Poor choice for role of Phantom. Someone with stronger vocals.

I love this play. I was sad when I found out that it will no longer run in theatres. The final date was on my birthday. I decided to rent a movie theatre room, get dressed up have dinner and watch it on my birthday. Like I was going to see it live. Now I have it forever.

Many people will look at this film version of Andrew Lloyd Webber's classic musical spectacular, THE PHANTOM OF THE OPERA with mixed emotions. There are people who will be upset that Sarah Brightman and Michael Crawford, who played the original Christine and Phantom respectively, were not allowed to recreate their signature roles. There will also be people who'll be disappointed that this version is not a literal translation of the stage musical. Finally, we have the critics of both Webber and director Joel Schumacher, who have both been accused of wretched excess in previous projects in their individual careers. Taken as a film version however, this PHANTOM stands the test of time, not only as a wonderful musical film, but as one of the more faithful versions of Gaston Laroux's romance/horror novel. Starting with a black and white prologue, the film tells the story of budding opera star Christine Daae and the two men who fight for her heart: the noble Viscount who she knew in childhood, and the mysterious Phantom of the Paris Opera House who hides his ugliness behind a half-mask while sponsoring Christine's career. Like the stage production, this film is awash in glorious colors and sets that would put many epics to shame. It's well balanced by solid performances that help propel the romantic, if melodramatic, story along. Gerard Butler makes for a wonderfully dark and obsessive Phantom, while allowing the character to retain the audience's sympathy. Miranda Richardson is solid as the dour Madame Giry, who knows the Phantom's secret. Minnie Driver easily gets the most laughs as the over-bearing diva, Carlotta. (It's interesting to note that Ms. Driver's singing is dubbed in the film proper, while she actually sings the new closing credits melody "Learn to be Lonely.") Patrick Wilson makes for a stalwart, if somewhat bland, Viscount. But the strongest impression is made by the lovely Emmy Rossum. Only in her late teens when filming, she turns in a fantastic performance with a crystal clear voice that does justice to Webber's score. Joel Schumacher does a strong enough job in directing this film, allowing the music and the screenplay that he co-wrote with Webber to shine. In the end, THE PHANTOM OF THE OPERA is a delightful spectacle that does justice in its own way to both the stage original and Laroux's book. As such, this is a film I highly recommend.

The music from Phantom is just awesome and this version is just the best! I can't believe that we didn't have this video already!

Great movie my daughter loves it good value fast shipping