To have seen, that is, as opposed to have heard. Yet Schumacher has bravely taken aboard this dreck and made of it a movie I am pleased to have seen. Wouldn't get past Simon Cowell, let alone Rodgers & Hammerstein. Let your mind start a journey through a strange new world/Leave all thoughts of the world you knew before/Let your soul take you where you long to be/Only then can you belong to me. (I have the same difficulty with "Waltzing Matilda.") Lyrics like: Every time I see Lloyd Webber's " Phantom," the bit about the "darkness of the music of the night" bounces between my ears, as if, like Howard Hughes, I am condemned to repeat the words until I go mad. You do remember the tunes as you leave the theater, but you don't walk out humming them, you wonder if you'll be able to get them out of your mind. When the chandelier comes crashing down, it's not a shock, it's a historical reenactment. The story is thin beer for the time it takes to tell it, and the music is maddeningly repetitious. I do not think Lloyd Webber wrote a very good musical. In this version, any red-blooded woman would choose the Phantom over Raoul, even knowing what she knows now.īut what I am essentially disliking is not the film, but the underlying material. The character of Raoul, Christine's nominal lover, has always been a fatuous twerp, but at least in the 1925 version, Christine is attracted to the Phantom only until she removes his mask.
The modern Phantom is more like a perverse Batman with a really neat cave. Pierre Lavoie’s ethereal mix of light and shadows perfectly captures the eerie world where a love triangle ensnares, Erik, the beautiful ingénue whom he loves, and the dashing young viscount who wins her heart.There was something unwholesome and pathetic about the 1925 Phantom, who scuttled like a rat in the undercellars of the Paris Opera and nourished a hopeless love for Christine.
With original choreography by Igor Dobrovolskiy set to the music of Francis Poulenc, PHANTOM OF THE OPERA features lush costumes created by Paul Daigle and an intriguing set design by Brian Perchaluk.
But driven by a hopeless love, he becomes a menacing spectre, inhabiting a sinister domain of his own creation. An exile, rejected by the only world he knows, Erik, the Phantom, hides a romantic heart and a sensitive soul. reaching across different cultures and eras. The story has continued to excite the imaginations of readers. Inspired by Gaston Leroux’s 1910 novel, of the same name, Atlantic Ballet Atlantique Canada’s PHANTOM OF THE OPERA is a captivating story which evokes timeless themes and images of outcasts, love, and the power of obsession.
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