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The Phantom of the Opera (2004 film)

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The Phantom of the Opera
Poto2.jpg
Theatrical poster
Directed by Joel Schumacher
Produced by Andrew Lloyd Webber
Screenplay by Joel Schumacher
Andrew Lloyd Webber
Based on The Phantom of the Opera 
by Andrew Lloyd Webber
Charles Hart
Richard Stilgoe
Gaston Leroux
Le Fantôme de l'Opéra by Gaston Leroux
Starring Gerard Butler
Emmy Rossum
Patrick Wilson
Miranda Richardson
Minnie Driver
Simon Callow
Ciaran Hinds
Music by Andrew Lloyd Webber
Cinematography John Mathieson
Edited by Terry Rawlings
Production
company
Really Useful Films
Joel Schumacher Productions
Odyssey Entertainment
Scion Films
Distributed by Warner Bros. Pictures
Release dates
  • December 10, 2004 (2004-12-10) (United Kingdom)
  • December 22, 2004 (2004-12-22) (United States)
Running time
143 minutes[1]
Country United States
United Kingdom
Language English
Budget $70 million[2]
Box office $154,648,887[2]

The Phantom of the Opera is a 2004 British film adaptation of Andrew Lloyd Webber's 1986 musical of the same name, which in turn is based on the French novel Le Fantôme de l'Opéra by Gaston Leroux.

Directed by Joel Schumacher, the film was also produced and co-written by Lloyd Webber. The Phantom of the Opera stars Gerard Butler in the title role, Emmy Rossum as Christine Daaé, as well as Patrick Wilson as Raoul, Miranda Richardson as Madame Giry, and Minnie Driver as Carlotta Giudicelli.

The film was announced as early as 1989, but production only started in 2002 due to Lloyd Webber's divorce and Schumacher's busy career. It was entirely shot at Pinewood Studios, with sceneries also being depicted with the help of miniatures and computer graphics. Rossum, Wilson, and Driver had singing experience, but Butler had no experience and had to receive music lessons. The Phantom of the Opera grossed approximately $154 million worldwide, and received mixed reviews, praising the visuals and acting but criticising the writing and directing.

Plot[edit]

In 1919, the dilapidated Paris Opera House holds an auction. The elderly Viscount of Chagny purchases a coveted music box in a shape of a monkey wearing Persian robes and playing cymbals. During the auction, he spots Madame Giry, whom he met as a young man. Their attention is called on by the next piece for auction, lot 666: a chandelier in pieces which has been restored and newly wired with electricity. As the auctioneers display the restored chandelier, it illuminates and slowly rises to its old place in the rafters as the opening crescendo of music wipes away the years of decay from the opera house. The black and white turns into color, and the audience is transported back in time to 1870, when the opera house was still in its prime.

The opera house is purchased by two new owners, Richard Firmin and Gilles André, who are of the "scrap metal" industry and have no experience in theater. While the cast are rehearsing Hannibal, Madame Giry, who is the ballet mistress and the mother of Meg Giry, introduces them to Christine Daaé, a ballet dancer and young but talented singer. The young viscount, Raoul, is introduced to the cast, and Christine recognizes him as her childhood love. He does not see her, however, and she says nothing to get his attention, assuming he would not recognize her. While performing an aria, a backdrop falls from the ceiling and almost crushes Carlotta Giudicelli, the soloist and lead soprano, who immediately resigns from the house. Meanwhile, a dark figure leaves the spot where the backdrop used to be and an envelope falls to the floor. Madame Giry opens it and reads the letter signed from the "Opera Ghost", a specter-like entity who lives somewhere within the opera house and is believed to be a ghost. He apparently watches every show and was paid twenty thousand francs a month by the previous owner of the house. Firmin and André scramble to replace Carlotta, and Christine is chosen after singing for them. That night she sings beautifully, and the Opera Ghost hears her through the vents.

During Christine's performance, Raoul recognizes her from his childhood. After the show, Christine goes to the chapel to light a candle for her father, who died when she was six years old. Meg asks Christine how she learned to sing so well. Christine explains that the Angel of Music comes to her and tutors her. She has never met him and thinks her father sent this "angel" to help her, but in fact it is the Opera Ghost, or Phantom of the Opera, who teaches her. Later she is in her dressing room, where she reunites with Raoul. He plans to take her to supper, but she declines, saying that the Angel is very strict. Raoul ignores her and leaves to prepare for their date. The Phantom locks Christine in her room and sings to her about his displeasure that Raoul is trying to court her. Christine apologizes, asking him to come to her. He reveals himself through her mirror and leads her away.

Christine goes with the Phantom to his lair underneath the opera house. He reveals to her that he loves her and wants her to love him back. He shows Christine a bust of herself, wearing a wedding dress and veil, causing her to faint, and the Phantom places her in a bed. The next morning she awakes to find the Phantom writing music. She approaches him and removes his mask out of curiosity. He bursts into a fit of rage, covering his face with his hand. He at first says she must stay forever because she saw his deformities, revealing that he "dreams of beauty". Pitying him Christine hands him back his mask and the two have a moment of understanding. He then decides to return her to the opera house.

That morning, the two managers lament Christine's disappearance, as well as series of notes they received from the Opera Ghost trying to blackmail them for his payment and ordering them on how to run the opera house. When Carlotta returns, she is furious to find a note sent to her saying if she sang as the countess in Il Muto that night instead of Christine, then disaster "beyond [their] imagination" would occur. Firmin and André ignore the ghost's warnings and give Carlotta the lead role. That night, the Phantom interrupts the performance and criticizes their failure to follow his orders.

Carlotta continues to sing, but her voice croaks and the lead role is given to Christine. While the ballet is being performed, the Phantom hangs Buquet, chief of the flies, and drops him from above, creating chaos. Christine flees to the roof with Raoul. She reveals to him that she has seen the Phantom's face and fears him, but also pities him because of his sadness. Raoul tells Christine he loves her and will protect her forevermore. Christine returns his love, kissing him passionately and they both leave the roof. The Phantom, who witnessed the scene, becomes heartbroken. He then hears them both singing together. Growing furious at Raoul, he vows revenge on them both.

Three months later, a masquerade party ensues in the opera house. At the party, Christine wears her new engagement ring from Raoul. The event is interrupted once again by the Phantom, who is dressed as Red Death. The Phantom brings his own composition, Don Juan Triumphant, and orders the managers to stage the opera. Raoul exits the room and Christine approaches the Phantom. At the sight of the engagement ring, the Phantom rips it from Christine and disappears into a trap on the floor. Raoul tires to follow him but is stopped by Madame Giry, who privately tells him the story of the Phantom's past. When she was a little girl, she went to a freak circus where they featured a deformed child in a cage. The child was beaten while everyone watched and laughed. The ringmaster then removed a burlap sack covering the child's face, revealing his deformity. Only the young Madame Giry pitied him. She was the last to leave and saw the child strangle the ringmaster with a rope. Chased by the police, Madame Giry helped him escape and found shelter for him beneath the opera house, where she has hidden him from the world ever since.

Christine takes a carriage to visit her father's grave, but the Phantom secretly takes over the reins. Raoul follows when he realizes she's gone. Christine arrives and laments over her father's death. The Phantom tries to win her back by pretending to be her father's angel, but Raoul arrives and stops him. A sword fight ensues in the cemetery, where Raoul eventually disarms the Phantom and is about to kill him, but Christine pleads for him not to. His rage seemingly augmented, the Phantom watches angrily as Christine and Raoul ride away.

Christine admits she is afraid of the Phantom and tells Raoul he will never stop trying to recapture her. Raoul realizes that they can use the Phantom's opera to capture him, as he will surely attend. Don Juan Triumphant is performed, and the Phantom makes his entrance as the lead with Christine. Raoul can do nothing but watch from his box as Christine falls for the Phantom yet again. However, she once again removes his mask, revealing his deformities to the entire audience, who scream in fear. He escapes with her by dropping the chandelier and setting the opera house on fire.

The Phantom brings Christine back down to his lair. Madame Giry shows Raoul where the Phantom lives, and he goes to rescue Christine. The Phantom forces Christine to don the wedding dress and once again professes his love, and orders Christine to marry him. Christine tries to convince the Phantom that she does not fear his ugliness, but rather his anger and willingness to kill to get what he wants. Just then, Raoul enters the lair, and the Phantom ties him to a gate and threatens to kill him if Christine refuses to marry him. Christine reflects over the impossible choice before passionately kissing the Phantom to show him he is not alone in the world. The Phantom is shocked from experiencing real human love for the first time in his life. Ashamed of his murderous actions, he allows Christine and Raoul to leave and orders them to never return. He finds comfort in a little monkey music box. Christine approaches the Phantom, who tells her that he loves her, and she silently gives him the diamond ring from her finger to remember her by. After Christine and Raoul leave, the Phantom smashes every mirror in his underground lair and disappears through a secret passage behind a velvet curtain just before the police arrive. Upon entering, Meg finds only the Phantom's white mask.

Back in the present, the elderly Raoul goes to visit Christine's tomb, which reveals that she died only two years before, in 1917, at age 63. Her tombstone says "Countess of Chagny" and "beloved wife and mother", revealing she married Raoul and had children. He lays the monkey music box at her grave site and notices a red rose with a black ribbon tied around it (a trademark of the Phantom) with the engagement ring attached to it, implying that the Phantom is still alive, and will always love Christine.

Cast[edit]

Production[edit]

Development[edit]

Warner Bros. purchased the film rights to The Phantom of the Opera in early 1989, granting Andrew Lloyd Webber total artistic control.[3] Despite interest from A-list directors, Lloyd Webber and Warner Bros. instantly hired Joel Schumacher to direct; Lloyd Webber had been impressed with Schumacher's use of music in The Lost Boys.[4] The duo wrote the screenplay that same year,[5] while Michael Crawford and Sarah Brightman were cast to reprise their roles from the original stage production. Filming was set to begin at Pinewood Studios in England in July 1990, under a $25 million budget.[6]

However, the start date was pushed to November 1990 at both Babelsberg Studios in Munich, Germany and Barrandov Studios in Prague, Czech Republic.[7] Production for The Phantom of the Opera was stalled with Lloyd Webber and Brightman's divorce.[8] "Everything got tied up in settlements", Schumacher reflected. "Then my career took off and I was really busy."[9] As a result, The Phantom of the Opera languished in development limbo for Warner Bros. throughout the 1990s.[10] In February 1997, Schumacher considered returning, but eventually dropped out in favour of Batman Triumphant, Runaway Jury and Dreamgirls.[11] The studio was keen to cast John Travolta for the lead role,[12] but also held discussions with Antonio Banderas, who undertook vocal preparation and sang the role of the Phantom in the TV special, Andrew Lloyd Webber: The Royal Albert Hall Celebration.[13]

Schumacher and Lloyd Webber restarted development for The Phantom of the Opera in December 2002.[5] It was then announced in January 2003 that Lloyd Webber's Really Useful Group had purchased the film rights from Warner Bros. in an attempt to produce The Phantom of the Opera independently.[13] As a result, Lloyd Webber invested $6 million of his own money.[14] The Phantom of the Opera was produced on a $55 million budget. A further $15 million was used for marketing, bringing the final budget to $70 million.[2] Warner Bros. was given a first look deal for distribution; the studio did not sign on until June 2003, when the principal cast was chosen.[15]

Casting[edit]

Hugh Jackman was offered the chance to audition for the Phantom, but he faced scheduling conflicts with Van Helsing. "They rang to ask about my availability", Jackman explained in an April 2003 interview, "probably about 20 other actors as well. I wasn't available, unfortunately. So, that was a bummer."[16] "We needed somebody who has a bit of rock and roll sensibility in him", Andrew Lloyd Webber explained. "He's got to be a bit rough, a bit dangerous; not a conventional singer. Christine is attracted to the Phantom because he's the right side of danger."[5] Director Joel Schumacher had been impressed with Gerard Butler's performance in Dracula 2000.[17] Prior to his audition, Butler had no professional singing experience and had only taken four voice lessons before singing "The Music of the Night" for Lloyd Webber.[3]

Katie Holmes, who began working with a vocal coach, was the front-runner for Christine Daaé in March 2003.[18] She was later replaced by Anne Hathaway, a classically trained soprano, in 2004. However, Hathaway dropped out of the role because the production schedule of the film overlapped with The Princess Diaries 2: Royal Engagement, which she was contractually obligated to make.[19] Hathaway was then replaced with Emmy Rossum. The actress modeled the relationship between the Phantom and Christine after Suzanne Farrell and George Balanchine.[14] Patrick Wilson was cast as Raoul based on his previous Broadway theatre career. For the role of Carlotta, Minnie Driver devised an over-the-top, camp performance as the egotistical prima donna. Despite also lacking singing experience, Ciarán Hinds was cast by Schumacher as Richard Firmin; the two had previously worked together on Veronica Guerin.[4] Ramin Karimloo also briefly appears as the portrait of Gustave Daaé, Christine's father. Karimloo had previously played the lead role as well as the role of Raoul on London's West End. He later reprised the role in the sequel to the original stage musical Love Never Dies, and was also cast as the Phantom for the 25th Anniversary Concert of the musical in October, 2011.

Filming[edit]

Principal photography for Phantom of the Opera lasted from September 15, 2003 to January 15, 2004. The film was shot entirely using eight sound stages at Pinewood Studios,[20] where, on the Pinewood backlot, the bottom half exterior of the Palais Garnier was constructed. The top half was implemented using a combination of computer-generated imagery (CGI) and a scale model created by Cinesite. The surrounding Paris skyline for "All I Ask of You" was entirely composed of matte paintings.[4] Cinesite also created a miniature falling chandelier, since a life-size model was too big for the actual set.[21]

Production designer Anthony D. G. Pratt was influenced by French architect Charles Garnier, designer of the original Paris opera house, as well as Edgar Degas, John Singer Sargent, Gustave Caillebotte, the Pre-Raphaelite Brotherhood and Dante Gabriel Rossetti. Schumacher was inspired by Jean Cocteau's Beauty and the Beast (1946), where a hallway is lined with arms holding candelabra. The cemetery was based on the Père Lachaise and Montparnasse.[22] Costume designer Alexandra Byrne utilised a limited black, white, gold and silver colour palette for the Masquerade ball.[4]

Reception[edit]

Release and awards[edit]

The Phantom of the Opera was released in the United States on December 22, 2004. With a limited release of 622 theaters, it opened at tenth place at the weekend box office, grossing $6.5 million across five days.[23] After expanding to 907 screens on January 14, 2005[24] the film obtained the 9th spot at the box office,[25] which it retained during its 1,511 screens wide release on January 21, 2005.[26][27] The total domestic gross was $51,225,796. With a further $107 million earned internationally, The Phantom of the Opera reached a worldwide total of $158,225,796.[2] A few foreign markets were particularly successful,[28] such as Japan, where the film's ¥4.20 billion ($35 million) gross stood as the 6th most successful foreign film and 9th overall of the year.[29][30] The United Kingdom and South Korea both had over $10 million in receipts, with $17.5 million and $11.9 million, respectively.[2][31]

Anthony Pratt and Celia Bobak were nominated for the Academy Award for Best Art Direction, as was John Mathieson for Cinematography. However, both categories were awarded to The Aviator. Andrew Lloyd Webber and lyricist Charles Hart were nominated for the Academy Award for Best Original Song ("Learn to Be Lonely") but lost to "Al otro lado del río" from The Motorcycle Diaries.[32] The song was also nominated for the Golden Globe but it lost to Alfie's "Old Habits Die Hard". In the same ceremony, Emmy Rossum was nominated for Best Actress in a Motion Picture Musical or Comedy, losing to Annette Bening in Being Julia.[33] At the Saturn Awards, Rossum won for Best Performance by a Younger Actor,[34] while The Phantom of the Opera was nominated for Best Action/Adventure/Thriller Film and Alexandra Byrne was nominated for Costume Design.[35]

The soundtrack of the film was released in two separate CD formats on November 23, 2004, as a 2-disc deluxe edition which includes dialogue from the film and a single-disc highlights edition. The film had its initial North America video release on DVD and VHS on May 3, 2005, following its first digital release on HD-DVD on April 18, 2006 and a Blu-ray edition on October 31, 2006.

Critical reception[edit]

The film received generally mixed reviews from film critics. Even though 86% of the general audience liked the film, based on 384,463 audience reviews collected by Rotten Tomatoes, only 33% of the critics enjoyed The Phantom of the Opera, with an average score of 5/10. "The music of the night has hit something of a sour note: Critics are calling the screen adaptation of Andrew Lloyd Webber's popular musical histrionic, boring and lacking in both romance and danger", the consensus read. "Still, some have praised the film for its sheer spectacle".[36] By comparison, Metacritic calculated an average score of 40/100 from its 39 reviews collected.[37]

"The film looks and sounds fabulous and I think it's an extraordinarily fine document of the stage show. While it doesn't deviate much from the stage material, the film has given it an even deeper emotional centre. It's not based on the theatre visually or direction-wise, but it's still got exactly the same essence. And that's all I could have ever hoped for."
— Andrew Lloyd Webber[5]

Despite having been impressed with the cast, Jonathan Rosenbaum of the Chicago Reader wrote that "Teen romance and operetta-style singing replace the horror elements familiar to film-goers, and director Joel Schumacher obscures any remnants of classy stage spectacle with the same disco overkill he brought to Batman Forever."[38] Stephanie Zacharek of Salon.com believed that Phantom of the Opera "takes everything that's wrong with Broadway and puts it on the big screen in a gaudy splat."[39]

In a mixed review for Newsweek, David Ansen praised Emmy Rossum's performance, but criticised the filmmakers for their focus on visual design rather than presenting a cohesive storyline. "Its kitschy romanticism bored me on Broadway and it bores me here—I may not be the most reliable witness. Still, I can easily imagine a more dashing, charismatic Phantom than Butler's. Rest assured, however, Lloyd Webber's neo-Puccinian songs are reprised and reprised and reprised until you're guaranteed to go out humming."[40] Owen Gleiberman of Entertainment Weekly believed Schumacher did not add enough dimension in adapting The Phantom of the Opera. "Schumacher, the man who added nipples to Batman's suit, has staged Phantom chastely, as if his job were to adhere the audience to every note".[41]

Roger Ebert reasoned that "part of the pleasure of movie-going is pure spectacle—of just sitting there and looking at great stuff and knowing it looks terrific. There wasn't much Schumacher could have done with the story or the music he was handed, but in the areas over which he held sway, he has triumphed."[42] In contrasting between the popularity of the Broadway musical, Michael Dequina of Film Threat magazine explained that "it conjures up this unexplainable spell that leaves audiences sad, sentimental, swooning, smiling—in some way transported and moved. Now, in Schumacher's film, that spell lives on."[43]

See also[edit]

References[edit]

  1. ^ "Andrew Lloyd Webber's The Phantom of the Opera (12A)". British Board of Film Classification. 2004-08-26. Retrieved 2013-03-04. 
  2. ^ a b c d e "The Phantom of the Opera (2004)". Box Office Mojo. Retrieved March 18, 2013. 
  3. ^ a b Staff (2004-08-10). "Movie Preview: The Phantom of the Opera". Entertainment Weekly. Retrieved 2009-09-25. 
  4. ^ a b c d The Making of The Phantom of the Opera, [DVD, 2005], Warner Home Video
  5. ^ a b c d DVD production notes
  6. ^ Susan Heller Anderson (1990-03-31). "Chronicle". The New York Times. 
  7. ^ Lawrence Van Gelder (1990-08-10). "At the Movies". The New York Times. 
  8. ^ Staff (2004-08-10). "Movie Preview: The Phantom of the Opera". Entertainment Weekly. Retrieved 2009-09-25. 
  9. ^ Todd Gilchrist (2004-12-20). "Interview: Joel Schumacher". IGN. Retrieved 2009-09-26. 
  10. ^ Michael Fleming (2003-04-01). "'Phantom' cues Wilson for tuner's adaptation". Variety. Retrieved 2009-09-20. 
  11. ^ Michael Fleming (1997-02-21). "Helmer's 3rd At Bat". Variety. Retrieved 2009-09-19. 
  12. ^ Michael Fleming (1997-05-15). "Krane Takes Bull By Horns". Variety. Retrieved 2009-09-19. 
  13. ^ a b Michael Fleming (2003-01-09). "Lloyd Webber back on 'Phantom' prowl". Variety. Retrieved 2009-09-19. 
  14. ^ a b Phoebe Hoban (2004-12-24). "In the 'Phantom' Movie, Over-the-Top Goes Higher". The New York Times. 
  15. ^ Adam Dawtrey (2003-06-13). "'Phantom' pic announces latest castings". Variety. Retrieved 2009-09-20. 
  16. ^ Michelle Zaromski (2003-04-29). "An Interview with Michael Jakson". IGN. Retrieved 2009-09-25. 
  17. ^ Lynn Hirschberg (2005-03-13). "Trading Faces". The New York Times. 
  18. ^ Michael Fleming (2003-03-13). "'Men' treads carefully into sequel territory". Variety. Retrieved 2009-09-20. 
  19. ^ "Anne Hathaway: Biography". TV Guide. Retrieved October 19, 2009. 
  20. ^ Staff (2003-10-01). "Production Commences On 'Andrew Lloyd Webber's The Phantom of the Opera'". Box Office Mojo. Retrieved 2009-09-26. 
  21. ^ Skweres, Mary Ann (2004-12-22). "Phantom of the Opera: A Classic in Miniature". Animation World Network. Retrieved 2009-12-23. 
  22. ^ Missy Schwartz (2004-11-05). "Behind the Music". Entertainment Weekly. Retrieved 2009-09-25. 
  23. ^ Gentile, Gary (2004-12-28). "Audiences glad to 'Meet the Fockers'". Associated Press. Retrieved 2011-02-16. [dead link]
  24. ^ Snyder, Gabriel (2005-01-13). "'Fockers' finds foes". Variety. Retrieved 2011-02-16. 
  25. ^ Blank, Ed (2005-01-18). "'Coach Carter' tops local, national box office in slow weekend". Pittsburgh Tribune-Review. Retrieved 2011-02-16. 
  26. ^ Gans, Andrew (2005-01-21). ""The Phantom of the Opera" Opens Nationwide Jan. 21". Playbill. Retrieved 2011-02-16. 
  27. ^ "Weekend Box Office Results for January 21–23, 2005". Box Office Mojo. Retrieved 2011-02-16. 
  28. ^ Bresnan, Conor (2005-02-02). "Around the World Round Up: 'Fockers' Inherit the World". Box Office Mojo. Retrieved 2011-02-16. 
  29. ^ "MOVIES WITH BOX OFFICE GROSS RECEIPTS EXCEEDING 1 BILLION YEN". Motion Picture Producers Association of Japan. Retrieved 2011-02-16. 
  30. ^ "2005 Japan Yearly Box Office". Box Office Mojo. Retrieved 2011-02-16. 
  31. ^ "The Phantom of the Opera - International Box Office Results". Box Office Mojo. Retrieved 2011-02-16. 
  32. ^ "The Phantom of the Opera". Academy of Motion Picture Arts and Sciences. Retrieved 2009-10-14. 
  33. ^ "Phantom of the Opera, The". Hollywood Foreign Press Association. Retrieved 2009-10-14. 
  34. ^ "Past Saturn Awards". Academy of Science Fiction, Fantasy & Horror Films. Retrieved 2009-10-14. 
  35. ^ "2005 Saturn Awards Nominations". Academy of Science Fiction, Fantasy & Horror Films. Retrieved 2009-10-14. 
  36. ^ "Andrew Lloyd Webber's The Phantom of the Opera". Rotten Tomatoes. Retrieved 2009-09-19. 
  37. ^ "Andrew Lloyd Webber's The Phantom of the Opera". Metacritic. Retrieved 2009-09-19. 
  38. ^ Jonathan Rosenbaum (2004-12-20). "The Phantom of the Opera". Chicago Reader. Retrieved 2009-10-06. 
  39. ^ Stephanie Zacharek (2004-12-22). "The Phantom of the Opera". Salon.com. Retrieved 2009-10-06. 
  40. ^ David Ansen (2004-12-20). "The Phantom of the Opera: Into the Night". Newsweek. Retrieved 2009-10-09. 
  41. ^ Owen Gleiberman (2005-01-15). "The Phantom of the Opera". Entertainment Weekly. Retrieved 2009-10-09. 
  42. ^ Roger Ebert (2004-12-22). "The Phantom of the Opera". Chicago Sun-Times. Retrieved 2009-10-09. 
  43. ^ Michael Dequina (2004-12-22). "Andrew Lloyd Webber's The Phantom of the Opera". Film Threat. Archived from filmthreat .com/Reviews.asp?Id=6784 the original on 2005-04-11. Retrieved 2009-10-09. 

External links[edit]