El fantasma de la ópera

Several beautiful songs in a very boring coat. If it weren't for the pseudo-modern adaptation of the famous musical, but for the original music composed directly for the film, I would be more reconciled. However, Schumacher directed the film outrageously carelessly and thus destroyed the immense potential that was hidden in The Phantom. Never mind that I hummed the duet of Christine and Raoul for several months after watching it, everything else that comes to mind is confusing choreography of musical numbers, poorly played Phantom, and "fateful scenes" that are anything but captivating. (26.08.2005)

I gagged on my own blood. But I'm afraid there was nothing else that could be done with Webber's script (Andrew Lloyd himself is thrilled with the film). The Pilcher-esque script, the awful, pathetic music, and those lyrics, for goodness sake. An ordeal comparable to watching a two and a half hour concert of Nightwish, Within Temptation, or a similar haunted castle where the actors have to change their clothes every ten minutes. Knowing that the film is faithful to the original musical and was worked on directly with Webber, I vow to keep a respectful distance from this world. (12.02.2020)

Desafío cinematográfico en cuarentena: actrices favoritas, Emmy Rossum. Tengo una gran debilidad por ella, sus ojos y la cautivadora interpretación agridulce de Fiona en Shameless me impresionan constantemente hasta lo más profundo. El papel de Christina se remonta a sus comienzos como actriz. También disfruté del aspecto seductor de Patrick Wilson y del papel no convencional de Gerard Butler. Sin duda, consideraría la canción principal, o más bien su melodía, interpretada por Sary Brightman y Antonio Banderas, como de pleno valor. Sin embargo, lidié con un aspecto fundamental: el aburrimiento. No soy fan de las películas musicales y mi preferencia no cambiará en este caso. A pesar de todos los aspectos positivos en cuanto a vestuario, escenografía y actuaciones. Tres estrellas y nada más. (01.02.2021)

The first time I saw this film was on a mini travel player (about 16cm diagonal), where it’s impossible to enjoy the amazing visuals, and yet I'll never forget how engrossed I was by the incredibly mysterious, dark and chilling atmosphere. The music itself is a masterpiece that deserves appreciation and deep compliments. Years later I went back and saw the film on a big screen, I would raise the rating if I could. Just the opening shift from black and white to colour, the chandelier and theatre coming to life, accompanied by the famous phantom theme song, will make your body hair stand on end. The sets and costumes are impressive, breathtaking even. The ubiquitous colour palette of the film is telling, and even the sometimes kitschy colours work here – the depiction of good and evil – the fight scene between Raoul (white horse, white shirt) and the Phantom (black horse, black cloak). I can't fault the cast at all: Emmy Rossum is a beautiful, gifted, tender, innocent Christine Daée torn between Patrick Wilson, Raoul (a similarly innocent young man who offers tender, pure love) and Gerard Butler (a dark, sexy, obsessed phantom who offers passionate love and a life of darkness with the purpose of making beautiful music). For me, Joel Schumacher has made a perfect film in every way, one that I will always love to come back to. (10.01.2017)