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Phantom
Of The Opera review by Lee Peterson
Dario Argentos 14th feature film is his first foray into gothic period horror, and the fifth screen adaptation of Gaston Leroux 1911 story (not counting derivations such as Brian De Palmas Phantom of the Paradise or the awful Phantom of the Mall). The basic story, for those not familiar—The Paris Opera House is haunted by a mysterious "ghost" named Erik --here known only as "The Phantom"—played by Julian Sands (Warlock and Boxing Helena), who is obsessively attracted to the beautiful understudy Christine (Darios daughter, Asia Argento, from Trauma and The Stendahl Syndrome). The phantom wants Christine to be the opera houses star—and will murder anyone and everyone who stands in his way. Argento and Roman Polanskis frequent writing partner Gerard Brach 1) He doesnt wear a mask. (although the video cover art implies otherwise) A bold break with tradition, as the mask is surely the most-identified image associated with the tale (due mostly to the insanely popular Andrew Lloyd Webber musical). Sands portrays a gaunt, handsome Phantom with long stringy blond hair, who is scarred only on the inside. 2) He was raised by rats. You heard me. 3) He has telepathic powers. An unnecessary twist that not only cheapens the romance between he and Christine, but also makes much of the plot unnecessary. Why doesnt he just telepathically compel the Opera House manager to let Christine sing from the start? Argentos trademark wild visuals, surreal set-pieces and flashes of excruciatingly intense gore are all on display here, but take a backseat to the convoluted love story. Ronnie Taylors cinematography (he also lensed Argentos superior Opera) is restrained and suitably gloomy, the lush colors becoming muted for the scenes in the Phantoms underground lair. FX wizard Sergio Stivaletti (who directed the Argento-produced The Wax Mask, stepping in after Lucio Fulcis untimely death) supplies an assortment of tasty gore effects, including a death by stalagmite impalement, a hand mangled in a rat-trap, a tongue-biting and a body cut neatly (well, not so neatly) in half. Ennio Morricones haunting orchestral score marks his fourth collaboration with Argento, having scored The Bird with the Crystal Plumage (1969), Cat O Nine Tails (1970), Four Flies on Grey Velvet (1971) and The Stendahl Syndrome (1996). Euro-horror fans will spot Aldo Massasso (Jorge Graus Living Dead at the Manchester Morgue), Coralina Tassoni (Lamberto Bavas Demons 2) and Massimo Sarchielli (Lucio Fulcis House of Clocks). The film was shot entirely in Budapest, Hungary, with the Budapest Opera House standing in for The Paris Opera House. It played theatrically all over Europe but, as Argento fans have come to expect, not in the U.S. A-Pix Entertainments DVD presentation is a mixed bag. Billed as the "Unrated Directors Cut," this version runs 100 minutes, six minutes shorter than the original Italian cut (Il Fantasma dell Opera) which played theatrically in Europe. An R-rated VHS version is also available, most likely trimming the gore and some full-frontal male nudity during a brothel scene. The 5.1 Dolby Stereo Surround mix is excellent, but the video transfer shows artifacting in the darker scenes. The 1.85:1 widescreen transfer is anamorphic, and there is also a Pan-and-Scam (I mean Scan) version for people who shouldnt be watching DVD in the first place. A "Special Features" section consists of: • A theatrical and a video trailer (the latter using The Smiths
"How Soon Is Now?" as theme music!) While its not the unmitigated failure some folks would have you believe, Dario Argentos Phantom of the Opera represents a frustrating step backward in the uneven career of the Italian horror master. The Stendahl Syndrome was an encouraging return to giallo glory after the misstep of 1992s Trauma, but this one wont win Dario any new converts. |
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"Im
not a phantom Im a rat!"