The Phantom of the Opera [1986]

Since I already posted my most recent review of seeing the stage musical here I am just going to re-link to it. Also, I do know the picture is of Paul Stanley and not Tim Martin Gleason. I had to use what was easily available at the moment. It is also one of my favorite pictures as well. Next one will be of the 1990 Charles Dance mini-series.

http://illyriasirrationalizations.blogspot.com/2009/11/phantom-of-opera-review-part-1.html

http://illyriasirrationalizations.blogspot.com/2009/11/phantom-of-opera-review-part-2.html

The Phantom of the Opera [1925]

The Phantom of the Opera [1925]:
Erik, the Phantom… Lon Chaney, Sr.
Christine Daaé… Mary Philbin
Raoul, Le Vicomte de Chagny… Norman Kerry.
The Persian (credited as Ledoux)… Arthur Edmund Carewe.

There is so much that can be said about this version of the movie. Unfortunately an entire book could be written. This is not only the first Phantom movie, but one of the movies that Lon Chaney is best known for, along with Hunchback of Notre Dame, London After Midnight. Not only was there drama going on onscreen, but off screen as well. There stories of the making of this movie are almost as fascinating as the movie itself. This also the only one in which Gaston Leroux himself helped make as well. Another thing to keep in mind is that Lon Chaney did his own make-up for all his movies, and this is one of the few movies in which his deformity is very close to the original novel.
The movie starts with the Gala night and in attendance is Raoul, and his brother Philippe. Christine is now Carlotta’s understudy, and is under tutelage of a mysterious teacher.
Elsewhere the retiring managers of the Opera are handing over the keys to the opera to the new managers. They tell them about the Opera Ghost, and how he is to have Box 5. The new managers laugh it off as a joke, and the old managers leave very uncomfortable. So the new managers decide to check out box 5, they talk to the box keeper who has no idea who sits in it. When they enter the box they see someone sitting there. They quickly leave to compose themselves, and then re-enter the box. When they do the mysterious figure has disappeared.
After the performance the ballet girls see a mysterious shadow, so the go to Joseph Buquet who tells them about the Opera Ghost, he describes him as a skeletal figure.
The next day the Prima Donna, Carlotta bursts into the managers office upset at a letter she got from the Phantom saying that Christine should be the one to perform in the Opera as Marguerite.
Christine triumphs at her performance. Raoul goes to visit her in her dressing room, and she claims not to recognize him. When Raoul leaves he listens behind her door and hears a voice speaking to her in there. When Christine leaves, alone, he goes into her dressing room and finds that no one is there.
The next day the managers and Carlotta get a letter stating that if Christine does not sing, they will perform Faust in a house with a curse on it.
Despite the warning they have the performance with Carlotta as the lead. The Phantom’s warning prove to be true. The chandelier comes down part way into the performance.
Christine hurries to her dressing room. Where she is entranced by the mysterious voice. Who then takes her through the mirror and through the corridors of the Opera in a dreamlike sequence. He takes her across the underground lake to his home. Where he tells her who he really is and that he loves her. Christine faints, and he carries her into a beautiful bedroom, where he lays her down comfortably.
When she wakes, she finds a note from Erik, the Phantom. He tells her that she is safe, and never to touch the mask. She then goes out into the other room where Erik is playing his Don Juan Triumphant. Curiosity gets the better of her and she removes his mask. He is enraged at her, and tells her that she will never goes above again. She pleads to him for her freedom. He then agrees that she may go back, as long as she never sees Raoul again.
At the masked ball, Christine defies Erik and meets Raoul, Erik shows up to the masked ball as Red Death. Raoul and Christine go up to the roof where Christine tells Raoul all about Erik. When they leave we see that sitting up on the Apollo’s Lyre listening in was, Erik.
On there way back down from the roof they are told by a mysterious man, the Persian or Ledoux if you read the cue cards, to go a different way.
The next night Christine performs as Marguerite, during the performance she disappears off stage. Raoul, goes looking for her and meets the mysterious man. Who helps him down to Erik’s home. Philippe also goes down there looking for Raoul. Unfortunately he is drowned by Erik.
Then Erik tells Christine she must make a choice and tell him her decision by turning either the Grasshopper or the Scorpion. Christine picks the Scorpion and it begins to drown Raoul, and Ledoux who were in Erik’s heated chamber. Christine begs for their life, and Erik releases them.
Erik then hears a mob coming and grabs Christine and begins running with her. The mob follows them with the help of Raoul. There is a carriage chase sequence, and Christine manages to get away and back into the arms of Raoul. Erik is chased down by the mob who beat him and throw his body into the Seine River. That is where the movie ends.
The ending of the movie differs very much from the story in the original novel. But, that is because of the time it was filmed. They had the original ending where Erik lets Raoul, and Christine go, and Erik cries out in pain and dies of a broken heart. But, the public wanted him to have to pay for what he did. So they had to change the ending. Unfortunately, the original footage was lost. Along with the footage of the graveyard violin scene, but photos do exist of them.
This one is by far one of my favorite Phantom movies. It is also a classic. Both in the Phantom movie genre and horror movie genre’s. If you are not someone who is unsure about silent films this is a great one to start out with. There are very little changes in this movie compared to the original novel. I understand the changes of the ending, because of the time it was filmed in. I don’t understand why they changed Erik back story from the original book, of having him in Persia. They changed it to him being someone who escaped from an insane asylum. They also changed the character of the Persian to a inspector who is chasing Erik to bring him back to the asylum. But, that is only changed in cue cards, if you ignore them, the story remains the same. Which is pretty cool actually.
This movie is also one of the movie to feature the rat catcher as well. Depending on which version you watch the Masquerade scene is in color as well. There are actually many version of this movie and the 1929 re-mastered version is the one I highly recommend. Some of the footage has been cleaned up as well.
I honestly don’t have anything bad to say about this version. How can you criticize such a classic. If there are going to be re-making some of the classics (like Wolfman, which stared Lon Chaney, Jr. by the way). Then they really should try to remain as close to this story as possible. Most of the interesting things about this movie happened behind the scenes. Lon Chaney and the director hated each other so much that they would only talk through notes passed through a third person. Norman Kerry who also hated the director charged him on a horse while filming this movie. Many other interesting facts like this can be heard about on the special editions of this on DVD. I highly recommend checking them out.
One of my favorite lines from the movie is when Erik says “If I am the Phantom it is because man’s hatred has made me so.”
I also noticed that César, the horse is black in this movie, instead of grey like in the book. I am guessing it’s an imagery thing.
Another thing that I like about this movie, is that when Erik is first interacting with Christine he always is either standing a few steps below her. Or has her sitting on the chaise lounge with him kneeling before her. Giving her the higher ground. I always like that little tidbit about this movie.
I also like the line “Barrels, barrels, any barrels to sell” showing up in this…. Some people will get it.
Next time I will be posting a review of The Phantom of the Opera [1986] the Andrew Lloyd Webber stage version.

The Phantom of the Opera [1995]

Ye Ban Ge Sheng (The Phantom Lover) [1995]
Song Danping… Leslie Cheung.
Wei Qing… Lei Huang
Yun Yan… Chien-lein Wu

I had to review this one after watching the movie because of needing to read the subtitles and this is one to catch everything in it you really need to pay attention and because of the cinematography, you don’t want to look away.
This one is the one that moves away from the original story. It combines a story of The Phantom of the Opera and Cyrano de Bergerac together. It is also based on a Chinese movie that was from the 1930’s called Song at Midnight.
There are two stories that told. It begins with the story of Wei Qing and Lan Die who arrives at a burned down theatre, trying to get there theatre troupe up and running. They are working on their own piece that seems to be a failure. A man soon tells Wei Qing the story of the burned down theatre and the man who helped build it… Sung Danping.
We flash back to Sung Danping singing on stage in the role of Romeo in his Romeo and Juliet. Yun Yan watches him on stage. We quickly learn that they are in love but she is to marry a Baron. Yun Yan tries to get a message to Sung Danping to meet her so they can elope but her plan fails, and the Governor burns down the theatre with Sung Danping in it, and Yun Yan marries the Governor but the marriage in annulled after he finds out she is not a virgin. She ends up in the streets and has gone mad. She still shows up at the theatre to hear Sung Danping sing to her on every full moon.
Back to the 1930’s, Wei Qing’s theatre troupe are about to leave. Wei Qing learns that Sung Danping did not die in the fire and is still there in the theatre. Sung Danping gives Wei Qing his Romeo and Juliet and teaches him to sing the role of Romeo, at first Sung Danping sings from a hidden spot for him.
The Baron was there and heard Wei Qing sound like Sung Danping. He meets with them and begins to try and destroy the relationship of Wei Qing and Lan Die. Sung Danping also has Wei Qing wait for him onstage, and he begins singing. Yun Yan shows up believing he is Sung Danping. Because of this Sung Danping has Wei Qing pose as Sung Danping for Yun Yan because she hasn’t smiled that much in ten years.
Later, Yun Yan finally realizes that Wei Qing is not Sung Danping and runs away. That night she sees the real Sung Danping staring at her through the window, and she runs after him. He only stops when the Baron shoots her. Sung Danping goes after the Baron.
Back at the theatre Wei Qing is about to perform in Romeo and Juliet, and the Governor shows up to arrest Wei Qing for killing his son, the Baron. Sung Danping shows up to them know what had actually happened. They arrest the Governor and his son, who is finally brought out tied up hanging from the ceiling (not choking or anything like that). Wei Qing and Lan Die’s troupe will be allowed to continue. Sung Danping and Yun Yan leave together, but she is blinded by the gunshot wound, and he is finally able to show himself to her.
They let us believe that this movie is actually going to have a happy ending until it blacks out and a cue card tells us that a year after the events Yun Yan dies, and Sung Danping lives single for the rest of his life until he dies in 1940.
This is actually one of my favorite version of this story. When Sung Danping sing for Wei Qing it truly goes back to the Svengali origins. I also love how it seems to have a Cyrano de Bergerac feel to it. The robe that Sung Danping wears throughout this version is highly reminiscent of the Don Juan robe in the ALW stage version (which I love). The cinematography in this movie I believe is the best in all the phantom movie there are some scenes that are so artistically done, they just blow me away! The music in this version is also some of the best, especially the pieces from Sung Danping’s Romeo and Juliet because they are composed by Leslie Cheung, the man who played Sung Danping. Unfortunately Leslie Cheung is no longer with us, which is terribly sad. He was phenomenal in this movie and hopefully soon I will finally be able to watch one of his other movies Farewell My Concubine.
On another note, the reason I am doing these this month is in honor of the 100th anniversary of The Phantom of the Opera that is happening this month. So, I found it pretty cool when I was done watching the movie and went to go watch the 2010 Vancouver Olympics Men’s Figure Skating, because Patrick Chen of Canada skated to music from Phantom of the Opera. Which was really cool.
Next time I will be reviewing The Phantom of the Opera [1925] The Lon Chaney version and the one that started it all!

The Phantom of the Opera [2004

The Phantom of the Opera [2004]:
01). The Phantom… Gerard Butler.
02). Christine Daaé… Emmy Rossum.
03). Raoul, le Vicomte de Chagny… Patrick Wilson.

I know I said it was going to be Ye Ban Ge Shen but, we decided to go with this one first. Next time it will be Ye Ban Ge Shen. Now for the review of The Phantom of the Opera [2004]… or the fluffy white shirt review.
I will leave out my historical inaccuracy nitpicks this time around. They have been said time and time again. I also don’t want to be annoying.
We start out with the auction seen. Older Raoul is there to bid on the music box. Madame Giry is there as well. Ok, I got to say it… why is he a Vicomte when at the end of the movie Christine is a Comtess? I love the overture with the full orchestra. The sound is wonderful, especially with a sound system. It’s now 1870 according to Andrew Lloyd Webber ten years later (in his sequel) it will be 1907! Or the dates in the stage production say this takes place in 1880’s still ten years later is NOT 1907! I am bad at math, but this just doesn’t add up for me. OK, now I am done (this is what happens if the movie gets paused)!
Messrs. André and Firmin show up, and walk through the opera. I love how Raoul drives his own carriage in this, it says something about his character to me. That he prefers doing things himself instead of being waited on. It’s also a nice allusion to the 1990 Charles Dance movie. Minnie Driver is spectacular in this movie. Poor Piangi never makes up onto the elephant. “Grovel, Grovel Grovel!” That’s an allusion to Joseph, And The Amazing Technicolor Dreamcoat. I really do miss the fedora on the phantom. Why is his wax seal so huge? Wouldn’t it be hilarious if when the phantom leaves at the end of the movie he went to Australia?
I love the dress she wears for Think of Me here. It’s based off of the one worn by Elisabeth of Bavaria. The camera spins to the cellars where the phantom stands listening a la Claude Rains. Carlotta’s reaction to Christine’s success is hilarious. That’s a lot of roses in Christine’s dressing room. I love how Raoul just takes the flowers from M. Firmin. The portrait of Carlotta has a severed head laying on the plate she is holding, the severed his is that of Andrew Lloyd Webber.
I wish they let him put some more sarcasm behind “brave young suitor” I prefer my phantoms extremely sarcastic. The moving arms in this sequence is interesting based off of Le Belle et la Bête, which the Phantom story is very similar to, obviously. We also have César, the horse in this movie. They do cut out my favorite line from this song “In all your fantasies…”
No wonder he is insane by the time you get all those candles lit one goes out and you have to start all over again. Once I looked at various incarnations of the Phantom throughout time, I have come to believe that this one is the most psychotic one. I always like looking at his lair to see what he has laying around trying to spot something new each time. I love how the “be” echoes. I keep expecting a pipe organ to start playing after MOTN is done, but that’s not in here.
Meg shrieks at finding rats, I think they need to go and tell the rat catcher to do a better job. Joseph Buquet scareing the chorus girls with stories of the Phantom. Madame Giry warns him about talking about him, and slaps him one the face, which gives me a chuckles. I don’t know why.
Christine wakes up. Stockingless, someone please explain that! The Phantom composing his Don Juan. Looking rather smug. I like his smoking jacket, but I do miss the kimono. Darn, didn’t notice anything new in his lair this time.
I find it interesting that it is Raoul’s eye that goes yellow, when in the novel it is Erik’s eyes that are yellow.
I love the managers they can be so comical at times. “Wrote…written” I find the black lines around his notes interesting, in the Victorian days that meant that you were mourning someone. Who is it that he is mourning or is this just a coincidence? I do like that Carlotta is more interested in the puppies than the diamonds. That’s one characteristic I like about her. The two managers with their “scrap metal” make me laugh. Joseph Buquet spots the Phantom and starts to stalk him, as Carlotta “cro-acks” like a toad. I get a kick out of that dude who doesn’t get off of the stage in time. I always did love the sylvan glade scene. I swear I see him smile as Joseph Buquet dies. Apparently it’s just me though.
I love Christine’s cloak in the Rooftop scene. Raoul is so loving in this scene, the way he puts his arms around her. Patrick Wilson played the role spectacularly, and only one other person has beaten him (that I have seen) and that is Sean MacLaughlin. I also am arguing more on the side of Raoul in the ALW Phantom now, due to what I have heard about what is going on in Love Never Dies. Then the Phantom’s reaction after overhearing, done very well. I love how his cloak billows out. Feels cool when it happens to you as well.
I love the fireworks over the Opera. It’s even better at the Las Vegas production because it is live! I am really not fond of the costumes in the Masquerade scene I much prefer the stage costumes and Monkey Girl!Why is there someone vogue-ing? We also have the Cats pose. I do like Raoul’s hussar costume, that one is really nice. I also believe that they should have had Christine dance with the group as well. She doesn’t strike me as the type who can sit out and watch people perform.
The Red Death is also a costume I prefer the stage version of, because it is far more menacing and elaborate. He also seems to have a magical musical score pocket as well, or he is the most talented magician because the Don Juan appeared out of no where. His quivering chin when he sees Christine is sad to see. Raoul goes down after him into the mirror room which is an allusion to the book. Madame Giry helps him out, and tells him the background story of the Phantom. I am not fond of this version of it. I much prefer the background being him working for the Shah of Persia, it honestly explains his personality better.
I love the scene with the stage it is one of the most beautiful shots in this movie. Why didn’t Raoul sleep with his back against the door so he would notice if it opened? I also love the Phantom’s cloak here very reminiscent of the Don Juan from the stage version. Yes, I am obsessed with his clothing apparently. Probably because he tends to always have something nice and elaborate. Wishing You Were Somehow Here Again is one of my favorite songs, it has a lot of meaning to me. I also believe Emmy sings it beautifully. I really wish they would of added him playing a violin here. Swordfight! I love that they added a swordfight. That’s also a really heavy cloak that the Phantom is wearing, I know, I tried it on! Long story.
What is it with opened up white fluffy shirts on the men in this movie anyways? Oh yeah. Joel Schumacher. Never mind. But still, the last half of the movie has someone in just that. I always loved the “Seal My Fate” sequence. It sticks in the head. I also think of a great phlub I read about once.
How does no one notice Piangi is now taller and has lost a lot of weight? I love how she sings the lyrics “consume us…” so much power behind it. The look on Raoul’s face at this moment is as heart wrenching as the Phantom’s earlier. Interesting. In the stage version some Christine react when he begins singing the All I Ask Of You reprise. In the movie it is Raoul who reacts and not Christine! I just noticed that and I find it very interesting. Intriguing really. For all those who don’t like Raoul, right here is proof the he is a man with a big heart, he feels bad for what he did to the Phantom. Even though, he is trying to rescue Christine, he still feels bad. So STOP CALLING HIM A FOP!!!!
Deformity rant: It’s actually not that bad, nor is it frightening. He looks like he just got burned, that’s all. Tons of people around Paris had that issue. He wouldn’t stand out. They really should of made it worse.
Poor Piangi, I actually like Piangi. He stood up to the Phantom when he insulted Carlotta, he also can be funny.
Raoul falls into the water, at least he made it down faster. We also have more white fluffy shirts. Once again they should of allowed him to be more sarcastic. Gerard Butler is naturally sarcastic so he should have been able to do it. The Phantom ties Raoul to the portcullis. Poor Patrick Wilson, Gerard Butler tugged a little to hard on the rope during that last pull and almost choked Patrick while filming this movie.
His face when she returns the ring seems to have hope on it. Then she turns to leave and you can see that hope dwindle. The breaking of all the mirrors. Why does he have so many mirrors? That one just doesn’t make sense to me. Now Meg is wearing a fluffy white shirt?! Her pants also dry from the water in seconds, I want that material for that rainy day.
The older Vicomte is now visiting the grave of Christine, Le Comtess de Chagny. He leaves the music box for her and sees the rose with the ring on it. His face seems shocked as he looks around. The end.
Thanks for reading the fluffy white shirt review. Next time will be Ye Ban Ge Shen (The Phantom Lover) from 1997

The Phantom of the Opera [1943]

THE PHANTOM OF THE OPERA (1943):
Erique Claudin… Claude Rains.
Christine Dubois… Susanna Foster.
Raoul D'Aubert… Edgar Barrier.
Anatole Garron… Nelson Eddy.

This was the first major Phantom of the Opera movie. It actually won (or was nominated) for some Academy Awards. It was also filmed on the same set as the Lon Chaney version. It is nice to see it in color. Susanna Foster’s voice to myself and many others is the voice of Christine. She highly resembles what I would image Christine to look like as well. If you watch NCIS then Tony DiNozzo talks about being a Nelson Eddy fan. Claude Rains you would probably know as either The Invisible Man or Captain Louie Renault in Casablanca.
The music in this movie is some of the best Phantom music around if you aren’t fond of the story watch it for the music alone.
We begin with the performance of the opera. Erique Claudin is a violinist in the orchestra. Raoul is at the opera to talk to Christine, and tells her he loves her. She misses the curtain call and everyone seems to notice. Erique is worried about her missing curtain call as well. He then goes in to talk to the stage manager where he is fired, because his fingers are now unable to play the music. He is poor, and is depending on his concerto “Lullaby of the Bells” to get the money he needs. Lullaby of the Bells is a song that will stick in your hear, but it is beautiful so I am not complaining. It was paying for Christine’s lessons that took his money, but Christine does not know about it.
Erique goes to a music publisher for his music. He overhears someone playing his song (apparently Liszt). He says what it is and is told to leave. He attacks the man for stealing his music and a woman throws acid onto his face. This is the movie that kicked off the burning of the face or acid in the face theme in these movies. Erique leaves into the sewers of the opera.
Claude Rains is only 5ft. 5inches, apparently they added a few inches to his character cause they say that Erique Claudin is 5ft. 8inches. Just found that interested.
Later the new managers are talking about missing costumes, masks and food at the restaurant. They start talking about a ghost at the opera.
Christine is visited by Anatole and sings a lullaby she knows to him. Raoul interrupts her and Anatole singing. Anatole and Raoul do not get along to a comical level. Raoul shows Christine a bust of her, that was found in Erique’s home. Anatole admits that he was making it for her. Some people find it ridiculous, but I don’t mind. Reminding me of a bit that they did in Angel when Spike and Angel try to walk through the same door at the same time. I wonder if this is were they got it from.
In Christine’s dressing room Erique talks to her through the mirror. The second opera begins. Erique pours something in Carlotta’s drink. She falls ill, and Christine has to take over, much to Anatole’s surprise. Susanna Foster really resembles what I think Christine would sound like singing. Carlotta is blaming Anatole for drugging her. On stage Christine hit’s the high G perfectly, beautifully! Susanna Foster is supposedly the only one who can hit that note in history. Erique Claudin listens below stage.
Carlotta is willing to forget that she was drugged if everyone else forgets that Christine sang or she will charge Anatole and Christine for murderer. Erique Claudin threatens her she doesn’t listen so he kills her.
Anatole sees Erique running out of her dressing room so her follows him, with Raoul following Anatole.
They close the opera temporarily. Soon mysterious letters begin to show up. They decide to reopen the opera with someone else singing to lure Erique out of hiding. Anatole and Raoul show up to let Christine know, with more comedy from the two.
Anatole plans to have Liszt play Erique’s music to lure him out. Yes, it is Franz Liszt that is portrayed in this movie.
The opera begins, there people in masks for this opera which tells me they should of chosen a different opera. Because Erique takes out one of the performers and takes his place. Raoul finds the body, then goes around removing the performers mask to try and find him. Erique begins to saw the chain of the chandelier to bring it down…. Still working on the chandelier…The soprano screams the note as the chandelier comes down. Erique goes to Christine and says he will protect her, but takes her down to the lake. Anatole has Liszt play Erique’s concerto, as Raoul goes down to the cellars after Christine. Anatole and some of the actors follow. Erique overhears it, and begins to play. He has Christine sing with. Raoul admits that Anatole had a good idea. They overhear Erique playing the piano and go towards the music. As Christine sings she moves closer to him, and removes his mask. Raoul and Anatole show up and Erique grabs a sword Raoul shoots up into the air and the ceiling begins crumbling and lands on Erique killing him. Raoul, Christine and Anatole get away. There is a beautiful shot of his mask laying on his violin a picture that always is sad.
Later after Christine’s latest performance Raoul and Anatole have her make a decision on who she is going to love, and she chooses her career instead. Anatole and Raoul leave together, and in my head I hear “Louis, I think this is the beginning of a beautiful friendship.”

The Phantom of the Opera [1987]

The Phantom of the Opera [1987]:
01). Erik, the Phantom… Aiden Grennell.
02). Christine Daaé… Collette Proctor.
03). Raoul, Le Vicomte de Chagny… Daniel Reardon.
04). The Persian, Daroga… Jim Reid.

I talked about the book a lot in this one. It is difficult not to. So you possibly may need to of read it to understand. Or at least know it fairly well.

For those that don’t know. Yes, there is a cartoon version of this story. It begins with a sort of preview of what’s to come. Which, for me gives away a lot so I don’t really understand why. But, I guess they had a reason. This movie is an Emerald City movie so it tends to remain true to the classic literature that it is based of off. A lot like the Wishbone version of Phantom… Pant’in of the Opera.
We begin by looking out into the streets of Paris during the Belle Époque. Raoul, is escorting Christine to the Opera. Christine tells him that she got the role of Juliette. She tells him about the voice that has taught her to sing. The lines so far are pretty close to the original novel, even if they are at the beginning…
DAROGA! Yes, finally we have the Persian! He is equal to Erik for me and often forgotten or replace. Poor, Daroga. Sorry, I have an obsession with Daroga as well.
Here Joseph Buquet is now a manager. Combining character does help shorten time, and lessens the amount of characters in the story.
He just killed a cat! What! Erik doesn’t kill animals! Why do they need to add that? To add suspense? To make him evil (like every other movie tends to do). You can actually show the yellow eyes in this version though. Which is kind of cool.
Christine performance goes well. Raoul tries to visit her. She sends him away. Then he listens behind the door. “The Angels wept tonight…” exact quote. Raoul bursts into her dressing room after hearing a man’s voice. I like how she tells him off. “Spirit of Music”… interesting. Christine throws a vase at him, after he stalked her then yelled at her it is deserved. She should of done that in the book. I do like Raoul by the way.
Then we have them finding the body, the Daroga watches over.
In Christine’s dressing room, he asks her to go with him. She does. “I am not a spirit or a ghost… I am Erik” I love that he says that! They even have them men working on the heating in the cellars! Amazing!
Erik has a nice place, though I never imagined it being this large. His mask isn’t a full face black one, but painted to look like a face, and his dress is a little brighter than I would expect. He kneels down before her. I like that.
When she unmasks him his face to me isn’t that scary, he really can show a lot of emotion. He tries anger but then goes into crying, so accurate.
Back with Raoul, he receives a letter from Christine to meet her. She tells him about Erik. She tells him, not to see her again. Erik listens in behind the mirror. Christine and Raoul plan to meet at the Bal de Masque.
The costumes in this scene for me are intolerable. I hate them. Why couldn’t they of done better. Even the red death is horrible. But, the scene plays out pretty well. Once again we have our stalking Persian. Who isn’t getting stalked or stalking someone?
Also Aiden Grennell, who does the voice of Erik I think did a pretty good job. Erik follows Raoul and Christine to the Apollo’s Lyre, where they plot there escape, and Erik overhears… heartbroken.
At Christine’s last performance he drops the chandelier and abducts Christine. Raoul goes after her. He looks for her in her dressing room. The Persian finds him, and helps Raoul find Christine. Daroga says a line that can really be taken the wrong way.
The flaming head of the rat catcher is seen. I think this is one of the only movies that shows up in!
Erik’s place here seems to resemble a castle more than a hidden retreat, but I can work with them. They find a trap door that supposedly leads to him home. Instead they drop into the Torture Chamber. They listen to Erik talking to Christine. Erik doesn’t know of Raoul and Daroga’s presence yet.
Christine gets Erik to untie her, and Erik figures out that Raoul and Daroga are in the Torture Chamber. The scorpion and the grasshopper make an appearance in this one as well.
Now it seems to change. But, only slightly. The feel is somewhat the same. So I can understand it. I don’t remember Erik talking to Daroga this much until the end. But, it gives a way for Daroga to give a little bit of history. Raoul is the one who pushes the nail for them to go into the cellars away from the now heating up Torture Chamber. They find they barrels of gun powder. More running around so they can get back in. Christine turns the scorpion. After Erik swears to let Raoul go. The place floods drowning the gunpowder, Raoul, and Daroga.
Erik lets Raoul and Daroga out of the Torture Chamber. Erik then gives Christine a ring for her and Raoul “A present from your poor unhappy Erik” He quotes from the book once again. Erik soliloquy is said here as he says goodbye.
He plays the pipe organ bringing the place down as they escape. This time they really changed the ending. Dramatic effect maybe? But, still annoying. Cheesy lines to end the movie.
One thing I forgot to say earlier is that perhaps the Erik may look scary to some. I at times found him rather cute! This one follows the original novel fairly closely almost word for word at times. Which makes it truly sad that this is the only one that follows this closely.

The Phantom of the Opera (1983)

The Phantom of the Opera [1983]:
01). Sándor Korvin/ The Phantom… Maximilian Schell.
02 Maria Gianelli/ Elena Korvin… Jane Seymour.
03). Michael Hartnell… Michael York.


This particular version of The Phantom of the Opera is set in Budapest instead of Paris. It was a made for TV movie. Unfortunately, it is obviously so, unlike the 1991 version. But, one of the cool ironic facts about this movie is that some scenes in it highly resemble the original novel whereas other go so far away from it that it is hardly recognizable as The Phantom of the Opera. Also, one of the men in this is also the auctioneer in the 2004 ALW movie.
We start out with the rehearsal of Faust, Elena Korvin is struggling a little before her debut, her husband is working her a bit hard, apparently. The manager threatens her and she believes she is not good enough, and her husband tries to comfort her. What is it with deceptive managers, anyways? Lack of plot? Someone please tell me? I do love the name of the husband Sándor it’s a pretty name. Sándor then pays someone to start the applause so she won’t be disappointed.
She ends up getting a bad review and boo-ed off of the stage. So she decides to throw herself off of a bridge. I personally am not too fond of this plot. Sándor then takes revenge on all who gave her that review and the man who he paid to applaud her, who got more money to boo her. He fights with the man and ends up getting acid on his face. A man helps him escape.
Years and many masks later… Hey! It’s a full face black mask!!! I like! Apparently, the managers are investigating a missing pipe organ that in the scene just before the phantom was playing (it’s actually a rather small one so I can see how it got stolen).
Hey he has a kitty! Finally a movie that shows him actually having a cat (like in the Susan Kay novel)!
We now have the Prima Donna’s rant. The director actually tells her off! Good director. It was rather comical as well. Which is something that sometimes lacks in Phantom movies but, is in the original book (comedy that is). Then they hold auditions for an understudy. Maria Gianelli sings and Sándor overhears her, and watches from a box. He is infatuated with her because she reminds him of his dead wife (Gah, I hate that). She gets the part.
Maria tells the director of the opera ghost and he says that every opera has a ghost! Cue lights dimming on their “own”. This movie is full of puns and cheesy lines, but somehow it still works. I have no idea how, but it does. Poor Sándor watches from Maria and the director dancing together from afar.
Sándor works watches as Michael (the director) works with her. The Prima Donna gets a letter from Sándor. Telling her not to sing. She goes and blames Maria. “Christine! It’s all a ploy to help Christine!” sorry, couldn’t help it.
Sándor finally confronts Chr… er… Maria and tells her that he will teach her, and gives her the key to his place. This scene is rather interesting to me actually. Maria then goes to his old home and looks around. She sees a picture of Elena. It’s nice to see them rehearsing in the same room for a change. Maximilian can actually be rather expressive with a full face mask. He gives Carlotta rats, as a warning. “Rats! It’s a rat” why always rats?! Could be worse I guess….
I also really don’t like the reasons Sándor likes Maria is because of his dead wife. Kind of creeps me out. I’ve heard people ask “why can’t he just love her for her, like in the original?” I have to agree with this.
Sándor follows Maria around as she spends time with the director. He starts questioning who the other man she spends time with is.
We now have a bath house (why, again, why?). Sándor threatens a man by choking him with his silk scarf. Maria leaves a note for Sándor to meet her at the masked ball. Sándor’s Red Death costume is not as grand as some others have been. There he tells her not to see another man again or she will die. She agrees then leaves the ball. The manager tries to take Maria home with him but, Sándor interrupts abducting the Manager to exact revenge, Maria tries to runaway, but gets abducted as well.
The manager talks himself out of getting killed by Sándor, saying he will make Maria the star that Elena should have been. He then lets him go. Except he dies by way of raven?! His body is found on the set piece portcullis. The police now investigate his murder and the disappearance of Maria. Hey, it’s the Auctioneer from the ALW movie! Yes, Michael York, if you are looking for Orpheus, going underground is the way to do it!
Ah, my favorite scene! The unmasking! Oh, poor Sándor. He speaks quotes from the novel. To finally hear those words spoken, just makes this movie for me. Then it goes away from the quotes. Darn. It stands out because Sándor’s talking pattern changes, but I DON’T CARE! I recently heard a recording of Erik’s Soliloquy (his last words to his friend) and that brought me to tears to finally hear it spoken for the first time in over a decade. The emotion put into it as well, didn’t help. Sándor really doesn’t look burned. The deformity reminds me more of Joseph Merrick. Maria then burns his mask (another similarity to the book) why do they have these close of similarities and then the rest of the movie couldn’t be further from the novel?
Then he shows that he is even crazier then the original Phantom. He shows Maria the body of Elena, and that he plans on making it look like Maria is dead. Apparently this isn’t Phantom so much, as it is Blackbeard. Lovely.
Michael finally comes to the rescues. Sándor’s henchmen tries to stop him, but Michael is able to survived by shoving him down some stairs. Sándor kills him for it.
Michael comes up with a plan to have Maria attend the opera in hopes that Sándor will show up so they can catch him. Is this what inspired Lloyd Webber? Maria then hears him call her name, as he begins to bring down the chandelier. Maria in the mean time decides to move from her box to a seat in the middle of the orchestra level… right under the chandelier. Sándor spots her too late and the chandelier begins to fall. Culminating in the longest chandelier drop ever! She gets out of the way, Sándor is killed. Movie over. Yep, it’s that sudden.
The parts that make this movie tolerable for me, is the fact that the unmasking scene is almost exact from the book, he wears a full face black mask, and she burns his mask in the fireplace. If it wasn’t for those I wouldn’t like it at all. Maximilian Schell’s acting in this movie is phenomenal though. I do wish that they had made this movie better so he could have had more time to show his talent. There are also gaping holes in this movie that never get explained. Kind of makes you wish they could of stuck to the original story, Eh?
Next review will be the 1987 Cartoon version. For those that don’t know. Yes, there is a cartoon version of this story!

The Phantom of the Opera [1962]

Staring:
The Phantom (Professor L. Petrie)… Herbert Lom.
Christine Charles… Heather Sears.
Harry Hunter… Edward de Souza.
Lord Ambrose d’Arcy… Michael Gough.


The movie begins almost immediately with the people of the opera talking about what is happening around the theatre. Music has been destroyed, the leading diva scared by the Phantom.
The opera performed in this piece is Joan of Arc. Which is an ok musical, so far. It is supposedly composed by Lord Ambrose D’Arcy. Who apparently until now had no musical taste. There is also a “mysterious” midget (I dislike calling him the Midget, and calling him Igor is too cliché so I will from here on out call him… Koukol). wondering the opera as well. The Opera gets interrupted by the hanging of “Joseph Buquet”. Postponing the opera indefinitely.
They hold auditions for a new diva. Christine Charles auditions and the Phantom watches. I am not too fond of this Christine, I always thought that either Susanna Foster or Teri Polo matched her better. Herbert Lom voice as the phantom when he speaks to her through the mirror, really does have Erik quality to it.
Then Lord Ambrose D’Arcy takes Christine to a “nice” dinner. During this scene I notice in the background a Persian serving people dinner. Is that a joking allusion to our Daroga?! D’Arcy then tries to take Christine home but she refuses. She gets rescued by the much nobler Mr. Hunter.
Hunter then explains that he believes there is something evil in the theatre. Christine tells him about the voice in the dressing room. She uses the term the voice. I never caught that before, I like that. Another allusion to the original novel. Hunter then has them return to the Opera House to investigate.
They run into the annoying workers of the Opera House. Who annoy them too (thank god), and Hunter sends them on a treasure hunt for a diamond broche, that most likely isn’t there. Cruel, but I’d do it as well.
When in the dressing room they overhear the Phantom’s voice threatening Mr. Hunter. Hey, it’s the rat catcher! “They make a lovely pie, ya know!” “We are vegetarians.” I love that part! Awe, now the rat catcher got killed, damn! Why do they kill him? He doesn’t die in the book! Hunter goes to investigate and Christine encounters the phantom.
She then tells him about it and explains the Phantom and the black mask (it’s actually a shadow, the mask is actually more ivory then black).
D’Arcy then is holding auditions for a new lead after having fired Christine. Hunter gets himself fired, and then goes to visit Christine. He talks to the maid who previously worked with a Professor Petrie. He spots a piece of music and recognizes it as the Opera being performed by Lord Ambrose D’Arcy. Hunter then takes Christine with him to investigate the fire at the printers and the Professor.
Hunter then spends the day with Christine, when he takes her home, she sees Koukol looking in her window, and faints. Koukol then takes her to the Phantom. The is also the only Phantom movie to contain Bach Toccata and Fugue in D minor in it. I think it’s appropriate. The phantom’s words here a very close to the book.
Meanwhile, D’Arcy is trying to train the new diva, and is doing so very badly. He also is having disagreements and is dismissing the “Lefevre” of the movie. He then dismisses everyone and then has his temper tantrum. Hunter begins looking for Christine. Who is still having lessons with the phantom.
I hate it when he hits her! Erik was a harsh teacher, but never physically violent because of not hitting a note! I do expect him to be violent when unmasked or betrayed, but not during a vocal lesson! The Phantom then has Koukol get a glass of sewer water to throw at Christine! Eww! Really nice! I hope that only took one take!
Harry Hunter has now overheard Christine and the Phantom singing/playing the pipe organ and has found a boat and is on the way to her.
After the phantom has worked her to the point of passing out for the 2nd time he finally lets her sleep as he plays the pipe organ. In this version I can see her sleeping through that. Which makes me realize that just about all Christine’s would have to be heavy sleepers to sleep through that.
Hey, Koukol is using the reed from the Tonkin Pirates! Those who have read the novel know what I mean. Harry Hunter to the rescue finally. Sort of, first he tells that Phantom that he knows who he is and that the opera is actually his.
Couldn’t they come up with a different name? Professor Petrie just doesn’t sound right. It also reminds me of the Pterodactyl from Land Before Time. Or my roommate of a dish.
We then flashback to what happened to Professor Petrie, and how Lord Ambrose D’Arcy stole his music. But, at least he didn’t recycle it twice! Sorry, couldn’t help that one. He also explains that Koukol saved his life, and that he has always taken care of him. He also wishes to finish teaching Christine, and that that is all that he wishes to do.
The Phantom then confronts Lord Ambrose D’Arcy. Who runs away the moment he sees his face, which is absolutely classic! It’s always great to see the annoying jerk run away in fear!
The look the Phantom and Christine exchange as she begins to sing is really sweet. Heather Sears does make a very good Joan of Arc. That single tear from the Phantom is heartbreaking as he watching his opera finally get performed.
Then we have Koukol getting into trouble backstage. He jumps to the chandelier and starts bringing it down. The Phantom jumps onto stage knocking Christine over so she is unharmed, but instead it kills him.
The movie ends on a close up of the Phantom’s mask. This isn’t one of my favorite phantom movies, but it is definitely worth the see.
In all honesty this is one of the nicer phantoms. But, they completely took out the love story between the Phantom and Christine in this one. It is a good story on it’s own, but doesn’t resemble the book very much. I hadn’t seen it in a while, which is why there are not many comments. The next movie hopefully will have more. The next one is the 1982 Maximillian Schell and Jane Seymour version.

100th Anniversary of Le Fantôme de l'Opéra

... In book form that is. It appeared in Le Gulois previous to this, but now it is the anniversary of the story in book format. So to commemorate this anniversary I am planning on watching the movie versions that I have and posting reviews of them. Some of them will be better than others. But, I hope you enjoy.