Andrew Lloyd Webber’s stage production of The Phantom of the Opera is one of the longest running Broadway shows in history. Since 1988, fans have flocked to the Majestic Theater on West 44th Street to witness the majesty of Webber’s much-admired classic. Now, Phantom aficionados all over the U.S. can catch the show in their own homes. However, whether or not they will be satisfied with the Hollywood adaptation is a matter left unknown.
The Phantom of the Opera, the film, will most likely please those partial toward singing and romance on the big-screen. It is a fabulous production for those who have an affinity for lush-looking musicals. As for fans of the black-and-white silent horror, most will find that Webber and Schumacher’s work has nix on the 1925 original.
Andrew Lloyd Webber’s adaptation takes a classic horror feature and morphs it into a lavish love story that bares a resemblance to Beauty and the Beast. Webber refigures the original full-face mask of the Phantom into a fashion faux pas and an insignificant band-aid of a covering. Here, the Phantom is not as grotesque and horrifying as Lon Chaney’s grim and ghastly portrayal, but rather more of an Antonio Banderas look-alike. And as such, this handsome hunk character, with only a smidgen of scarred flesh, simply doesn’t work.
With a mystifying and magical opening sequence where the chandelier is restored to life and the color is brought back into every aspect of the opera house, The Phantom begins. Legend has it that a phantom haunts the 19th century Paris opera house. Only the legend isn’t a myth; it’s factual. Deep within the cellars of the opera house lives a musical mastermind, who chooses to hide his unsightly face behind a small white mask.
This disfigured man, known as the Phantom of the Opera (Gerard Butler), soon falls in love with Christine Daae (Emmy Rossum), a chorus girl whom the Phantom has been giving voice lessons while she sleeps. The Phantom’s love for Christine grows, and he demands that Christine replace Carlotta (Minnie Driver) as the opera’s leading lady. However, embers begin to burn between Raoul (Patrick Wilson) and Christine, who were once childhood sweethearts, and with this, the Phantom becomes infuriated. In an attempt to cure his broken heart, he spreads fear and holds the opera’s cast, crew, and audience at his mercy.
Friday, January 22, 2010
A Review of the Phantom of the Opera Movie (2004)
Since first hearing of the project a few years ago, I have anxiously awaited this latest interpretation of Gaston Leroux's novel and big-screen adaptation of the Andrew Lloyd Webber stage musical and after seeing Joel Schumacher's vision and interpretation of Sir Andrew's magnificent work, there is only one thing to say - good things do come to those who wait. Visually impressive, at times to the point of mesmerizing and emotionally stimulating, the film touches the heart and soul...and once again reaffirms Hollywood's (and the public's) love of the movie musical.
Set in 1919 Paris, our story opens at an auction being held at the now dilapidated Opera House. Keying in on a breathtakingly beautiful chandelier and cymbal-playing monkey music box, we are suddenly transported to the late 1800's when the Opera House was in its glory. Diva Carlotta, star of every production, believing herself too important, too big, for the leading role in the upcoming production, declines the leads, leaving the door open for an unknown 16 year old named Christine. With a voice beyond compare, the house's owners, Firmin and Andre are bewitched with Christine and anxiously proceed with the production, albeit without their big name draw. But Christine's voice also catches someone else's ear - and heart - that of the Phantom. Long believed to be a legend, but as the movie-going audience can see (and as our Parisian opera lovers will soon learn), is very much a reality. Living both in the rafters and in an underground crypt hidden from all, the Phantom with face hidden by a half-mask, has seduced Christine while secretly giving her singing lessons.
But, as Christine's talent and fame grows, so does the interest of those around her and none moreso than her childhood friend Raoul with whom she has rekindled a friendship that has turned into so much more, much to the chagrin of the Phantom and the terror of all who dare to question his madness.
At the heart of this production is the work of its principals - Gerard Butler, Emmy Rossum and Patrick Wilson. A brilliant move on the part of Schumacher and the producers, virtual unknowns were cast in the principal leads in order to focus on the work as a whole and not one big name to detract from the film's overall splendor. But I assure you, anonymity will not remain much longer. Phantom is certain to change all that. Perhaps the most mesmerizing performance comes from Rossum whose natural beauty is here transformed into that of innocent elegance that gives a believability and sympathy to Christine during her seduction by the Phantom and ultimately as she is forced to chose between the two men that she loves. Beyond her beauty and stage presence, however, is her voice. Her rendition of "Think of Me" rivals that of almost every Christine that I have heard in countless stage productions. But even beyond Rossum is Gerard Butler's Phantom. Quite simply - he is heart stopping. With a carefully balanced, emotionally textured performance that invokes terror, sympathy, awe, mystery, sensuality and love with the unnoticed precision of an atomic clock, Butler could rival the most infamous musical Phantom of them all, Michael Crawford. His chemistry with Rossum is undeniable and to such an extent that one may find themselves clutching their own heart as the story unfolds between the two. But, as with Rossum, even more astounding is his voice. Breathtaking, resounding and guaranteed to transport one's senses and soul into 1870's Paris, Butler is beyond reproach. Adding to the mix is Patrick Wilson's Raoul. Perfectly cast as a counter balance to the mysterious strength and passion of the Phantom, Wilson gives a solidly measured performance and while his chemistry with Rossum is not that of Butler, it nevertheless works well here. Supporting roles have been just as carefully and suitability cast and of note is Minnie Driver as opera diva Carlotta. With a "mightier than thou" attitude, Driver's facial and physical expressiveness conveys volumes with every scene,
But, there is no question that the success and spectacle of this production lies with Schumacher who both wrote and directed the piece. Truer to Webber's work than to the original novel, the magnificence, opulence and grandeur that is most commonly associated with a Phantom production of any type, is captured and recreated on an equally as glorious, yet grander and more detailed scale, thanks to production designer Anthony Pratt and costume designer Alexandra Byrne. Cinematographer John Mathieson whose work you may be most familiar with from "Matchstick Men," competes here with an artistry similar to that of Eduardo Serra in "Girl With a Pearl Earring." With the richness and lushness of the vibrancy of a freshly painted canvas, Mathieson's work compliments an already masterful production with a visual texturization that matches the film's melodic themes, note for note. An effective use of black and white filming by Schumacher in "flashbacks" not only facilitates the story, but serves to underscore the opulent elegance of the overall work. And for film buffs and lovers of the Phantom not only because of Andrew Lloyd Webber, it also serves as a nice tie and acknowledgment to the original 1925 silent film starring Lon Chaney - a version which I also dearly love.
As with another movie musical for which I have unbridled passion, words fail me in describing the brilliance and exceptional quality of Schumacher's Phantom. Andrew Lloyd Webber's production has long been held dear to my heart, not only because of a special significance for me and one that I will always think of fondly with each note I hear from the show, but because of the very essence of the work itself. Stunned and awed by stage productions, the film, dare I say it, puts them to shame. A shining example of the best of Hollywood and the old-fashioned musical extravanaganza, Joel Schumacher has even gone one step better. This is a film to be savored by the senses. This is a story, a film, a love, that will transport you to another time, another place. This is a profoundly breathtaking and entertaining piece of cinema to be enjoyed for ages, the experience of which will pleasurable haunt you long after the credits roll, much like the Phantom has long lingered in the theater rafters.
Christine: Emmy Rossum The Phantom: Gerard Butler Raoul: Patrick Wilson Carlotta: Minnie Driver
Directed by Joel Schumacher. Written by Schumacher and Andrew Lloyd Webber based on the stage musical by Andrew Lloyd Webber and novel by Gaston Leroux. 134 minutes (PG)
Set in 1919 Paris, our story opens at an auction being held at the now dilapidated Opera House. Keying in on a breathtakingly beautiful chandelier and cymbal-playing monkey music box, we are suddenly transported to the late 1800's when the Opera House was in its glory. Diva Carlotta, star of every production, believing herself too important, too big, for the leading role in the upcoming production, declines the leads, leaving the door open for an unknown 16 year old named Christine. With a voice beyond compare, the house's owners, Firmin and Andre are bewitched with Christine and anxiously proceed with the production, albeit without their big name draw. But Christine's voice also catches someone else's ear - and heart - that of the Phantom. Long believed to be a legend, but as the movie-going audience can see (and as our Parisian opera lovers will soon learn), is very much a reality. Living both in the rafters and in an underground crypt hidden from all, the Phantom with face hidden by a half-mask, has seduced Christine while secretly giving her singing lessons.
But, as Christine's talent and fame grows, so does the interest of those around her and none moreso than her childhood friend Raoul with whom she has rekindled a friendship that has turned into so much more, much to the chagrin of the Phantom and the terror of all who dare to question his madness.
At the heart of this production is the work of its principals - Gerard Butler, Emmy Rossum and Patrick Wilson. A brilliant move on the part of Schumacher and the producers, virtual unknowns were cast in the principal leads in order to focus on the work as a whole and not one big name to detract from the film's overall splendor. But I assure you, anonymity will not remain much longer. Phantom is certain to change all that. Perhaps the most mesmerizing performance comes from Rossum whose natural beauty is here transformed into that of innocent elegance that gives a believability and sympathy to Christine during her seduction by the Phantom and ultimately as she is forced to chose between the two men that she loves. Beyond her beauty and stage presence, however, is her voice. Her rendition of "Think of Me" rivals that of almost every Christine that I have heard in countless stage productions. But even beyond Rossum is Gerard Butler's Phantom. Quite simply - he is heart stopping. With a carefully balanced, emotionally textured performance that invokes terror, sympathy, awe, mystery, sensuality and love with the unnoticed precision of an atomic clock, Butler could rival the most infamous musical Phantom of them all, Michael Crawford. His chemistry with Rossum is undeniable and to such an extent that one may find themselves clutching their own heart as the story unfolds between the two. But, as with Rossum, even more astounding is his voice. Breathtaking, resounding and guaranteed to transport one's senses and soul into 1870's Paris, Butler is beyond reproach. Adding to the mix is Patrick Wilson's Raoul. Perfectly cast as a counter balance to the mysterious strength and passion of the Phantom, Wilson gives a solidly measured performance and while his chemistry with Rossum is not that of Butler, it nevertheless works well here. Supporting roles have been just as carefully and suitability cast and of note is Minnie Driver as opera diva Carlotta. With a "mightier than thou" attitude, Driver's facial and physical expressiveness conveys volumes with every scene,
But, there is no question that the success and spectacle of this production lies with Schumacher who both wrote and directed the piece. Truer to Webber's work than to the original novel, the magnificence, opulence and grandeur that is most commonly associated with a Phantom production of any type, is captured and recreated on an equally as glorious, yet grander and more detailed scale, thanks to production designer Anthony Pratt and costume designer Alexandra Byrne. Cinematographer John Mathieson whose work you may be most familiar with from "Matchstick Men," competes here with an artistry similar to that of Eduardo Serra in "Girl With a Pearl Earring." With the richness and lushness of the vibrancy of a freshly painted canvas, Mathieson's work compliments an already masterful production with a visual texturization that matches the film's melodic themes, note for note. An effective use of black and white filming by Schumacher in "flashbacks" not only facilitates the story, but serves to underscore the opulent elegance of the overall work. And for film buffs and lovers of the Phantom not only because of Andrew Lloyd Webber, it also serves as a nice tie and acknowledgment to the original 1925 silent film starring Lon Chaney - a version which I also dearly love.
As with another movie musical for which I have unbridled passion, words fail me in describing the brilliance and exceptional quality of Schumacher's Phantom. Andrew Lloyd Webber's production has long been held dear to my heart, not only because of a special significance for me and one that I will always think of fondly with each note I hear from the show, but because of the very essence of the work itself. Stunned and awed by stage productions, the film, dare I say it, puts them to shame. A shining example of the best of Hollywood and the old-fashioned musical extravanaganza, Joel Schumacher has even gone one step better. This is a film to be savored by the senses. This is a story, a film, a love, that will transport you to another time, another place. This is a profoundly breathtaking and entertaining piece of cinema to be enjoyed for ages, the experience of which will pleasurable haunt you long after the credits roll, much like the Phantom has long lingered in the theater rafters.
Christine: Emmy Rossum The Phantom: Gerard Butler Raoul: Patrick Wilson Carlotta: Minnie Driver
Directed by Joel Schumacher. Written by Schumacher and Andrew Lloyd Webber based on the stage musical by Andrew Lloyd Webber and novel by Gaston Leroux. 134 minutes (PG)
Friday, January 15, 2010
《武林笑传》王子造型首曝光 成“史上最帅跑堂”
前不久电影《武林笑传》曝光首轮演员造型，人气高涨的黄奕首当其冲打了头炮。台湾人气爆棚的王子则紧跟黄奕之后，成为第二位被曝光的片中主演。虽然在《武林笑传》中王子将饰演跑堂小二“白沙堂”，但丝毫无妨王子在电影中继续耍帅，成为“史上最帅跑堂”。
王子变唐代“潮人”
照片中的王子一身白色短打的外褂，戴着可爱的瓜皮帽，戏服上增添围脖，古典花纹的腰带等小细节为造型加分。王子脚上那双可爱的靴子，则是时下女生都比较钟爱的款式。这一身劲装打扮配合王子酷酷的POSS和眼神，无疑杀伤力十足。此次《武林笑传》的服装指导启用了《画皮》的服装造型指导BOBO（吴宝玲），当被问及设计王子这套服装的最初构思时，BOBO向我们介绍说，主要是为了更加突出王子饰演的“白沙堂”一角唐代‘潮人’形象。并且透露说，在片中白沙堂除了店小二的身份之外还有更高的社会地位，因而会和一般小二的造型不一样。王子本人对这身造型也相当满意：“这身造型不仅很帅，还可以为武打动作加分，非常喜欢。”
武戏漂亮不用替身
《武林笑传》号称爆笑谐趣动作片，打戏自是不少。在片中，应采儿、何炅、甚至杜海涛都有独门绝技，王子在片中与何炅老师亦有不少的对打戏。
王子笑称在《武林笑传》中“吊威亚”已经成为了家常便饭的事情，可以考虑以后多上体育益智类节目，因为已在片中身手被锻炼的相当敏捷。导演钟少雄也对王子的表现赞赏有加：“原本以为王子的打戏多，要用到很多替身。没想到他的拳脚完全出乎我的意料，不但招式非常漂亮，而且拳拳有力，我敢说，没看过《武林笑传》这部电影的，根本就不会知道王子原来这么会打。”
王子变唐代“潮人”
照片中的王子一身白色短打的外褂，戴着可爱的瓜皮帽，戏服上增添围脖，古典花纹的腰带等小细节为造型加分。王子脚上那双可爱的靴子，则是时下女生都比较钟爱的款式。这一身劲装打扮配合王子酷酷的POSS和眼神，无疑杀伤力十足。此次《武林笑传》的服装指导启用了《画皮》的服装造型指导BOBO（吴宝玲），当被问及设计王子这套服装的最初构思时，BOBO向我们介绍说，主要是为了更加突出王子饰演的“白沙堂”一角唐代‘潮人’形象。并且透露说，在片中白沙堂除了店小二的身份之外还有更高的社会地位，因而会和一般小二的造型不一样。王子本人对这身造型也相当满意：“这身造型不仅很帅，还可以为武打动作加分，非常喜欢。”
武戏漂亮不用替身
《武林笑传》号称爆笑谐趣动作片，打戏自是不少。在片中，应采儿、何炅、甚至杜海涛都有独门绝技，王子在片中与何炅老师亦有不少的对打戏。
王子笑称在《武林笑传》中“吊威亚”已经成为了家常便饭的事情，可以考虑以后多上体育益智类节目，因为已在片中身手被锻炼的相当敏捷。导演钟少雄也对王子的表现赞赏有加：“原本以为王子的打戏多，要用到很多替身。没想到他的拳脚完全出乎我的意料，不但招式非常漂亮，而且拳拳有力，我敢说，没看过《武林笑传》这部电影的，根本就不会知道王子原来这么会打。”
Thursday, January 7, 2010
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