The Phantom of the Opera (Full Screen Edition)
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Product Description
Musical Drama based on Andrew Lloyd Webber's celebrated musical phenomenon. The Phantom of the Opera tells the story of a disfigured musical genius (Gerard Butler) who haunts the catacombs beneath the Paris Opera, waging a reign of terror over its occupants. When he falls fatally in love with the lovely Christine (Emmy Rossum), the Phantom devotes himself to creating a new star for the Opera, exerting a strange sense of control over the young soprano as he nurtures her extraordinary talents.
Product Details
- Amazon Sales Rank: #4950 in DVD
- Brand: Warner
- Released on: 2005-05-03
- Rating: PG-13 (Parental Guidance Suggested)
- Aspect ratio: 1.33:1
- Number of discs: 1
- Formats: AC-3, Closed-captioned, Color, Dolby, Dubbed, DVD, Subtitled, Full Screen, NTSC
- Original language: English, French
- Subtitled in: English, Spanish, French
- Dubbed in: French
- Dimensions: .25 pounds
- Running time: 143 minutes
Features
- Condition: New
- Format: DVD
- AC-3; Closed-captioned; Color; Dolby; Dubbed; DVD; Subtitled; Full Screen; NTSC
Editorial Reviews
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.
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DVD Features
The special 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 of 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
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From The New Yorker
A bold but fruitless attempt to disguise the fact that Lloyd Webber's extravaganza belongs on the stage. Theatre audiences, an easily tickled crowd, may still be aroused by the sight of dry ice being puffed across the footlights, but moviegoers, who regularly witness whole cities being trashed, are made of sterner stuff. They are also liable to feel cheated by weak casting, and thus the choice of Gerard Butler (the Phantom), Emmy Rossum (Christine, his protégée), and Patrick Wilson (the Vicomte, her No. 2 squeeze) is unlikely to find universal favor. The score remains a cunning consolation to those who are frightened by the thought of real opera, and the director and co-writer is Joel Schumacher, which means that the enterprise is best viewed, if at all, as a prolonged exercise in interior decoration. With Minnie Driver, enjoying herself no end as a screaming diva. -Anthony Lane
Copyright © 2006 The New Yorker







