Aug 27 2010
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I have nothing against the belief of doing “The Phantom of the Opera” as a splatter flick. But with both Dwight H. Little’s 1989 version starring Robert Englund and Dario Argento’s difficulty from 1998 the spot is not the blood and gory but the liberties they catch with Gaston Leroux’s fresh fresh. For the broken-down it was the plan the Phantom had been marked by the Devil and was pursuing Christine Daae through time, and for the latter it is the concept that the Phantom was raised by rats. If you are not reminded of the flashback in “Batman Returns” where the infant Penguin is dispatched in a basket on a river when the parents of the Phantom do the same thing in the opening of this film when they send their baby sailing away on a Paris sewer then it is only because you have not seen both films. Apparently the rats are telepathic, which explains how it is the abandoned infant grows up to shriek, play music, and form a pipe organ in the catacombs beneath the opera house.
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Despite the screen art for the DVD this Phantom, played by Julian Sands, does not wear a cover. This is because he does not need to; there is nothing nefarious with his face, but inside he is bent as a result of being raised by telepathic rats. The rats actually become an significant section of the chronicle, but more in a “Willard”/”Ben” draw than a “Tarzan of the Apes”/”The Jungle Book” draw. But before we bag to them let us think the changes in the admire triangle that Argento and co-writer Gérard Brach have arrive up with for this version of the familiar anecdote.
You can easily grasp out the trio from the rest of the cast because they are the ones with long hair. This time around Raoul De Chagny (Andrea Di Stefano) seems to be as warped as the Phantom, although this might because he spends too powerful time with his brother at a local opium den surrounded by naked people of both sexes and all sizes. The Phantom does not expend a lot of time teaching Christine (Asia Argento, the director’s daughter) how to issue, because she is sounds beautiful righteous the first time she gets on stage in the empty Opera House and starts singing high notes. But he does set aside a psychic link with her so that instead of fetching her down to his lair he can impartial send out a call. For all those of you who have been waiting for the Phantom and Christine to consummate their adore, this is the version of “The Phantom of the Opera” to peep. The predicament is that I do not know why Christine turns on the Phantom or what besides a hail of bullets drives her into Raoul’s arms. But then I do not know why the director wants to photograph his daugher naked (my Italian bloodline has been watered down too noteworthy I negate) .
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Then there are the rats. Ignace (Istvan Bubik), the head rat-catcher has been around for eight years and has killed over 4,000 rats and counting. He keeps tabs by keeping the tails of each rat he kills in a jar of formaldehyde with the month, year, and tail total written on the imprint. Given that every time a rat gets killed the Phantom must be hearing the rodent equivalent of a death deny in his mind you would have concept that the Phantom would have tracked down this murderer well before this time, but that is not the case. Instead Ignace has a unpleasant encounter with the rats and decides the best recourse is to design a killing machine that can be driven around on the quiet floors of the catacombs while it does all sorts of exciting things to the rats it catches.
You maintain thinking that the whole rat catching bit is simply funny relief, and for grand of the film it is. But it turns out that it is Ignace and not Raoul that the Phantom has to trouble about. Besides, as long as Ignace and that pervert passing out Swiss chocolates to the under-aged girls of the corps de ballet is running around, the Phantom is not the biggest monster running around and/or under the opera house. However, if I had to win a improper point in “Il Fantasma dell’opera” it would have to be the arrangement Argento caps off the plunge of the chandelier with a joke. I was already trying to figure out how what the Phantom was doing with the great mallet would bring around the desired result (although I understood the work was hard enough for him to ditch his shirt), so my confusion turned to anxiety when the noted pains becomes unprejudiced another joke at the expense of diva Carlotta Altieri (Nadia Rinaldi) .
Is this the worst version of “The Phantom of the Opera”? I have no pickle with the belief that it is the least faithful, even compared to Little’s movie, but even if you disagree with the changes there are some things of interest here. The opera house in Budapest is elegant and there are some nice gory special effects, although certainly not as many as you would request from Argento and none of them really standout pieces of blood and gore that are seared into your brain forever. The opium den scene is the most memorable scene and it has the least to do with the residence than anything else in the entire film, relying on dozens of bronzed naked bodies to get its impression. Ronnie Taylor’s cinematography makes things spy salubrious to your eyes even when your brain is complaining about the record. The performances are all adequate, but I found that for me the most sympathetic character ended up being Carlotta: the Phantom attacks her and she smooth shows up to yell, the strongest moment of anybody in the movie.
Ennio Morricone is credited with the catch, and there is also additional music by Maurizio Guarini, but the film makes nice consume of proper operatic arias and overtures fom “Carmen,” “Faust,” “Lakmé: Air des clochettes,” and “Romeo & Juliet.” This also makes the film sound classier than it is. This DVD is the unrated director’s sever, while you can obtain the current R-rated version on VHS (I have no conception where it is the gore or sex that makes up the differences) . I am not enough of a fan of Dario Argento to be offended by this particular distress and have seen enough liberties be taken with the anecdote of “The Phantom of the Opera” to be rather jaded by what happens here and knock off another star. There are enough warnings here and in other reviews to know whether you want to be disappointed either as a fan or the director or of the chronicle.
Well, after the comely bad by Argento standards Trauma and the near-perfect Stendhal Syndrome, Dario Argento pulls off his most expensive in-joke yet!
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This is a very difficult film that demands a lot from it’s viewers. It is not always easy to read between the lines of an Argento film. It never has been easy after all.
Argento does not care to compose a conventional awe film, that’s for positive. Instead, he creates a self-ironic film, deliberately balancing between shots of poetic grace (the Phantom’s visions of children pierced by mousetraps - chilling) and shots of extravagant kitch (Asia’s appearance in the same scene!) .
Argento’s choice of not to have his Phantom disfigured was not without a point: This man is disfigured from the inside, and thanks to the script, it shows. Let’s not forget that Gerard Brach, the co-scripter, is the man who co-wrote “Frantic”, “The Doughty Vampire Killers” and many other Polanski films. He lived up to our expectations once again.
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The film is deliberately comic in places but it contains some very unfamiliar scenes (like the one in the brothel - amazing for an Argento film) . I would say that it is his most ‘Fellini-esque’ film yet. It is his “8 1/2″. This is his contribution to a tradition kept by directors such as Fellini or Visconti for that matter (he is often called “the Visconti of violence” after all) .
Let’s not forget the encourage he gets from his actors: Julian Sands couldn’t be a better choice. His phantom is gentle, vicious, romantic and repugnant all at the same time. Asia on the other hand seems to be stoned for most of the film which adds more to the dreaminess of the understanding me thinks.
Sergio Stivalleti has done some broad work with CGI, especially in a scene where a bad guy gets impaled (you contemplate it’s really happening!) . Ronnie Taylor’s photography is NOT up to perfect standards (it is known that he could not stand the weather conditions and wanted to leave as soon as possible) but the known quality of his work is there, once again.
A movie that belongs more to the Art-House fragment than to that of Scare, I might add. Don’t miss it though. And rob the Ennio Moriconne soundtrack, it is a masterpiece!
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