I had convinced myself I was going to hate this movie. Among Phantom fans, this 1990 miniseries (later converted into a full film) has the reputation of being the most sentimental and sweet of all POTO adaptations. Being of the group that likes their Phantoms badass and menacing, I was surprised to find that I enjoyed this version, in spite of its lack of Gothic horror and a Punjab-tossing Phantom.
The plot varies quite a bit from other versions of the story. The basic premise I still there: a deformed genius living under an opera house becomes infatuated with a beautiful singer and seeks to make her love him despite his ugliness. Unlike other tellings of the story, this version lacks outright horror: the Phantom never directly kills anyone, they're either by accident or via booby traps, and the most homicidal the Phantom gets is when he threatens to blow up the opera. Romance and comedy replace terror, as most of the story's focus is on the love triangle between the Phantom, Christine, and Raoul, and the rivalry between Christine and the manager's spoiled (and talentless) wife Carlotta. That's not to say the entire film is all roses; the comedy and light-hearted tone of the film all but vanishes by the second half, where the story takes a somber turn as it concentrates on the Phantom's despair at being rejected by Christine and the young opera singer's love for both her suitors. The film is highly emotional (especially the last few minutes, which are guaranteed to make you weep) without feeling forced or sappy.
As Erik (the Phantom), Charles Dance gives the movie much of its emotional impact. In spite of myself, I was charmed by Dance's performance. Initially, I was put off by his out of place American accent, the fact that he has a father in his life (which takes away from the character's sense of loneliness), and his tendency to preen the unmasked portions of his face with a powder puff. But once he started with his sarcastic quips, I began to warm up to him. True, he's a milder version of the insane Phantom we all know and love, but the character's jealousy and longing for love still come through, albeit in a less aggressive manner. And Dance does such a fine job here, conveying emotions purely through his eyes at several points in the story.
The second best performance goes to Burt Lancaster, who plays Erik's father, the former manager of the opera who struggles to protect his son from the world while also protecting the innocent lives threatened by Erik's actions. The character has an interesting history of his own and you really feel for him. Teri Polo and Adam Stroke are less memorable as Christine and Raoul. While Stroke does a passable job, Polo's acting is a bit weird. Though she looks the part, she comes off as a touch ditzy rather than merely naïve.
This film has the virtue of being filmed at the actual Paris Opera House. The sets are all gorgeous and the subdued lighting really gives off a Gothic touch. Special mentions should also be given to the gorgeous costumes and music.
Though far from my ideal version of the story, I cannot deny that this version is one of the better incarnations in terms of quality. The sets are beautiful, most of the acting's great, and by the finale, you're sure to be in tears. Even if you despise the idea of a cuddlier Phantom, watch anyway. Like me, you might just end up enchanted by the time the credits roll.
8/10
The plot varies quite a bit from other versions of the story. The basic premise I still there: a deformed genius living under an opera house becomes infatuated with a beautiful singer and seeks to make her love him despite his ugliness. Unlike other tellings of the story, this version lacks outright horror: the Phantom never directly kills anyone, they're either by accident or via booby traps, and the most homicidal the Phantom gets is when he threatens to blow up the opera. Romance and comedy replace terror, as most of the story's focus is on the love triangle between the Phantom, Christine, and Raoul, and the rivalry between Christine and the manager's spoiled (and talentless) wife Carlotta. That's not to say the entire film is all roses; the comedy and light-hearted tone of the film all but vanishes by the second half, where the story takes a somber turn as it concentrates on the Phantom's despair at being rejected by Christine and the young opera singer's love for both her suitors. The film is highly emotional (especially the last few minutes, which are guaranteed to make you weep) without feeling forced or sappy.
As Erik (the Phantom), Charles Dance gives the movie much of its emotional impact. In spite of myself, I was charmed by Dance's performance. Initially, I was put off by his out of place American accent, the fact that he has a father in his life (which takes away from the character's sense of loneliness), and his tendency to preen the unmasked portions of his face with a powder puff. But once he started with his sarcastic quips, I began to warm up to him. True, he's a milder version of the insane Phantom we all know and love, but the character's jealousy and longing for love still come through, albeit in a less aggressive manner. And Dance does such a fine job here, conveying emotions purely through his eyes at several points in the story.
The second best performance goes to Burt Lancaster, who plays Erik's father, the former manager of the opera who struggles to protect his son from the world while also protecting the innocent lives threatened by Erik's actions. The character has an interesting history of his own and you really feel for him. Teri Polo and Adam Stroke are less memorable as Christine and Raoul. While Stroke does a passable job, Polo's acting is a bit weird. Though she looks the part, she comes off as a touch ditzy rather than merely naïve.
This film has the virtue of being filmed at the actual Paris Opera House. The sets are all gorgeous and the subdued lighting really gives off a Gothic touch. Special mentions should also be given to the gorgeous costumes and music.
Though far from my ideal version of the story, I cannot deny that this version is one of the better incarnations in terms of quality. The sets are beautiful, most of the acting's great, and by the finale, you're sure to be in tears. Even if you despise the idea of a cuddlier Phantom, watch anyway. Like me, you might just end up enchanted by the time the credits roll.
8/10