Encapsulating the musical experience of Broadway’s longest-running show, Joel Schumacher directed a seamless transition from stage to screen in his 2004 adaptation of “The Phantom of the Opera.” With a notable track record of accomplished films, his ambitious execution resulted in a well-rounded installment. With preceding films paying homage to the novel, Schumacher’s formidable adaptation was distinguishable as it encompassed the original musical written by Andrew Lloyd Webber, inspired by Gaston Leroux’s novel of the same name. Keeping the essence of the musical, Schumacher introduced “The Phantom of the Opera” to wider audiences, bringing a taste of Broadway’s most haunting love story to more accessible mediums.
With a talented cast, lavish costumes, a re-orchestrated soundtrack and visually striking cinematography capturing the colorful and vibrantly constructed sets — the adaptation is a sordid retelling that profoundly resonates, leaving an indelible impression in the hearts of viewers. Years later, there are still mixed reviews of the film that interpret it as sublime or purely kitsch, mainly relying on individual preferences of adherence to the musical or novel. In the course of a two-hour and 21-minute run-time, the film covers some of the most memorable scenes in the musical, such as the labyrinth underground, building up to cue the iconic title song and duet between Christine and the Phantom himself. Adjacently coherent with the musical’s two-act structure, the cinematic experience does a phenomenal job of following the sequences and creating the same theatrical excitement within the film.
The opening prologue of the film sets the stage in 1919, with a glimpse into the Paris Opera House presently auctioning off artifacts of the dilapidated theatre. With a grainy black-and-white semblance resembling that of silent films, it isn’t until the grandiose chandelier is announced to have been repaired and illuminated that the invigorating overture comes to life. The lights activate the seeping of colors over consecutive shots of the cobwebbed chairs, dusty statues, dull faded walls and restoring all to what it was in the past, set in 1870.
The refined choice to cast Emmy Rossum as Christine Daae comes across organically as her vocal prowess and youthful visuals align with her character, who navigates a promising opportunity as a vocalist with the unknown guidance of the “Angel of Music,” also known as the Phantom (Gerard Butler). Scheming in the shadows of the Paris Opera House, Butler captures the tortured soul and complex infatuation of Christine that his character embodies. Unraveling the harmony of the conditions in place, a change of the theatre’s owners brings on board a new patron, Raoul (Patrick Wilson), with an endearing shared past with Christine, who is the third principal of the crucial triangle for the development of the story.
Complementing the exceptional acting, the cast demonstrates their vocal capabilities with Andrew Lloyd Webber’s revamping of the original 1987 album that repurposes cinema with a full symphony orchestra. With over 14 tracks throughout the entirety of the film, there is a lot to commend, from vocal control and musical timing to the emotional heft that adds a stimulating sentimental reaction.
With a straightforward name like “Phantom of the Opera,” there is a familiarity of having a conjured idea and expectation from the film; however, this adaptation elevated this by maintaining an elegant elusiveness that can be subtly appreciated. Mirroring the fate of the Paris Opera House in the film, the Broadway musical ended its record run on Apr. 16, 2023. However, when questioned about the show’s possible return in a Vogue interview, British theatrical producer Cameron Mackintosh replied, “All the great musicals do.” Until then, “All I Ask of You” is to find solace in the timeless masterpiece that is the 2004 adaptation of “Phantom of the Opera.”
