After all, what woman would take issue with a stunning voice, a bad boy demeanor, and a 62% perfect face? Even the "scary" hidden 38% isn't nearly as hideous as the original stage production's incarnation. Even his irrepressible Scottish brogue adds a certain dimension, giving further distinction to a character out of place with the rest of the denizens.īut, darn it, give the man a scar or a furled lip on the unmasked portion of his face. That's not to knock Butler he gives a fine performance and he delivers surprisingly solid vocals. The movie's biggest mistake is that Gerard Butler is too handsome as the Phantom. Schumacher and Lloyd Webber also smartly open up the production, taking full advantage of the cinematic experience with some new action sequences and added dramatic heft, leading to a slightly modified program that serves as a near-perfect companion piece. While this Phantom is a more straightforward adaptation of its stage progenitor than Chicago's film version, it's still been made with equal amounts of tender loving care and innovation. Murder, mayhem, and loads of music ensue. Of course, this phantom doesn't take it all that well when another young suitor, Raoul (Patrick Wilson, The Alamo), also seeks to earn the love of Christine. That figure in the darkness, the victim of ghastly deeds in his own youth, is head over heels in love with the lass and sees to it, through his ghostly ways, that she rises to the top of the cast of the Opera Populaire. Young chorus girl Christine Daae (the scrumptious Emmy Rossum, Mystic River) has been taken under the wing of a mysterious tutor since her childhood.
War of the Rosesīy now, just about everybody should know the tragic story of The Phantom of the Opera, the 1910 Gaston Leroux novel turned into a mega-blockbuster stage musical by Andrew Lloyd Webber in 1986. The Phantom of the Opera gets off to a crackling good start and, luckily, even director Joel Schumacher can't muff it up the way he did the Batman franchise.
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