KnotMissPriceless Why so much hype?

Executscan Expected more

Solidrariol Am I Missing Something?

Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Lebossufantome It took forever to find and purchase, but I am glad to complete my 'Phantom of the Opera' collection with this. This is a wonderful adaptation. Sandor Korvin is now the Phantom, disfigured by acid as with several other film versions. The music, mostly from Gounod's 'Faust', adds a powerful backing to this film. There are tones of several stories, including Faust, Orpheus, and several other classics. Though it may begin different from the original story, it blends in wonderfully later on, almost becoming entirely from the Leroux original. And remember, without various adaptations, there would be no creativity in the world. The Phantom has yet to fail me.

phantomzeroex Contrairy to what everyone thinks this is not a bad film. While, true it isn't faithful to Leroux, and the acting can make you feel like your watching a soap opera from the seventies, it is still an interesting take on the story. Maximillion Schell does a wonderful job as the Phantom, Shandor Korvan who after losing his wife to suicide takes revenge on the Baron and his men who drove her to it and in the process of killing the critic has both acid drip on his face and is caught on fire. After being rescued by the city ratchacer, did I mention it takes place in Hungary not France, he slowly recovers all the while scheming, waiting for the chance to destroy the Baron. Then a Italian American girl named Maria, not Christine, who looks almost identical to his wife, comes to sing at the opera. Korvan thinks Maria is his wife returned to him in a different form and he trains her to sing like he wished he could have taught his wife to sing. in the meantime Maria falls in love with the director(played by Micheal York) , our Roul. In the end The phantom steals her, jealous of her love for the director. She unmasks him; the director rescues her, and then we come to where the movie gets bad. I think The Phantom is trying to find Maria but gets side tracked and decided to cut down the chandelier while he is on it, maybe he was committing suicide, but he sees Maria is under him and he yells for her to move as it falls in extreme slow motion. In fact its so slow everyone has time to move out of the way and the only one killed is the Phantom. Everyone is sad and the end. There's a lot of bad things about this film, hey its a TV movie, but the thing that redeems it all is the Unmasking scene. It is fantastic. The makeup effects for the Phantom's disfigurement is wonderful. It seems the one thing that they tried to keep accurate to the book is the Phantoms face. It doesn't even look like a burn; it looks congenital. He hardly has a nose, his skin is a nasty yellow and parchment-like, and he only has a few hanks of dark brown hair on sides of his head and on his forehead. His mask is great too, it is a black hood with a blue green full face mask over the face with a movable jaw. Now, about the unmasking, HE QUOTES LEROUX!!!! Maria even burns his mask like Christine does in the book. Schell performances as Shandor Korvan, the Phantom, is great. As Shandor he seems believable that he is mental unstable and when he becomes The Phantom he is completely insane after the loss of his wife and his body, remember his whole body gets burned. He plays the Phantom for Horror and sympathy, like Lon Chaney, and I think he would of been a great Erik in a Leroux based movie. He has the deep voice for it. What you really have to remember is to not compare it to the book. Like all Phantom movies its its own work of art. Just because it not exactly like the book, or what you think is the book, referring to the last summary.

kriitikko Robert Markowitz: THE PHANTOM OF THE OPERA (1983) made for TV movie.Story is set in Budapest after the First World War. The vile opera manager doesn't get the newest soprano to his bed so he arranges a critical review of her performance. Soprano drowns herself, feeling she has betrayed her conductor husband Sandor Korvin. Korvin goes mad, kills the publisher of the review but also gets burned in the face by acid. Rat catcher hides him beneath the opera house. Four years later Maria, the exact replica of Korvin's wife, comes to sing to the opera. Both Phantom and Michael, the new director, falls in love with her.This kind of story became a great Gothic romance in Dracula (1992). Unfortunately it gets wasted here. Director seems to have no skill whatsoever. The dark opera house provides good surrounding but he doesn't use them in any part. Also cast is totally wasted. Maximilian Schell (Sandor Korvin/The Phantom) is a great actor with a deep haunting voice but he seems to be in this only for money. Jane Seymoure (Maria/Elena) I think has never had any acting talent and this isn't exception. Even Jeremy Kemp as the opera manager fails to give same kind of a slimy villain as Michael Gough in 1962 version. So it is Michael York (Michael) who steals to show and is the only enjoyable thing here.Last word: avoid at all cost! Unless you're die hard York fan.

mcornett I wonder why so typically French a story was transferred to Budapest. In the novel, the opera house is as much a star of the story as the characters. It makes no sense to shift the story.The acting is OK at best and often quite silly. Overall this is a rather cheezy and lame attempt at the story, with the usual attempts to rewrite and revise the story.I often wish that someone would attempt a version that is truer to the original book, even though it was penny-dreadful claptrap. All too often they try to make the Phantom so sympathetic that they lose sight of his psychopathic side. However, in the original novel Christine is such a stupid drip that she does get quite annoying.