie if I remember correctly. The suspense element is not too good either. What else, there is not a whole lot of high tech gadgets for this Ocean's 12. Maybe these are why some people don't like this sequel as much as Ocean's 11.

So to sum it up, I think it's a fun movie if you watch it as a romantic comedy. The movie can't quite boast its action and suspense elements though.

Recommendation: Rent it and you'll get good two hours of entertainment. I bought the DVD just because I like many many funny scenes in the movie and wouldn't mind watching them over and over again.



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The facts have become legend. Star Trek, the NBC series that premiered on September 8, 1966, has become a touchstone of international popular culture. It struggled through three seasons that included cancellation and last-minute revival, and turned its creator, Gene Roddenberry, into the progenitor of an intergalactic phenomenon. Eventually expanding to encompass five separate TV series, an ongoing slate of feature films, and a fan base larger than the population of many third-world countries, the Star Trek universe began not with a Big Bang but with a cautious experiment in network TV programming. Even before its premiere episode ("The Man Trap") was aired, Star Trek had struggled to attain warp-drive velocity, barely making it into the fall '66 NBC lineup.

The series' original pilot, "The Cage," featured Jeffrey Hunter as U.S.S. Enterprise captain Christopher Pike--a variation of the role that would eventually catapult William Shatner to TV stardom. Filmed in 1964, the pilot was rejected by NBC the following year, but the network made a rare decision to order a second pilot. "Where No Man Has Gone Before" was filmed in 1965, and only one character from the previous pilot remained--a pointy-eared alien named Spock (played by Leonard Nimoy), whom Roddenberry had retained despite network disapproval. The second pilot was accepted, and production on Star Trek began in earnest with the filming of its first regular episode, "The Corbomite Maneuver."

Never a ratings success despite a growing population of devoted fans, Star Trek was canceled after its second season, prompting a letter-writing campaign that resulted in the series' third-season renewal. It was a mixed blessing, since Roddenberry had departed as producer to protest the network's neglect, and Star Trek's third season contained most of the series' weakest episodes. And yet, the show continued to "to explore strange new worlds…to seek out new life and new civilizations…to boldly go where no man [a phrase later amended to "no one"] has gone before."

There were milestones along the way. The first interracial kiss on network primetime TV (between Shatner and series co-star Nichelle Nichols) furthered a richly positive and expansive view of a better, nobler future for humankind. The series offered a timelessly appealing balance of humor, imagination, and character depth. And at least one episode (Harlan Ellison's "The City on the Edge of Forever") ranks among the finest science fiction stories in any popular medium. Beloved by long-time fans in spite of its cheesy sets and costumes, and the now-dated trappings of late-1960s American culture, "classic Trek" has aged remarkably well, and its sense of adventure and idealism continues to live long and prosper. --Jeff Shannon

The three 2004 DVD sets collect all 79 episodes of the show, including "The Cage" in both a restored color version and the original, never-aired version that alternates between color and black and white. Each set is supplemented by over an hour of featurettes incorporating new and old interviews with Shatner, Nimoy, other cast members, and producers, and there's also some vintage footage of Gene Roddenberry. Accompanying the 20-minute seasonal recaps ("To Boldly Go...") are a number of interesting featurettes: "The Birth of a Timeless Legacy" examines the two pilot episodes and the development of the crew; "Sci-Fi Visionaries" discusses the series' great science fiction writers; Nimoy debunks various rumors in "Reflections of Spock"; "Kirk, Spock & Bones: The Great Trio" focuses on the interplay among Kirk, Spock, and Dr. McCoy (DeForest Kelley); and, in what is probably his last Star Trek appearance, James Doohan (Scotty), slowed by Alzheimer's but still with a twinkle in his eye, recalls his voiceover roles and his favorite episodes.As they've done for many of the feature-film special editions, Michael Okuda and Denise Okuda provide a pop-up text commentary on four of the episodes filled with history, trivia, and dry wit. It's the first commentary of any kind for a Star Trek TV show, but an audio commentary is still overdue. The technical specs are mostly the same as other Trek TV series--Dolby 5.1, English subtitles--but with the welcome addition of the episode trailers. The plastic cases are an attempt to replicate some of the fun packaging of the series' European DVD releases, but it's a bit clunky, and the paper sleeve around the disc case seems awkward and crude. Still, the sets are a vast improvement both in terms of shelf space and bonus features compared to the old two-episode discs, which were released before full-season boxed sets became the model for television DVDs. --David Horiuchi ... Read more

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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.

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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 fro