The film adaptation of one of the most beloved (and overrated) musicals of all time is a very strange piece of work - production wise, everything is near spot on. But the adaptation of this story to screen only serves to highlights the flaws with its source material: it is long, melodramatic, has boring characters, and most of the songs are fairly unmemorable. But the cinematography (once again by John Mathieson, a practiced hand at conquering a terrible story with visuals) perfectly captures the spectacle that drew audiences to see this story on Broadway for over thirty years. Period pieces are often given much recognition by the Academy, and it is easy to see why: films like The Phantom of the Opera show how strong a visual aesthetic can be made out of beautiful costumes and cinematography both. Almost entirely lit by the soft glow of candlelight and chandeliers, the look of this production is extremely romanticised - a deliberate choice that couldn't have been more perfect for this material. Best Shot: An iconic sequence, the Phantom materialises in Christine's mirror, seductively bathed in half light and shadows. Adapted strait from the stage, the effect is both melodramatic and enticing.
Self-evidently a man who writes for the Internet, Robert also writes films, plays, teleplays, and short stories when he's not working on a movie set somewhere. He lives somewhere behind the Hollywood sign.
