The best thing about this production is Emmy Rossum’s luminous singing and sensitive acting. Periodically, the movie inserts the black-and-white sequences as pauses. To illustrate the change in time frame, the 1870 sequences, which contain most of the story, are in lush, bright and gold colors, whereas the present, 1919, is conveyed in black-and-white. Overly theatrical, claustrophobic, and a bit stale, this is an extremely stylized production.
While more accomplished and enjoyable than Evita, Phantom is marred by similar problems that had hampered the 1996 musical movie. Phantom of the Opera will suffer when inevitable comparisons are made with Hollywood’s recent high-profile musicals: Baz Luhrmann’s brilliant Moulin Rouge in 2001, and Rob Marshall’s Chicago, which won the 2002 Best Picture Oscar.
Carrying a huge theatrical baggage, this film version is a decidedly mixed bag, an ultra-lavish production that exhibits in its costumes and design the dubious aesthetic of Kitsch–American Kitsch. Surprisingly, The Phantom of the Opera is Joel Schumacher’s first stab at a big Hollywood musical.
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