SnoReptilePlenty Memorable, crazy movie

Kidskycom It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Kimball Exactly the movie you think it is, but not the movie you want it to be.

Scott LeBrun The enduring story gets another imagining thanks to Britain's legendary Hammer Studios. The title character, a professor / composer who had his music for an opera stolen by a nefarious opportunist, is badly disfigured when trying to prevent programmes from being printed without his name on them. Now he's fixated on a young opera singer whom he wishes to sing only for him. This version unfortunately feels a little rushed and not quite meaty enough, with too little dramatic weight. It just feels a little *flat*, which is too bad. It puts a new spin on its main character, however, that may either interest or put off the viewer, turning The Phantom into a tragic hero rather than a figure of any true malice. It is quite possible to feel sympathy for the character, as played by the talented Herbert Lom, and of course one can't help but be utterly disgusted with his nemesis, the sleazy Lord Ambrose D'Arcy, portrayed with his typical gusto by Michael Gough. Gough easily walks away with the movie. Compared to these two, the performances of pretty Heather Sears as Christine and likable Edward de Souza as Harry just aren't that entertaining. Despite typically meticulous production design / art direction (by Bernard Robinson and Don Mingaye), cinematography (by Arthur Grant), and set decoration, this isn't as thickly atmospheric as other Hammer productions, and fails to really inspire any sort of menace or tension. It's a shame, knowing that Hammer could easily have done better with this material. Gough, certainly, makes it all worthwhile, and the appearances of old pros such as Thorley Walters, Harold Goodwin, Martin Miller, Marne Maitland, Miriam Karlin, Patrick Troughton, Michael Ripper, Miles Malleson, and Ian Wilson are great fun to watch. The sequences in the sewer lair are the best, with the operatic numbers, although hardly gratuitous, tending to slow things down. It's still a good film but its full potential isn't realized. Seven out of 10.

Spikeopath The Phantom of the Opera is out of Hammer Film Productions and directed by Terence Fisher. Based on the Gaston Leroux novel, the screenplay is written by John Elder and it stars Herbert Lom, Heather Sears, Edward de Souza and Michael Gough. Filmed in Eastman Color, cinematography is by Arthur Grant and music by Edwin Astley.The latest opera production of Joan of Arc is beset with problems, prompting many to believe it's the work of a mysterious phantom who haunts those involved with the show.It has been the basis for a number of adaptations, the Leroux novel's core story proving to be fascinating enough to prompt writers, film makers and musical directors to produce their take on it. Of the film versions, it's still the Lon Chaney silent of 1925 that carries the highest horror value, but for style and substance I feel Hammer's version is the best of the bunch. Fisher's film is played wonderfully straight, the production is given much care and consideration, but in the main the makers let the story sell itself. The characters remain interesting and in the case of the phantom himself, he smartly gets a back story shown late in the day amid off-kilter camera angles. This really gives the film a dramatic thrust as it heads into the finale, where the pay off is exciting and emotionally tight (one of the finest tear sheds in cinema is right here).A voice so wonderful that theatres all over the world will be filled with your admirers.Cast wise the film is led superbly by Lom's performance as the sad and tragic phantom. Lom manages to elicit sympathy with minimal dialogue and pure body language, giving this phantom an irresistible vulnerability that hits home hard as the film closes down. Around him it's Gough who is having the most fun playing villain of the piece Ambrose D'Arcy, and he does it well. De Souza is adequate as love interest Harry Hunter, but Sears, whilst certainly pretty and a decent actress, lacks believability in the scenes shared with the phantom. Note worthy is a quality cameo that comes from Patrick Troughton; even if it does make us hanker for more of him in the picture.Fisher's direction is tight and smooth, if lacking some of the camera flourishes that other Hammer films have benefited from. While Grant's Eastman Color photography adds a zest to the period flavouring by bringing the well designed sets to the fore. Astley's music is standard genre stuff, but easy listening for sure. Bonus is to hear Toccata and Fugue in D minor, it's now disputed as to if it actually was composed by Johann Sebastian Bach, but regardless it's a haunting piece of organ music that has the power to induce chills down the old spinal cord area. Particularly when used location wise as it is here.A lovely adaptation of the source, Hammer's version may not be as horror based as some would like, but it more than makes up for that with style, substance and a quality turn from the leading man. 8/10

Woodyanders Something is very amiss at a London opera house. Tragedy occurs at the grand opening night of a major production. The leading lady quits the program. But mean, lecherous, overbearing owner Lord Ambrose d'Arcy (superbly played to the haughty'n'hateful hilt by Michael Gough) insists that the show go on. He hires charming ingénue Christine (the enchanting Heather Sears) as the new lead. But the Phantom of the Opera (a splendid performance by Herbert Lom) has other plans. Directed with fluid assurance by Terence Fisher and written with praiseworthy intelligence by Anthony Hinds, this lavishly mounted picture has class and style to spare: Arthur Grant's handsome, vibrant cinematography, the remarkable set design (the Phantom's subterranean sewer lair is particularly impressive), Edwin Astley's robust, spooky score, the strikingly vivid and meticulous attention to period detail, and the beautiful opera music are all uniformly outstanding. Lom brings a winning blend of touching pathos and tremendous dignity to the role of the Phantom. Gough excels as a truly vile and revolting villain. Moreover, there are excellent supporting turns by Edward de Souza as engaging gentleman play producer Harry Hunter, Thorley Walters as browbeaten manager Lattimer, Ian Wilson as the Phantom's mute loyal dwarf friend, and Patrick Troughton as the grotesque the Rat Catcher. A bloody fine yarn.

bensonmum2 Almost every movie fan knows the story – an opera house is beset with problems as a new production is set to open. At first it's strange, annoying occurrences like missing music or damaged instruments. But it goes beyond mere annoyance when a stagehand is murdered. What evil force is behind this series of events? As a fan of Hammer, there's a lot here to enjoy. The first thing I always notice, and it's hard not to, is the film's "look". Hammer made some wonderful looking movies and The Phantom of the Opera just might be at the top of that list. Beautiful is the way I would describe it. The colors, the sets, and the costumes are so incredibly pleasing to the eye. Everything from the rich burgundy curtains on the opera stage to the simple, but effective mask worn by the Phantom are perfect. You could spend three times the budget of The Phantom of the Opera and not come up with something that looks this good.Terence Fisher directed some of Hammer's best films. And his work on The Phantom of the Opera is among his best. I've read complaints that Fisher lacked imagination and was, at best, a workmanlike director who was lucky to be "in the right place at the right time". With The Phantom of the Opera, Fisher shows more artistic touches and allows the camera to be more fluid than at any time I can remember. Fisher was aided by an impressive cast. Other than Heather Sears in the female lead, the acting is solid. Edward de Souza, Thorley Walters, and Herbert Lom are all great in their respective roles. But, as usual and as expected, Michael Gough as Lord Ambrose d"Arcy steals every scene in which he appears. He's just so deliciously evil and over-the-top.There are several little moments in The Phantom of the Opera that make it special. Scenes like those involving the rat catcher or the opera house cleaning women might seem like throwaway moments, but they help add life and interest to the film. Or the dinner scene when Sears character turns down d'Arcy's advances. The look of contempt on Gough's face as he stalks out of the restaurant is priceless. Very well done!In the end, while there have been any number of versions of The Phantom of the Opera made over the years, Hammer's version is my favorite. It's definitely a movie that any Hammer fan or anyone interested in learning about Hammer should see.