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28 of 29 people found the following review helpful:
3.0 out of 5 stars
If not the worst "Phantom" certainly the most unfaithful one, January 29, 2005
I have nothing against the idea of doing "The Phantom of the Opera" as a splatter flick. But with both Dwight H. Little's 1989 version starring Robert Englund and Dario Argento's effort from 1998 the problem is not the blood and gory but the liberties they take with Gaston Leroux's original novel. For the former it was the idea the Phantom had been marked by the Devil and was pursuing Christine Daae through time, and for the latter it is the idea that the Phantom was raised by rats. If you are not reminded of the flashback in "Batman Returns" where the infant Penguin is dispatched in a basket on a river when the parents of the Phantom do the same thing in the opening of this film when they send their baby sailing away on a Paris sewer then it is only because you have not seen both films. Apparently the rats are telepathic, which explains how it is the abandoned infant grows up to speak, play music, and build a pipe organ in the catacombs beneath the opera house.
Despite the cover art for the DVD this Phantom, played by Julian Sands, does not wear a mask. This is because he does not need to; there is nothing wrong with his face, but inside he is twisted as a result of being raised by telepathic rats. The rats actually become an important part of the story, but more in a "Willard"/"Ben" way than a "Tarzan of the Apes"/"The Jungle Book" way. But before we get to them let us consider the changes in the love triangle that Argento and co-writer Gérard Brach have come up with for this version of the familiar story.
You can easily pick out the trio from the rest of the cast because they are the ones with long hair. This time around Raoul De Chagny (Andrea Di Stefano) seems to be as warped as the Phantom, although this might because he spends too much time with his brother at a local opium den surrounded by naked people of both sexes and all sizes. The Phantom does not spend a lot of time teaching Christine (Asia Argento, the director's daughter) how to sing, because she is sounds pretty good the first time she gets on stage in the empty Opera House and starts singing high notes. But he does establish a psychic link with her so that instead of fetching her down to his lair he can just send out a call. For all those of you who have been waiting for the Phantom and Christine to consummate their love, this is the version of "The Phantom of the Opera" to see. The problem is that I do not know why Christine turns on the Phantom or what besides a hail of bullets drives her into Raoul's arms. But then I do not know why the director wants to photograph his daugher naked (my Italian bloodline has been watered down too much I suppose).
Then there are the rats. Ignace (Istvan Bubik), the head rat-catcher has been around for eight years and has killed over 4,000 rats and counting. He keeps tabs by keeping the tails of each rat he kills in a jar of formaldehyde with the month, year, and tail total written on the label. Given that every time a rat gets killed the Phantom must be hearing the rodent equivalent of a death shriek in his mind you would have thought that the Phantom would have tracked down this murderer well before this time, but that is not the case. Instead Ignace has a bad encounter with the rats and decides the best recourse is to invent a killing machine that can be driven around on the smooth floors of the catacombs while it does all sorts of interesting things to the rats it catches.
You keep thinking that the whole rat catching bit is simply comic relief, and for much of the film it is. But it turns out that it is Ignace and not Raoul that the Phantom has to worry about. Besides, as long as Ignace and that pervert passing out Swiss chocolates to the under-aged girls of the corps de ballet is running around, the Phantom is not the biggest monster running around and/or under the opera house. However, if I had to pick a low point in "Il Fantasma dell'opera" it would have to be the way Argento caps off the fall of the chandelier with a joke. I was already trying to figure out how what the Phantom was doing with the big mallet would bring around the desired result (although I understood the work was hard enough for him to ditch his shirt), so my confusion turned to dismay when the famous disaster becomes just another joke at the expense of diva Carlotta Altieri (Nadia Rinaldi).
Is this the worst version of "The Phantom of the Opera"? I have no problem with the idea that it is the least faithful, even compared to Little's movie, but even if you disagree with the changes there are some things of interest here. The opera house in Budapest is gorgeous and there are some nice gory special effects, although certainly not as many as you would expect from Argento and none of them really standout pieces of blood and gore that are seared into your brain forever. The opium den scene is the most memorable scene and it has the least to do with the plot than anything else in the entire film, relying on dozens of bronzed naked bodies to make its impression. Ronnie Taylor's cinematography makes things look good to your eyes even when your brain is complaining about the story. The performances are all adequate, but I found that for me the most sympathetic character ended up being Carlotta: the Phantom attacks her and she still shows up to sing, the strongest moment of anybody in the movie.
Ennio Morricone is credited with the score, and there is also additional music by Maurizio Guarini, but the film makes nice use of actual operatic arias and overtures fom "Carmen," "Faust," "Lakmé: Air des clochettes," and "Romeo & Juliet." This also makes the film sound classier than it is. This DVD is the unrated director's cut, while you can get the original R-rated version on VHS (I have no idea where it is the gore or sex that makes up the differences). I am not enough of a fan of Dario Argento to be offended by this particular effort and have seen enough liberties be taken with the story of "The Phantom of the Opera" to be rather jaded by what happens here and knock off another star. There are enough warnings here and in other reviews to know whether you want to be disappointed either as a fan or the director or of the story.
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16 of 18 people found the following review helpful:
5.0 out of 5 stars
Art-House horror for the soul - Multiplex freaks stay away!, June 20, 2000
Well, after the pretty poor by Argento standards Trauma and the near-perfect Stendhal Syndrome , Dario Argento pulls off his most expensive in-joke yet! This is a very difficult film that demands a lot from it's viewers. It is not always easy to read between the lines of an Argento film. It never has been easy after all. Argento does not care to make a traditional horror film, that's for sure. Instead, he creates a self-ironic film, deliberately balancing between shots of poetic grace (the Phantom's visions of children pierced by mousetraps - chilling) and shots of extravagant kitch (Asia's appearance in the same scene!). Argento's choice of not to have his Phantom disfigured was not without a point: This man is disfigured from the inside, and thanks to the script, it shows. Let's not forget that Gerard Brach, the co-scripter, is the man who co-wrote "Frantic", "The Fearless Vampire Killers" and many other Polanski films. He lived up to our expectations once again. The film is deliberately funny in places but it contains some very weird scenes (like the one in the brothel - unbelievable for an Argento film). I would say that it is his most 'Fellini-esque' film yet. It is his "8 1/2". This is his contribution to a tradition kept by directors such as Fellini or Visconti for that matter (he is often called "the Visconti of violence" after all). Let's not forget the help he gets from his actors: Julian Sands couldn't be a better choice. His phantom is gentle, vicious, romantic and monstrous all at the same time. Asia on the other hand seems to be stoned for most of the film which adds more to the dreaminess of the concept me thinks. Sergio Stivalleti has done some great work with CGI, especially in a scene where a poor guy gets impaled (you think it's really happening!). Ronnie Taylor's photography is NOT up to perfect standards (it is known that he could not stand the weather conditions and wanted to leave as soon as possible) but the known quality of his work is there, once again. A movie that belongs more to the Art-House section than to that of Horror, I might add. Don't miss it though. And buy the Ennio Moriconne soundtrack, it is a masterpiece!
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11 of 12 people found the following review helpful:
2.0 out of 5 stars
I love Dario Argento to death, but..., February 11, 2000
This, admittedly, is a boring, sloppy, embarrassing mess. Easily the maestro's weakest since Inferno (which married gorgeous visuals to the least involving story in Argento's entire career). The flaws here are massive, starting with a surprisingly poor script from Gerald Brach. It's interesting that Argento's first collaboration with an acclaimed screenwriter is also the worst script he's ever filmed. Acting is very uneven, although the dubbing doesn't allow for complete critiques. Sands tries hard, but the phantom has been rewritten in such a silly manner that he's ultimately working in vain. Asia Argento looks great, as usual, but she's just wrong for the part. Idiotic elements abound, the violence is unimpressive and inserted seemingly at random, the material involving the rats is just stupid and silly. Dario's camerawork is shockingly restrained and conservative, as if the period setting caused him to quell his usually baroque techniques. It's those techniques, though, that make him unique and inimitable. Here he seems too mannered. Attempts at comedy mostly fall short of being funny, and there's far too many of them - Dario shouldn't do comedy, as Five Days in Milan ably demonstrated. On the plus side, the cinematography is beautiful, creating probably the most accurate recreation of the period i've ever seen. Ennio Morricone's music is lovely, although not as good as his work for The Stendhal Syndrome. And there's a dwarf. Argento works best with modern settings, attitudes, and ideas, and this failed experiment at a period piece is hopefully just that - a failed experiment and not a new direction. Besides, the director already covered this material in Opera (aka Terror at the Opera) in 1989, giving it an amazingly cold, nihilistic, and misanthropic attitude that's far more impressive than this film's more "polite" approach. Watch that film instead of this one.
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