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Gerard Butler, Emmy Rossum, Patrick Wilson, Minnie Driver, Miranda Richardson ... see more see more... , Simon Callow , Ciarán Hinds , Jennifer Ellison , James Fleet , Victor McGuire , Kevin McNally , Murray Melvin , Paul Brooke , Laura Hounsom , Chris Overton , Imogen Bain , Miles Western , Judith Paris , Halcro Johnston , Oliver Chopping , Alison Skilbeck , Lee Sellers , Ramin Karimloo , Annabel Porter , Max Thomas , Gavin Lee , Graeme Crowther , Duane Lee Chapman Jr. , Carlos Otero , Adam Pudney , Mark Carroll , Ashley Wallen , Chris Jarvis , David Langham , Jesika Cannon , Lucy Casson , Lorraine Stewart , José Luis Tirado , Jonathan D. Ellis , Margaret Preece , David Arneil , Annalene Beechey , Valerie Cutko , Tricia Deighton , John Griffiths , Mandy Holliday , Sophie Louise Dann , Jackie Marks , Graham McDuff , Brian Wheeler , Julia Worsley , Sebastien Torkia , Greet Botterman , Elena Buda , Tess Cunningham , Liesl Dowsett , Pia Driver , Kathryn Dunn , Sophia Hurdley , Amy Lawson , Lucy Potter , Kirsty Tapp , Richard Bayliss , Ralph Broadbent , Cameron Alexander , Paul Costin , Matthew Draper , Ben Gant , Jonathon Hill , Timothy Kipling , Jonathan Kitchen , Tristan Keyte , Michael Mansbridge , Jeff Moore , Julian Poole , James Pullman , Robert Purvis , Dave Tosh , Chris Worsey , Andrew Charles Corbett , Sarah Frasca , Pascal Langdale , Damien Lee Stirk , Isabel Lesto , Remy Martyn , Sandra Ramirez , Beth Sheather , Annika Strandberg , Stephen Berkeley , Rod Buchanan , Deborah Bundy , Philip Catchpole , Nathan Clarke , Blake Clayfield , Dawn Collins , Gem Collingwood , Casper Cornish , Rachael Crocker , Janine Davis , Leigh Daniels , Simone De La Rue , Miles Elkington , Joanna Ernest , Candice Evans , Guilia Florimo , Ben Garner , Clinton Goldsmith , Claire Goodman , Juliet Gough , Georgina Hagerty , Maddy G. Harris , Damien Jackson , Ryan Jenkins , Caroline Lynn , Alec Mann , Paul Micha , Luis Gallo Mudarra , Marilena Nicolaon , Gabriel Noble , Melanie Perks , Maryam Pourian , Pippa Raine , Lorena Randi , Michael Small , Aaron Sillis , Lisa Stevens , Tom Tanscy , Marcus Tesch , Stephen B. White , Gavin Wilkinson , Scott Wyer , Joanna Woodliffe , Rebekah Dobbins , Ruben Halse , Lee Jerova , Damian Jones , Vanessa Perroncel , Terry Kelly

One of the most popular stage musicals in the history of Broadway and London's West End makes its long-awaited arrival on the motion-picture screen in this lavish adaptation directed by Joel Schumache... read more read more...r. Christine (Emmy Rossum) is a beautiful and gifted young woman who longs to join the company of the Paris Opera House. During rehearsals for one of the opera's grand productions, a backdrop falls and crashes to the floor, nearly crushing leading lady Carlotta (Minnie Driver). When several members of the company suggest this could be the work of the "Phantom of the Opera," a spectral presence said to haunt the building, Carlotta drops out of the show, and the fates permit Christine to step in as her replacement. Christine's performance is a triumph, and on opening night she becomes reacquainted with Raoul (Patrick Wilson), a former childhood friend who is now a wealthy and well-known nobleman. Christine soon finds herself smitten with the handsome Raoul, but the same evening she makes a startling discovery -- the story of the Phantom is not just a legend. A brilliant but horribly disfigured composer (Gerard Butler) lives deep in the depths of the opera house, and taken with the beauty of Christine's voice, he abducts her and brings her to his lair, where he offers to help her perfect her talents, offering to write an opera especially for her. As the terrified Christine is comforted by Raoul, the two fall in love, but the phantom sees her affection for Raoul as a tremendous betrayal, and the jealous phantom nearly kills Christine as he nearly killed Carlotta. When the phantom emerges to present the opera's management with the piece he has written for Christine, the singer is asked to put her life on the line in an effort to capture the mad genius once and for all. Andrew Lloyd Webber's musical version of Gaston Leroux's novel, which had already enjoyed several stage and screen adaptations in the past, opened in London in 1986 and has been a popular favorite around the world ever since; the show was still running in New York and London when the film version premiered in late 2004. ~ Mark Deming, Rovi

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165 critics

PG-13, 2 hr. 23 min.

Directed by: Joel Schumacher

Release Date: January 21, 2005

Keywords: musical, awful

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DVD Release Date: May 3, 2005

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Flixster Reviews (34,492)

  • CloudStrife84
    May 23, 2012
    CloudStrife84
    To be perfectly honest, I've never been a big fan of musicals or musical-inspired movies. This, however, was a magical and spellbinding exception. The songs are absolutely wonderful and so is the cinematography and acting. Not many films of its kind have had the ability to impres... read mores me, but this one did in more ways than one. It's actually completely changed my view on musicals in general. And that is certainly no small compliment coming from me.
  • fb100002384654145
    May 7, 2012
    fb100002384654145
    The sets and costumes are a visual treat, but the romance elements lack flare and the plot lacks any sense of danger or emotional intrigue. The acting is okay but nobody particularly stand-outs, and the phantom never comes off as scary. The music is fine but the near-constant s... read moreinging gets annoying as the film goes along. I know it is a musical but can people in this movie just say their dialogue and not sing it out loud all the time.
  • fb100000257973100
    October 23, 2011
    fb100000257973100
    Andrew Lloyd Webber. What can be said about him? He has created some of the most memorable musicals in modern day, helped make Sarah Brightman the singer she is, and recreated the complete enjoyment of musicals. But he has also been someone you will either love or hate. Love due ... read moreto his investment in musical theater. Hated due to how overrated he is. My opinion is that he is talented and he does create rather good musicals. I have never, as I am writing this review, seen any of his musicals in person, but from what I have seen via internet and read, I know he is fantastic. The only main problem is with how people transition his work to the screen. Just, something is lost. In some respects, this is the case with The Phantom of the Opera.
    Now, my introduction to this adaptation came from the legions of fans that go to my school who adore this film to no end. And by adore, I mean they know every line, every movement, and fall in love every time Gerard Butler is on screen (oh, don't worry. I will get to him). When I first saw the film, I was not impressed with anything. Yes, I like the musical arrangements, but nothing Schumacher done impressed me with the transaction with the story unto the screen.
    The exception would be the set designs. Watching this film, I had the same feeling I did when I saw Interview With The Vampire: complete aw. The sets in this film are stunningly beautiful and well crafted. But, while I adore the sets and musical arrangements, what saddens me is that you can tell that the budget went to the look of this film and nothing more or less. And, well, that is what lead me to give this film the rating I will.
    I will be open: I can't sing, and I know people who sing: the people in this film can not sing at all. EVEN more Butler. I mean, other then the obvious auto-tuning, he just is not impressive. Actually, I have no idea why they cast him in the role. I have asked people about their opinion on him, and the main reaction I get is that they love him for the sex appeal in this film. Okay, let me make this clear: The Phantom is NOT suppose to be a sex symbol! He is suppose to be a creature of horror whose face makes women faint and men angry to the point they want to put him out of his misogyny. Not to satisfy the sexual desires of people. Plus, he is not that much of a Phantom with how the mask is worn. The mask is meant to cover the face due to what is underneath. Not worn as a fashion item. Basically, the Phantom in this film is terrible. I hate this Phantom.
    The rest of the cast is okay, but not all that good. To me, it seemed like they knew that this film was going to make money no matter what and they are all: to hell with good acting. We are all going to be getting our paychecks regardless. Well, for me, with no believable acting, I just got bored.
    I know that this review looks like I hate this film. I don't. I just don't like the cast. What I do like is the glamour of the film and how beautiful the sets are and the instrumental aspects of the soundtrack. If you want to see beauty, watch this film. If you want to see a true Phantom, watch the original with Lon Chaney. If you want to see a true Phantom with the beauty, watch the stage play (original footage with Michael Crawford and Sarah Brightman).
  • fb1341085175
    October 4, 2011
    fb1341085175
    Com o início de uma nova década, parecia que o filme musical havia caído novamente nas graças do público. Com as eventuais exceçőes, como "Grease' (1978) e "O Show Deve Continuar" (1979) e os musicais Disney nos anos 90, o gęnero estava dormente desde a metade dos anos 60. Provav... read moreelmente o público havia se tornado cínico demais para aceitar os enredos geralmente ingęnuos e simplistas dos musicais, e foi necessário um diretor visionário como Bazz Luhrmann para injetar nova vida ao formato. Fazendo um melange de sucessos da música popular com uma ediçăo ágil e moderna, seu "Moulin Rouge" (2001) criou uma verdadeira sensaçăo, sendo até mesmo indicado ao Oscar de Melhor Filme. No ano anterior, Dançando no Escuro já havia recebido atençăo em meio aos făs de cinema. Já em 2002, a adaptaçăo cinematográfica do sucesso da Broadway Chicago gerou uma das maiores bilheterias do ano, e a produçăo conseguiu a proeza de ser o primeiro musical a levar o Oscar desde Oliver! (1968). Infelizmente, os filmes que pareciam ter sido o renascimento do gęnero logo mostraram ser outras exceçőes. Em 2004 chegou ŕs telas O Fantasma da Ópera, baseado no popular musical de Andrew Lloyd Webber. Apesar do grande pedigree (cujo show bateu o recorde de tempo em cartaz na Broadway), o filme foi duramente criticado e sua bilheteria năo fez jus ŕ lucrativa propriedade. Apesar de Os Produtores de 2005 também năo conseguir dar continuaçăo ŕ onda de sucessos, Dreamgirls se consagrou como um dos maiores filmes de 2006.

    Já adaptado anteriormente para o cinema (a versăo mais popular continua sendo a de 1925, com Lon Chaney como o Fantasma), O Fantasma da Ópera tem início na Paris de 1919, em um leilăo na abandonada Paris Opera House. Graças a um flashback, voltamos a 1870, onde o teatro estava em seus anos áureos. Ensaios estăo acontecendo para Hannibal de Chalumeau, apresentando a estrela da ópera Carlotta Giudicelli (Minnie Driver). Quando a cantora sofre um "acidente" (causado na verdade por uma figura misteriosa), a corista Christine Daač (Emmy Rossum) a substitui na peça, e recebe grande aclamaçăo do público. Na sua noite de estréia, ela reconhece na platéia Raoul (Patrick Wilson), o seu romance de infância. Mas Christine é assombrada por sonhos de uma figura que ela acha ser seu falecido pai, e que se apresenta para ela após sua estréia. O homem misterioso logo se revela na figura do Fantasma da Ópera (Gerald Butler), que tenta fazer o máximo para levar Christine ao estrelato. Logo, esta sua relaçăo se transforma em obsessăo, e a jovem se encontra no meio de uma disputa entre o Fantasma e Raoul.

    O Fantasma da Ópera foi dirigido por Joel Schumacher, o homem responsável por transformar a franquia do Batman em um desfile de cores e carros alegóricos com Batman Eternamente (1995) e Batman & Robin (1997). Sendo este um musical suntuoso, Schumacher parece se sentir em casa com cenários e figurinos extravagantes e opulentos. De fato, o filme faz jus ŕs suas indicaçőes ao Oscar, pois, com suas luxuosas roupas e sua belíssima fotografia, é um dos filmes mais belos visualmente dos últimos anos. As cançőes de sucesso săo as mesmas do musical da Broadway, das quais se destacam as memoráveis "The Phantom of the Opera" e "All I Ask of You". Com tantos ingredientes que fazem um musical de qualidade, é uma pena que a construçăo da história năo faça justiça ao conjunto total. A história de amor e obsessăo está presente, mas sem a paixăo e o medo que se poderia esperar. Isto pode ser culpado ŕ falta de desenvolvimento dos personagens que, pulando de um número musical para outro, năo conseguem demonstrar muito a relaçăo existente entre si. Deste modo, o triângulo amoroso entre Christine, Raoul e o Fantasma é enfraquecido, pois parece năo haver tempo o bastante para os personagens se apaixonarem.

    O Fantasma da Ópera sempre foi um dos mais interessantes personagens da literatura, sendo um gęnio que descabe a loucura graças ŕ sua paixăo pela sua amada. Podemos traçar as origens da história ao conto original de A Bela e a Fera, da alma torturada e deformada que implora por amor. Graças aos números musicais o Fantasma consegue expressar seus conflitos internos, mas ainda assim sentimos que mais poderia ter sido feito com o personagem, apesar da boa interpretaçăo de Gerald Butler. Alguns făs do musical original podem discordar, mas ele possui a presença e a voz para o personagem. A verdadeira estrela do filme, no entanto, é a bela Emy Rossum (de O Dia Depois de Amanhă e Sobre Meninos e Lobos), que ilumina a tela todos os momentos em que aparece. É impressionante que ela tinha apenas dezesseis anos durante a produçăo, pois ao mesmo tempo em que transparece uma inocęncia necessária para a personagem, demonstra grande segurança no papel, especialmente no que diz respeito a sua voz. O elo fraco do elenco é o inexpressivo Patrick Wilson, que torna o desfalcado triângulo ainda menos verossímil.

    Apesar das necessárias adaptaçőes, O Fantasma da Ópera parece ser mais fiel ŕs suas origens teatrais do que a maioria dos musicais. Assim como nos palcos, parte dos diálogos é cantada ao invés de recitada, o que pode incomodar alguns espectadores menos acostumados com o formato. A história é contada através de um flashback, e Schumacher comete o erro de nos trazer para fora deste em momentos inoportunos e desnecessários ao meio da narrativa, como se subestimasse que o público fosse esquecer o prólogo inicial (explicado na última cena). Apesar de tais deficięncias, o filme ainda consegue agradar por sua grandiosa trilha sonora e fantásticos valores de produçăo. Provavelmente espectadores menos exigentes apenas se deixarăo levar pela história de amor e pelas cançőes, e talvez năo percebam suas limitaçőes. Făs do musical também deverăo ficar satisfeitos ao ver seus momentos favoritos personificados na tela, especialmente os que năo tiveram a chance de assisti-lo no palco. Ainda assim, é uma pena que entre um número e outro e entre tantas trocas de roupa, os produtores tenham esquecido de dar maior alma aos personagens.
  • TheDudeLebowski65
    October 2, 2011
    TheDudeLebowski65
    Considering that this is a film by Joel Schumacher, The Phantom of the Opera is a surprising effort from a somewhat mediocre director. I had a chance to catch the musical in Toronto a while ago, and I loved it. This film on the other is quite good, and it's not as bad as everyone... read more says it is. Granted, it's nothing like the real thing, but for what it is, it's a stunning looking film with great visuals, and pretty good acting. The music is stunning, the talent involved is great, and really I don't see why the film has gotten so many bad reviews. Yes, it was made by Joel Schumacher and yes, it doesn't have the same effects as the real musical. Seeing Phantom of the Opera live is of course something special that can't be duplicated. However Joel Schumacher has a good attempt at bringing the play to the screen. The result is a film that is beautifully filmed with the great soundtrack that we come to love from The Phantom of the Opera. I enjoyed this film, and I thought that everyone involved delivered good performances, and it was a wonderful musical with horror overtones. The films negativity may attributed by the fact that "it doesn't beat the Andrew Lloyd Webber version" and it doesn't, but this theatrical adaptation is still very good nonetheless. One of Joel Schumacher's redeeming efforts along with Phone Booth and Blood Creek. An underrated film that fans of the Webber production should give a shot before judging too harshly.
  • spielberg00
    September 11, 2011
    spielberg00
    First and foremost, the Broadway musical production is (ha!) SO much better than this. Not to say that it was a bad adaptation: Gerard Butler sure did a fantastic job as the titular character. The main thing that really angered me about this is that a lot of the scenes were scra... read morepped and/or changed--some of which would have even made more sense on camera than onstage, such as the graveyard scene where the Phantom throws fireballs at Raoul. Some of the altered scenes, I can say, were clearly done to make it appear as a film rather than a direct copy of a Broadway musical, such as the opening scene and the final scene (neither of which I will give away, because the majority of the film is in a flashback, so technically, giving away the beginning would be partially giving away the ending). Cinematically, though, THE PHANTOM OF THE OPERA is captivating and brilliant, if, as noted above, flawed.
  • 76Majikat
    July 10, 2011
    76Majikat
    I hadn't heard great things about this film, however I do believe that Musicals are a required taste and most of the viewer's who enjoy Musicals tend to know a little about the stories, characters and music beforehand.

    I, myself have seen the production on stage and of course ... read morenothing substitutes a live performance and the atmospheric feel of a theatre particularly with the Phantom as being part of the audience is being part of the show.

    Having said this, I do feel that the film was put together qs well as possible with the film, in the casting, the costumes, the colour, the scenery, which came across well on screen.

    The controversial part of course was the Actors miming to trained voices, which had put off of watching the film, but having now seen it, I can see it works perfectly well.

    The film was drawn out and it's a bit of a love-hate one for me!
  • SajinPA
    April 14, 2011
    SajinPA
    A visually stunning and emotionally rich musical.
    Maybe a slight drawback of the movie could be the absence of a horrifying monstrous version of the Phantom.
    Another thing that gutted me a little was Gerrard Butler's singing. Though it's not that bad, it makes you feel like som... read moreething is missing..
    (Ok. just being nice here. On second thought.... his singing sucks)
    But he does compensate for that with some very powerful acting peformance, especially towards the final quarter of the movie.
  • fb733768972
    September 25, 2010
    fb733768972
    The Phamton of the Opera is a slowpaced version of the original play and does not succeed in giving ever fan what they want. I saw the play in theatres, and it is much better than this film tries to be. I like it for what it tried to do, but it's just nothing special!
  • itsjustme2004
    September 5, 2010
    itsjustme2004
    Gerard Butler can sing! Who knew?? Me, that's who...one of my faves.

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Critic Reviews

Andrew Sarris
January 27, 2005
Andrew Sarris, New York Observer

My own reaction to the current version fashioned by Mr. Schumacher is one of pure stupefaction. Full Review

Anthony Lane
January 15, 2005
Anthony Lane, New Yorker

The plot is impressively free of anything that does not smell of unpasteurized melodrama.

Stephanie Zacharek
December 27, 2004
Stephanie Zacharek, Salon.com

Takes everything that's wrong with Broadway and puts it on the big screen in a gaudy splat. Full Review

Richard Roeper
December 27, 2004
Richard Roeper, Ebert & Roeper

This guy's not the Phantom of the Opera, he's the Fashionably Scarred Stud of the Opera and that just doesn't work. Full Review

Carrie Rickey
December 23, 2004
Carrie Rickey, Philadelphia Inquirer

Joel Schumacher's film adaptation of Lloyd Webber's The Phantom of the Opera combines fingernails-on- blackboard audio agony with bamboo- under- fingernails physical torture.

Owen Gleiberman
December 23, 2004
Owen Gleiberman, Entertainment Weekly

The movie version of Lloyd Webber's swooning 1986 horror operetta has been directed, by Joel Schumacher, as if Schumacher were the world's hardest-working upholstery salesman. Full Review

Philip Kennicott
December 22, 2004
Philip Kennicott, Washington Post

The movie version of Lloyd Webber's smash hit does to the music what the music did to the words and story: It distracts the mind and cajoles the eyes to the point that one doesn't really care that eve... Full Review

Claudia Puig
December 22, 2004
Claudia Puig, USA Today

For those whose primary experience with musicals is on the screen, this melodramatic tale with the familiar soundtrack should hold substantial appeal. Full Review

Peter Howell
December 22, 2004
Peter Howell, Toronto Star

The film overflows with overkill, from the amped-up orchestra that constantly threatens to submerge the singers to the ornate silliness of each and every scene involving the Phantom. Full Review

Ruthe Stein
December 22, 2004
Ruthe Stein, San Francisco Chronicle

The movie misfires as often as it connects. Full Review

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Facts

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    • Meg Giry: Oh Christine he's so handsome.
    • Meg Giry: Where in the world have you been hiding, really you were perfect. I only wish I knew your secret, who is your new tutor?
    • The Phantom: I am your Angel of Music, come to me Angel of Music
    • Madame Giry: He's a genius, monsieur. He's an architect and designer; he's a composer and magician. He's a genius!
    • Vicomte Raoul de Chagny: Yes, but it seems genius has turned to madness.
    • The Phantom: Christine, I love you.
    • Christine Daae: [as Christine and Raoul are leaving the phantom] Say you'll share with me one love one lifetime.
    • Vicomte Raoul de Chagny: Say the word and I will follow you.
    • Christine Daae: Share each day with me each night, each morning.
    • The Phantom: You alone can make my song take flight! It's over now the music of the night!
    • The Phantom: That fate which condemns me to wallow in blood has also denied me the joys of the flesh. This face - the infection which poisons our love. This face which earned a mother's fear and loathing, a mask: my first unfeeling scrap of clothing. Pity comes too late, turn around and face your fate, an eternity of *this* before your eyes!
    • Lefevre: We get our opera!
    • Gilles Andre: [whispers] She gets her line right.
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The Phantom of the Opera Trivia

  • What movie is about a deformed genious who hides under the Opera Populaire?  Answer »
  • In which musical did these lyrics come from: "Masquerade, paper faces on parade. Masquerade, hide your face so the world will never find you!"?  Answer »
  • Which film features Gerard Butler as a crazed frenchman living in the catacombs of an Opera house?  Answer »
  • Who leaves the rose on Christine's grave at the end of Phantom of the Opera?  Answer »
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