I just saw this marvelous production when it was in Seattle recently. Absolutely wonderful.

My family had been big fans of the music for over 10 years, but I had never really connected the songs with a story untill now. This is proof that opera is not just some steryotypical Fat lady singing incomprehensibility, but can be a dynamic and fun story instead.

I can only think of one nit (SPOILER, I SUPPOSE)

When Raoul (sp?) is being held by the Phantom at the end, there is a noose around his neck. However, he is standing on the ground, seemingly safe, and there appears to be no mechanism to raise the noose. Is he simply intended to stand there untill he can't stand anymore, and then be hung? Seems kind of boring to me. It would probably be feasable to slip out of the noose by that time, especially with your hands free. (Plus, if you were going to kill someone, would you really want them standing in your living room, possibly for days, begging for mercy and wearing down your nerves?)

One final note: The opening of this play ("let's see if we can't dispell the ghosts of the past with a little illumination!") was incredible. It gave me chills.

This wouldn't be a movie, though... I'm assuming you are talking about the stage production.

I loved this production, too... overblown though it may be.

I know I talked a little bit about this in the BatB thread, but once you get a POTO fan talking ...

Zarm--I was trying to think of how to explain the Raoul-noose thing. I thought maybe the libretto might shed some light on it, but not really:
(So saying, he takes the Punjab lasso and, before RAOUL has a chance to move, catches him by the neck. The end of the rope, of which the PHANTOM has let go, remains magically suspended in mid-air) It's later revealed that the noose is connected to a thread. If this is so, I'm with you--why can't Raoul just free himself? For that matter, how can he SING with a noose that's supposed to be constricting his breathing? Good nit.

(Plus, if you were going to kill someone, would you really want them standing in your living room, possibly for days, begging for mercy and wearing down your nerves?)

Well, I'm sure Erik (the Phantom) would throw Raoul into his torture chamber long before he got tired of hearing him complain.

I loved this production, too... overblown though it may be.

Oh ScottN, overblown? I don't know what you're talking about!

Just saw the trailer for this before Vanity Fair. I was initially of the Phantom purist camp which wasn't really thrilled about the movie being made. But, the trailer took my breath away. The movie looks (at least) ABSOLUTELY GORGEOUS. As a feast for the eyes it will equal if not exceed the stage production. Now it hinges on the actors. I've never heard any of them sing. Emmy Rossum (Christine) I did see in The Day After Tomorrow and while probably not the best venue in which to see her act, at least I was convinced her French pronunciation was good. Patrick Wilson I saw in The Alamo and he certainly proved his capacity for foppishness. But can he bring some depth of feeling to the character so I don't just write him off as a foolish prat? I know very little about Gerard Butler, but I'm willing to give him a chance. The Phantom's part is the most essential to the story, and having a voice like an angel and a rage like a demon is a hard role to fill. We'll see. Meanwhile I'll delight in the ambience. By the way, if you're curious to the see the trailer, it's here

If anyone is interested, some wonderful photos from this movie can now be seen here: http://groups.msn.com/ElFantasmadelaOperaPHANSMexico

*notices lack of response*
Oh well, guess I'll head back over to phantomfans.net.

There have been some really positive reviews (test screenings in Denver, supposedly) so I think those who have seen the musical and liked it will probably enjoy the movie. Even those who don't like musicals are supposedly going to get something out of it.

Fabulous Film! Great credits, great music! (sneaking time to post from work... will elaborate later.) :-)

Okay, please answer one question: When Christine pulls off the Phantom's mask during his Don Juan production, why does his hair change color? I think it also changes its amount, too.
Otherwise, though, fabulous movie.

The Phantom wears a wig, which falls off as the mask comes off. However, this doesn't explain hoe the size of his facial disfigurement changes. He wears different sizes of masks throughout the film. When his face is totally exposed at the end, some of the masks could not have covered the size of the scars.

OK, for someone who has seen the play, maybe, or anyone more perceptive than I am (shouldn't be hard to find...), what was the deal with that "raise your hand to the level of your eyes" talk? From just seeing the movie, I didn't understand what that was all about. I don't recall seeing Rauol or anyone else actually doing it, and can't imagine why they would have to. Any help?

To keep the Phantom from using his Punjab Lasso to throttle him.