The Phantom of the Opera (Joel Schumacher 2004)

In 2001 Moulin Rouge (Luhrmann) combined stunningly overwhelming aesthetics with powerful musical numbers. The Phantom of the Opera does much the same thing. This is not to say that it is any less effective because it has been done before, indeed, this style of filmmaking – foregoing the constraints of reality in favour of a wholly more colourful, adaptable and awe-inspiring film world – is sadly neglected by contemporary filmmakers. The only draw back is how closely it follows Andrew Lloyd Webber’s musical. Rather than the occasional and musical numbers of Moulin Rouge, The Phantom of the Opera is presented completely in song. Coupled with the, all-be-it incredible, operatic (or classical if you prefer) music style, this makes the film considerably less accessible than it’s 2001 counterpart.

The acting is superb. Most notable is Gerard Butler who plays the Phantom. His interpretation of the Phantom is both monstrous and sympathetic. It becomes surprisingly easy to forget the dark side of the Phantom’s nature as his experiences and desires are gradually revealed to the audience. The audience, like Christine, is drawn to the Phantom and in the final scenes her confusion is mirrored by the confusion of the audience – there is no simple happy ending here, someone will always lose. Though some of the emotion inspired by the tale is lost in the use of music as the only form of expression – sometimes silences and dialogue can be more effective than music – it is still a heart-wrenching tale of unrequited love.

The film is worth watching for its aesthetic merit alone, but if musicals do not appeal this is not for you. Yet if you enjoy tales of love and despair, if you are drawn to the fantastical excesses of the theatre and the colourful romanticised images of Hollywood cinema, then this film is a must see!