"There are too many notes for my taste," sniffs one of the proprietors of the Opera Populaire in The Phantom of the Opera.
I quite agree. He is talking about the threatening messages that the control-freak phantom (Gerard Butler) is sending to various members of the company, but his complaint applies perfectly to the music of Andrew Lloyd Webber, whose relentless bombast afflicts this movie like a bad case of swollen lymph nodes.
PHOTO COURTESY OF FOX MOVIES
Of course, Lord Lloyd Webber's music is the whole point of the film, and Joel Schumacher, the director, does his best to find a visual style to match the vulgarity and pretentiousness of the soundtrack. He succeeds admirably, drawing on his long-ago experience designing department-store window displays to produce nearly two-and-a-half hours' worth of overstuffed tableaux, the cumulative effect of which is likely to be a state of headachy nervous exhaustion. This kind of spectacle might work onstage, where numb enervation can sometimes be mistaken for exhilaration, but this screen version, for all its wailing emotionalism and elaborate production design, lacks both authentic romance and the thrill of memorable spectacle.
These failings are not the fault of the cast, which works hard to capture the grand, delicate feelings of this venerable, much-adapted story. Somewhere in this movie is the story of a striving young singer, a tormented musical genius and the volatile mixture of artistic ambition and obsessive longing that binds them together, but it is buried in orchestral sludge and chaotic storytelling.
Lord Lloyd Webber's thorough acquaintance with the canon of 18th and 19th-century classical music is not in doubt, but his attempt to force a marriage between that tradition and modern musical theater represents a victory of pseudo-populist grandiosity over taste -- an act of cultural butchery akin to turning an aviary of graceful swans and brilliant peacocks into an order of Chicken McNuggets. The songs fill your ears, but you are unlikely to find yourself humming any of them after the movie is over (which may, come to think of it, be the only merciful thing about this Phantom.)
PHOTO COURTESY OF FOX MOVIES
Nonetheless, the music is technically demanding -- just try to hum a few bars -- and calls forth some impressive singing, especially from Butler and from the lovely Emmy Rossum, who plays his protagonist, Christine Daae. Rossum, who was the murdered daughter in Clint Eastwood's Mystic River, breathes some fresh air into her claustrophobic, overupholstered surroundings and brings both a spark of defiance and a touch of melancholy to her role. Butler has sufficient physical and vocal presence to give the phantom some dramatic weight, though the same cannot be said for Patrick Wilson, who plays the phantom's rival (and Christine's childhood sweetheart), the smooth-faced Vicomte Raoul de Chigny. Although everyone in the movie is supposed to be French, only Miranda Richardson, as the head of the corps de ballet, attempts a French accent.
Minnie Driver, as the Italian diva upstaged by Christine and the Phantom, tries a bit of dialect humor, saying things like " `Ee lava me!" and "I 'ate my 'at!" as if she were auditioning for a part in the next Super Mario video game. This passes for comic relief in a film otherwise notable for its witlessness. Full though it is of bellowings and screechings about love, art and the spirit of music, The Phantom of the Opera is remarkably lacking in tenderness or grace. The gothic creepiness that has kept Gaston Leroux's 1910 novel in circulation for so long has also been swept away. There are dark corridors, guttering candles, masks, robes, corsets and top hats, but no sense of mystery or strangeness.
For that, I suppose, you will have to go back to Rupert Julian's 1925 version, which starred Lon Chaney as the phantom. That film, long regarded as a classic, has a great many virtues, two of which seem especially relevant at the moment: it is 93 minutes long, and it is silent.
In late October of 1873 the government of Japan decided against sending a military expedition to Korea to force that nation to open trade relations. Across the government supporters of the expedition resigned immediately. The spectacle of revolt by disaffected samurai began to loom over Japanese politics. In January of 1874 disaffected samurai attacked a senior minister in Tokyo. A month later, a group of pro-Korea expedition and anti-foreign elements from Saga prefecture in Kyushu revolted, driven in part by high food prices stemming from poor harvests. Their leader, according to Edward Drea’s classic Japan’s Imperial Army, was a samurai
The following three paragraphs are just some of what the local Chinese-language press is reporting on breathlessly and following every twist and turn with the eagerness of a soap opera fan. For many English-language readers, it probably comes across as incomprehensibly opaque, so bear with me briefly dear reader: To the surprise of many, former pop singer and Democratic Progressive Party (DPP) ex-lawmaker Yu Tien (余天) of the Taiwan Normal Country Promotion Association (TNCPA) at the last minute dropped out of the running for committee chair of the DPP’s New Taipei City chapter, paving the way for DPP legislator Su
It’s hard to know where to begin with Mark Tovell’s Taiwan: Roads Above the Clouds. Having published a travelogue myself, as well as having contributed to several guidebooks, at first glance Tovell’s book appears to inhabit a middle ground — the kind of hard-to-sell nowheresville publishers detest. Leaf through the pages and you’ll find them suffuse with the purple prose best associated with travel literature: “When the sun is low on a warm, clear morning, and with the heat already rising, we stand at the riverside bike path leading south from Sanxia’s old cobble streets.” Hardly the stuff of your
Located down a sideroad in old Wanhua District (萬華區), Waley Art (水谷藝術) has an established reputation for curating some of the more provocative indie art exhibitions in Taipei. And this month is no exception. Beyond the innocuous facade of a shophouse, the full three stories of the gallery space (including the basement) have been taken over by photographs, installation videos and abstract images courtesy of two creatives who hail from the opposite ends of the earth, Taiwan’s Hsu Yi-ting (許懿婷) and Germany’s Benjamin Janzen. “In 2019, I had an art residency in Europe,” Hsu says. “I met Benjamin in the lobby