There are few films which manage to capture a sense of magic and mystery at the beginning of their runtime and maintain that same sense throughout the rest of the film. This is one of them, however, and it never disappoints, no matter how many time you see it. The acting is inspired, the music and sets are stunning, and the storyline and character development are some of the best you'll find.
Christine Daae (Teri Polo) is a young French country girl with an angelic yet untrained singing voice, and she meets the womanizing Count de Chagny (Adam Storke) by chance. He sends her to the Paris Opera House to get singing lessons from his old friend Gerard Carriere (Burt Lancaster), but Carriere has just been replaced by the greedy Alain Choleti (Ian Richardson) and his screeching wife Carlotta (Andrea Ferreol). Christine goes to work in the opera house, hoping for a chance to become a singer, and soon begins taking secret lessons from a mysterious "maestro" in a mask (Charles Dance). This maestro turns out to be the famed Phantom of the Opera, who has haunted the opera house for years and remains a total mystery. The film follows Christine, Carriere, de Chagny, and the Phantom as they discover their unlikely connections and struggle against the inevitable end of life as they know it.
"She thought she loved me. And she did, but only for a moment. Still, a moment like that is worth living for."
Charles Dance is simultaneously charming, terrifying, hopeful, tragic, and morbidly humorous in his role as the Phantom, aka Erik. He never overacts or underacts, simply delivers his lines in a way that makes you believe he truly is "bereaved of light," as he says. Watch his subtle facial expressions beneath the mask and the casual way he speaks; it seems he was born for this role. His dramatic flair and brilliant dialogue make him an unforgettable Phantom, far superior to any other in my opinion.
Burt Lancaster is best known for his roles as gangsters and hard-boiled protagonists when he was young, but he shows an incredible amount of dignity and kindness in this role. His relationship with Erik is one of the best parts of the film, and the scenes they share are poignant and solid. Lancaster's eyes almost seem to tell a story of their own, one that seems to overshadow each event that unfolds as if he has already lived this story many times and knows how it will end. Undoubtedly, this is one of Lancaster's greatest roles.
Teri Polo and Adam Storke are more noticeably American than Lancaster, but they still carry their roles well. Polo is an absolutely lovely presence in the film, though her acting is better in some scenes than in others. Her double role as Christine and Belladova is nicely performed, though occasionally a bit confusing. Storke could have used more sympathetic characterization, but he still manages to be endearing and convincing. The love story between Christine and the Count pales in comparison to the passion displayed between Erik and Christine, but then, we don't watch it for them, do we?
In supporting roles, Ian Richardson, Andrea Ferreol, and Jean-Pierre Cassel are equally engaging and important to the story. Richardson and Ferreol are an oddity in villainous couples, in that they seem genuinely fond of one another despite their constant conniving, selfishness, and incompetence. Ferreol's performances onstage during the operas are hilarious, as is Richardson's simple delivery of, "Your bucket!" Cassel is a foxy yet honest inspector brought in to hunt down the Phantom, and his presence is welcome in every scene he appears in. Other minor performances - Jean Rougerie as the kindly curator Jean-Claude, Jacques Mars as the bellowing opera star playing Mephisto, and the silent actor playing a young Gerard - are beautifully done as well.
Highlights of the film include the gorgeous opening credit sequences at the Paris Opera House; the first encounters of Christine and the Phantom; the comedic moments during rehearsals for Faust; Christine and Carlotta's singing duel at the Bistro; Carlotta's unfortunate rodent problem; Gerard's storytelling of Erik's past; Erik's complete shift in personality during his breakdown; the final conversation between Gerard and Erik; the absolutely unforgettable climax between Christine and Erik; and of course the tragic yet fitting ending.
Don't miss seeing this one - it's a treat that only seems to grow more beautiful over the years.
Christine Daae (Teri Polo) is a young French country girl with an angelic yet untrained singing voice, and she meets the womanizing Count de Chagny (Adam Storke) by chance. He sends her to the Paris Opera House to get singing lessons from his old friend Gerard Carriere (Burt Lancaster), but Carriere has just been replaced by the greedy Alain Choleti (Ian Richardson) and his screeching wife Carlotta (Andrea Ferreol). Christine goes to work in the opera house, hoping for a chance to become a singer, and soon begins taking secret lessons from a mysterious "maestro" in a mask (Charles Dance). This maestro turns out to be the famed Phantom of the Opera, who has haunted the opera house for years and remains a total mystery. The film follows Christine, Carriere, de Chagny, and the Phantom as they discover their unlikely connections and struggle against the inevitable end of life as they know it.
"She thought she loved me. And she did, but only for a moment. Still, a moment like that is worth living for."
Charles Dance is simultaneously charming, terrifying, hopeful, tragic, and morbidly humorous in his role as the Phantom, aka Erik. He never overacts or underacts, simply delivers his lines in a way that makes you believe he truly is "bereaved of light," as he says. Watch his subtle facial expressions beneath the mask and the casual way he speaks; it seems he was born for this role. His dramatic flair and brilliant dialogue make him an unforgettable Phantom, far superior to any other in my opinion.
Burt Lancaster is best known for his roles as gangsters and hard-boiled protagonists when he was young, but he shows an incredible amount of dignity and kindness in this role. His relationship with Erik is one of the best parts of the film, and the scenes they share are poignant and solid. Lancaster's eyes almost seem to tell a story of their own, one that seems to overshadow each event that unfolds as if he has already lived this story many times and knows how it will end. Undoubtedly, this is one of Lancaster's greatest roles.
Teri Polo and Adam Storke are more noticeably American than Lancaster, but they still carry their roles well. Polo is an absolutely lovely presence in the film, though her acting is better in some scenes than in others. Her double role as Christine and Belladova is nicely performed, though occasionally a bit confusing. Storke could have used more sympathetic characterization, but he still manages to be endearing and convincing. The love story between Christine and the Count pales in comparison to the passion displayed between Erik and Christine, but then, we don't watch it for them, do we?
In supporting roles, Ian Richardson, Andrea Ferreol, and Jean-Pierre Cassel are equally engaging and important to the story. Richardson and Ferreol are an oddity in villainous couples, in that they seem genuinely fond of one another despite their constant conniving, selfishness, and incompetence. Ferreol's performances onstage during the operas are hilarious, as is Richardson's simple delivery of, "Your bucket!" Cassel is a foxy yet honest inspector brought in to hunt down the Phantom, and his presence is welcome in every scene he appears in. Other minor performances - Jean Rougerie as the kindly curator Jean-Claude, Jacques Mars as the bellowing opera star playing Mephisto, and the silent actor playing a young Gerard - are beautifully done as well.
Highlights of the film include the gorgeous opening credit sequences at the Paris Opera House; the first encounters of Christine and the Phantom; the comedic moments during rehearsals for Faust; Christine and Carlotta's singing duel at the Bistro; Carlotta's unfortunate rodent problem; Gerard's storytelling of Erik's past; Erik's complete shift in personality during his breakdown; the final conversation between Gerard and Erik; the absolutely unforgettable climax between Christine and Erik; and of course the tragic yet fitting ending.
Don't miss seeing this one - it's a treat that only seems to grow more beautiful over the years.