HallowScream - The Phantom of the Opera (2004)

       Hey guys, Chuck here. Andrew Lloyd Webber's The Phantom of the Opera, based on the bestselling novel by Gaston Leroux, is one of the most legendary and influential stage musicals of all time. So, it's no real surprise that, back when the musical first hit back in the '80s, it was ripe for a film adaptation. And, Andrew Lloyd Webber approached director Joel Schumacher to bring The Phantom of the Opera to the silver screen. But, due to several delays, said film wouldn't finally see the light of day until 2004, and with a different cast than intended. But, does that help or hurt the movie in the end? Today, for HallowScream, we'll find out as we take a look at Joel Schumacher's The Phantom of the Opera. 

      The movie opens in Paris in the year 1919, where an auction is being held in the burned remains of the Opera Populaire, and we see two individuals who've met before: Madame Giry and Raoul, the Vicomte de Chagny, with the latter winning a bid for a music box of a robed monkey playing cymbals. And, it's here where we see "Lot 666: A Chandelier in Pieces," which is a fallen and broken chandelier that crashed down in the Opera Populaire the night the mysterious Phantom of the Opera set the place ablaze. The chandelier itself has since been repaired and refitted for electric lights. And, as the chandelier rises, we see the years of decay in the Opera Populaire fade, as we transition back to the theatre's glory days. 

       We then transition to 1870, where the cast and crew of the Opera Populaire are preparing a performance of the opera Hannibal, and we meet the new owners, former scrappers Richard Firmin and Gilles André, who are introduced by outgoing theatre manager Monsieur Lefèrve, who is retiring for his health. We also learn that Raoul was appointed to serve as the new financier of the theatre, and would be in attendance of the evening's performance. 

       Unfortunately, however, the Opera Populaire has a few issues. First, there's prima Donna Carlotta, who almost refuses to perform. But, while Firmin and André convince her to sing for them, that's where we get the second issue: the "Opera Ghost," otherwise known as the Phantom of the Opera. The Phantom is not keen on Carlotta's performances, and has frequently caused problems for her. In addition, the Phantom has Box Five left available for his use, while also being paid an exuberant amount of money on a regular basis. 

       Fed up, Carlotta storms out, and has no understudy. It's here where Madame Giry, who oversees the ballet dancers, suggests a young dancer and vocalist named Christine Daaé could fill in for Carlotta. And, after impressing Firmin and André, they allow her to perform that night, where she gets astounding praise from the audience. As for how Christine became a skilled vocalist, she claims to have been trained by the "Angel of Music." This upsets her friend, Meg Giry, but is shrugged off by Raoul, Christine's childhood sweetheart, who invites her to dinner. 

      However, this invitation doesn't sit well with the Phantom, who makes his presence known to Christine and lures her into his lair beneath the Opera Populaire. And, it's here where the Phantom makes his plans known, as he intends to have Christine as the star vocalist, effectively removing Carlotta from the top spot. In addition, it's made clear that the Phantom is in love with Christine, and hopes she will grow to feel the same way. 

       Back in the main lobby of the theatre, André, Firmin, Raoul, and Carlotta reveal a series of letters from the Phantom, all of which refer.to an unpaid salary, Christine taking Carlotta's spot, and so forth. Finally, Madame Giry arrives with another letter, suggesting that for the evening's performance of Il Muto, Carlotta should play the silent role of the Pageboy, with Christine in the role of the Countess, and instructs that Box Five below left vacant for the Phantom's use, as that's where he will watch the performance. 

      However, Firmin and André do the opposite of what the Phantom suggests, casting Christine as the Pageboy and Carlotta as the Countess, and giving Raoul the Phantom's spot in Box Five. Upset, the Phantom switches Carlotta's spray for one that takes her voice away, and hangs the stagehand Joseph Bouquet, disrupting the performance. Christine runs to the roof, with Raoul in pursuit to reassure her that everything is fine, and there is no Phantom. The two declare their love, which further enrages the Phantom. 

       Three months pass, and the Opera Populaire is celebrating New Year's, with Raoul and Christine now engaged to be wed. Although, this is kept secret, as Christine wants to avoid drawing the ire of the Phantom, who arrives with a new opera he's written: Don Juan Triumphant. After he disappears, Raoul confronts Madame Giry, who knows more about the Phantom than she lets on, and she reveals the story to him. Apparently, as a little girl, Madame Giry and her fellow dance students went to a traveling freak show, where one of the attractions was an abused and deformed boy dubbed "the Devil's Child." Taking pity on the boy after he killed his handler, and she led him to the catacombs of the Opera Populaire, where she looked after him ever since. 

       The next day, Christine heads to the cemetery to visit the grave of her father, Gustave Daaé, with the Phantom posing as his spirit to lure her into his grip. Raoul, who followed Christine, snaps her out of her trance, only to fend off an attack from the Phantom. Back at the theatre, Raoul and the managers plan to set a trap for the Phantom: put on the production of Don Juan Triumphant, while having the police on hand to arrest him when he appears. 

      However, that wasn't the Phantom's plan, as during the performance, he strangles performer Uberto Piangi and takes his place, joining Christine on stage. And, after a mesmerizing performance, Christine removes the Phantom's mask, revealing his facial deformity. The Phantom then cuts the supports for the chandelier, and escapes with Christine back to his lair in the catacombs, with Raoul in pursuit. The Phantom attempts to coerce Christine to be with him forever, but it doesn't go over well. Then, Raoul arrives, and pleads with the Phantom to release Christine, only to be strung up and used to make Christine choose: be with the Phantom and save Raoul, or refuse and watch Raoul strangle to death. Seeing the Phantom's actions are due to a life of solitude, Christine kisses him to show one act of compassion. Moved by this, the Phantom released both Raoul and Christine, who leaves her engagement rings with him. And just before an angry mob arrives, the Phantom escapes, leaving only a mask behind. 

       Forty-nine years later, and we see the elderly Raoul take the music box to the grave of Christine, and he spots a single rose there, implying that the Phantom is still alive, and still loves Christine even after her death. 

        So, The Phantom of the Opera, while visually breathtaking, is far from perfect. Now, things like the set and costume designs were fantastic, and of course Schumacher went above and beyond with the architecture. The casting for the most part was decent, with a handful of the cast being actors with genuine music skills. For instance, Patrick Wilson, who plays Raoul, had started off in Broadway musicals, while Emmy Rossum, who plays Christine, got her early start with the Metropolitan Opera in New York. And, both Ciaran Hinds and Simon Callow, who portray Firmin and André, have a background in musical theatre, as does Miranda Richardson, who portrays Madame Giry. Unfortunately, while we don't hear her singing voice apart from one song in the end credits, Minnie Driver was still a fantastic choice to portray Carlotta. 

     Unfortunately, this is where the big elephant in the room comes in: Gerard Butler as the Phantom. Now, it's widely known that, aside from singing in a rock band early on during his pursuit of a career as a lawyer, Butler has no major musical background. So, why was he cast? Well, after seeing his performance in Dracula 2000, Schumacher thought that Butler had the right look for the part, choosing him over names like Antonio Banderas and Hugh Jackman, both of whom HAVE musical experience. On top of that, many noted that, while most iterations of The Phantom of the Opera are really creative with the makeup design for the Phantom's deformity, this movie really half-assed the makeup design for it. But, I won't deny that there are elements of Butler's performance as the Phantom that I did kinda enjoy. 

     Overall, while not a great adaptation of the original novel per se, and I'm sure that another director can bring something fantastic to the film remake of Phantom that Andrew Lloyd Webber announced recently, I do think that Joel Schumacher's The Phantom of the Opera is a decent enough musical film, albeit not a fantastic one. But, along with Tim Burton's Sweeney Todd, it's one I enjoy watching during the Halloween season. 

       Alright guys, this is Chuck signing off, and I will be back for more HallowScream with The Mummy Returns.