Beanbioca As Good As It Gets

TeenzTen An action-packed slog

Claire Dunne One of the worst ways to make a cult movie is to set out to make a cult movie.

Ava-Grace Willis Story: It's very simple but honestly that is fine.

kkretz07 I can't agree more with the previous poster...this has got to be the best version of TPotO ever! It was my first introduction to the story...as a young child, my twin and I recorded it on a couple of old VHS tapes. At times, a vacuum was running or our ancient computer was on so there was a great deal of 'snow' on the TV screen. But that didn't prevent us from falling in love with it...in fact, our tradition was to watch it at least once a year and many years later, when we were college bound...it was one of 2 movies we watched every year when we got together. The tapes eventually broke and I haven't seen it in at least 15 years but I miss it...oh, how I miss it! I did get the opportunity to see the musical on 2 occasions as well as another video version but I admit, I was terribly disappointed with all 3 of them. The musical and the other movie just fell flat for me...they couldn't touch this made-for-TV version; they just didn't measure up. My husband saw the musical and wasn't impressed (he's a Les Miserables fan...) but I'm wondering if this version might change his mind? I hunted down a copy years ago for a Phantom enthusiast...I think it's time I hunt down a copy for myself and my twin as well. Love it...highly recommend!

MARIO GAUCI This was the eleventh film adaptation of Gaston LeRoux's classic to be made and the seventh I have watched myself (the others being the 1925, 1943, 1962, 1974, 1983 and 1998 versions); therefore, the two most significant ones left out there for me to catch up with, I suppose, are those made in 1989 and 2004. Coming so late in the game and so close to the Robert Englund remake – whilst also being accorded the lengthiest running time (185 minutes – although IMDb curiously gives it as 168!) of all – I guess it stands to reason that this was going to be a very different Phantom to the ones we were used to. For starters, it is an adaptation of Arthur Kopit's theatrical rendition of the original source and, in fact, the author himself wrote the teleplay here; the cast (Burt Lancaster, Charles Dance, Jean-Pierre Cassel, Andrea Ferreol and Ian Richardson) and crew (Kopit and Oscar-winning director Tony Richardson and composer John Addison) roped in for the production also lend the whole a classy distinction missing from previous or later versions. 77-year old Lancaster is in fine form in his Golden Globe-nominated portrayal of the former Opera manager with a secret (so much so that one can hardly believe that he would be dead in four years' time!); Dance is quite wonderful in the title role and I am surprised his performance did not earn him more plaudits (even if the fact that his facial features are always hidden behind a variety of masks may have been behind this oversight); Cassel seems somewhat wasted at first as the laid-back investigating Inspector but his role grows in stature in Part II; Richardson is enjoyably hammy as the initially skeptical but increasingly flustered Italian impresario replacing Lancaster and installing his own wife Ferreol (playing La Carlotta) as the primadonna of the Paris Opera. The all-important role of Christine Daae' is well-served by the lovely Teri Polo (who also portrays The Phantom's mother in a series of flashbacks!) but Adam Storke (as the subsequently reformed Count de Chagny) is blandly handsome at best. As usual, the problems with deviations from the familiar original source crop up here but, as I said earlier, these are to be expected in this case (more so than, say, in Hammer's first Dracula picture which was still a fairly fresh property for moviegoers in its day!): Lancaster is fully cognizant of the Phantom's lair underneath his theater because he is his biological father; in fact, Erik was even born there and, besides devoting himself to music, he also dabbled in painting and building a little woods for himself!!; the Phantom's obsessive love for Christine is not merely attributable to her unique voice but also because she is a dead ringer for his own late (and former opera star) mother; Carlotta does not lose her voice in mid-performance due to the Phantom's foul play but instead it's Christine who does so thanks to the machinations of the jealous Carlotta; the Phantom is not a mistreated composer but an accomplished opera singer who (wait for it) joins Christine in a duet from "Faust" from his proverbial Box 5 in full view of the audience and the gendarmes…even though he was virtually at death's door a few moments earlier!; the Phantom subsequently invites death himself on the Opera rooftop at the hands of his own father rather than from Christine's aristocratic lover, etc. The biggest departure, of course, would be that the film (and the play) 'fumbles' the very highlight every spectator is always waiting for in this story: the unmasking scene (which here occurs with the Phantom's back to the camera and we merely see Christine's fainting reaction to it)!! In the end, there may be more opera than horror here but the lavish production values, the fine performances and the evergreen fascination of the story itself win the day.

opera_ghost There has been many movie-version's of well known story of Phantom- the tragic figure, who has found home in the Opera house in Paris. But for my own surprise best version is not made for the cinema, but for the TV. Movies strengths seem to be the atmosphiere and actors. It is only Phantom movie that is filmed on location as well features french actors. Everything seems to be in place. You can feel one with the characters, nothing supernatural. There's not even silly clisés that seem to be necesery add-ons for any movie that deal with anykind lovestory.It is actually second Phantom of the Opera movie I had seen back on 90's and it is also only one that is equal in quality to Lon Chaney's silent movie. When you have a question: to see it or not, I believe it is one of the "must-see"'s.

adrian2umortal I saw this 2 parter on NBC back when Andrew Lloyd Webber was sitting on top of the musical world with his Phantom of the Opera. This is a decent musical story version of the Leroux tale. The year before in 1989 Golan and Globus hired up Robert Englund a.k.a. Freddie Krueger to do a slasher movie version of the story which was a total off the original storyline of the Phantom of the Opera. That movie in all honesty, sucks ! When Yestin and Koppit released this mini series they returned Erik to Paris, France and to his beloved Opera House and once again he is deeply in love with engenue chorus girl and understudy to La Carlotta, Christine Daae, who's beauty and angelic voice reminds him of his dead mother, a nice back story line added to the original storyline with one more family member added in for the first time, the Phantom's friend and father played by venerable veteran actor Burt Lancaster. The soundtrack to this movie is available on RCA C.D. and Tapes under the simple name Phantom. It is the original theatrical stage production that this mini series was based on by Yestin and Koppit.