When word came that a film version of 'The Phantom of the Opera', one of the most successful and entertaining Broadway musicals ever, was about to be made, many people were excited. Very excited.
But then word came that Joel Schumacher was to direct.
Known for his technicolour explosions and elaborate set designs, Mr. Schumacher may seem to be a perfect candidate to head this production; but we also get some of the worst editing ever committed to film, gaudy effects, horrid acting and an all-around disaster. Things start off well for 'Phantom', with an excellent introduction complete with Moulin Rouge-style "postcard" digital grading effect- an excellent tool for the subject material. Then we get a rousing sequence with the chandelier, and the excellent "Rehearsal for Hannibal". Then things quickly fall apart with the introduction of the film's female lead, Emmy Rossum. The character Christine is clearly meant to be a prodigy- someone that we are to gaze in awe over, someone that we are to get out of our seats and yell with an enthusiastic "Bravo!" Rossum, unfortunately, does not suit the bill. While an excellent vocalist, she is unable to capture the mysterious X quality that draws us to a character. She stands there with a vacant stare, one that is supposed to represent nervousness, or wonderment, or whatever. She is unable to show any real emotion, and it's more or less like watching a singing wooden plank. Think a young, female Keanu Reeves. Patrick Wilson as Raoul is similarly bland- although in the film's defense, it has always been that way. Such a shame, because this guy has the vocal chops.
Ridiculously gaudy art direction suits the time and subject matter, and Schumacher pulls it off, much like Luhrmann did with the now-classic "Moulin Rouge!". But unlike Luhrmann's masterpiece, 'Phantom' tries too hard to take itself seriously- a big mistake. This is a pop opera, and the film completely misses out on this subtlety. Minnie Driver is perfect as the pompous Carlotta, but other actors, like the aforementioned Rossum, just don't get it. And when the production is supposed to take a break from all the overblown effects, like during "Wishing You Were Somehow Here Again", Schumacher decides to fill the set with fake fog. Ugh.
Now, my biggest problem here is the decision to change some of the vocals into plain spoken dialogue. What the hell were they thinking? "Notes" was brilliance in every production, yet here they decide to change half of it into spoken word. Once again, Schumacher misses the point of pop opera. By having everything to music, the play demanded your attention and allowed you to suspend belief- something that is required in this, considering some of the plot.
And the editing. Oh dear lord, some of the sloppiest transitions ever. And this guy is an Oscar nominee in '81? He clearly did not age very well. And anyone else notice some very sour notes? And why, oh why, does the Phantom go from a full head of dark hair to a few strands of blonde as soon as his mask is taken away? Agggghhhhh! Keep the sets and costumes and re-do this. With a new cast, except for Minnie Driver, and for god's sake, never let Mr. Joel 'Batman & Robin' direct anything again.
But then word came that Joel Schumacher was to direct.
Known for his technicolour explosions and elaborate set designs, Mr. Schumacher may seem to be a perfect candidate to head this production; but we also get some of the worst editing ever committed to film, gaudy effects, horrid acting and an all-around disaster. Things start off well for 'Phantom', with an excellent introduction complete with Moulin Rouge-style "postcard" digital grading effect- an excellent tool for the subject material. Then we get a rousing sequence with the chandelier, and the excellent "Rehearsal for Hannibal". Then things quickly fall apart with the introduction of the film's female lead, Emmy Rossum. The character Christine is clearly meant to be a prodigy- someone that we are to gaze in awe over, someone that we are to get out of our seats and yell with an enthusiastic "Bravo!" Rossum, unfortunately, does not suit the bill. While an excellent vocalist, she is unable to capture the mysterious X quality that draws us to a character. She stands there with a vacant stare, one that is supposed to represent nervousness, or wonderment, or whatever. She is unable to show any real emotion, and it's more or less like watching a singing wooden plank. Think a young, female Keanu Reeves. Patrick Wilson as Raoul is similarly bland- although in the film's defense, it has always been that way. Such a shame, because this guy has the vocal chops.
Ridiculously gaudy art direction suits the time and subject matter, and Schumacher pulls it off, much like Luhrmann did with the now-classic "Moulin Rouge!". But unlike Luhrmann's masterpiece, 'Phantom' tries too hard to take itself seriously- a big mistake. This is a pop opera, and the film completely misses out on this subtlety. Minnie Driver is perfect as the pompous Carlotta, but other actors, like the aforementioned Rossum, just don't get it. And when the production is supposed to take a break from all the overblown effects, like during "Wishing You Were Somehow Here Again", Schumacher decides to fill the set with fake fog. Ugh.
Now, my biggest problem here is the decision to change some of the vocals into plain spoken dialogue. What the hell were they thinking? "Notes" was brilliance in every production, yet here they decide to change half of it into spoken word. Once again, Schumacher misses the point of pop opera. By having everything to music, the play demanded your attention and allowed you to suspend belief- something that is required in this, considering some of the plot.
And the editing. Oh dear lord, some of the sloppiest transitions ever. And this guy is an Oscar nominee in '81? He clearly did not age very well. And anyone else notice some very sour notes? And why, oh why, does the Phantom go from a full head of dark hair to a few strands of blonde as soon as his mask is taken away? Agggghhhhh! Keep the sets and costumes and re-do this. With a new cast, except for Minnie Driver, and for god's sake, never let Mr. Joel 'Batman & Robin' direct anything again.