I finally saw the movie version. The costumes were gorgeous, and so were the sets. Anyone else notice that Christine’s costume for THINK OF ME was taken from on of Franz Xavier Winterhalter’s portrait of Empress Elisabeth of Austria? I thought that was really neat! The actress’s hair, fairness, and ethereal qualities meshed very well with Sissi’s image. I also loved how Swarovski crystals encrusted everything–it was tastfully done and created a really great atmosphere. (As a picky note, though, the costumes–even in their stylized forms–were all from a period between 1865 and 1870 at the latest, which would make Christine, from her date of birth on her grave, no more than 16. These are the things you notice when you concentrate on stuyding too much about one time frame! *G*)
The non-lead singers were really good, and I like the subtle attempts to make Christine a leeetle smarter than she is in the usual musical because, let’s face it, she is definitely in the running for Dumbest Female Lead In A Fictional Work EVER. The actress who plays Christine has a pretty good voice as well (though it’s amusing to me that it’s obvious that the person who plays Carlotta is much better, for all that the actress/singer is creating an effect in her role), but I am 95% certain that someone else is singing several of the songs. Notes she seems to be struggling with in one song she effortless hits and surpasses in the next–and with a much better tone. Hmmm. The actor for Raoul as a really nice voice for his role, though!
The Phantom…well, I had serious problems with the Phantom. My main problem is that he can’t sing. He has a gorgeously brooding appearance for the role, and then he opens his mouth…and I have to wonder if Christine is really tone deaf. The Phantom must have a fabulous, rich, amazing voice, and this actor’s is thin at the best of times, it is poorly controlled, he shouts everything, he is tone is unpleasant at the best of times, and he shows emotion by going off key in a way that goes through me like a spike to the head. *sighs* If they just could have had him MOUTH the words while a great singer sang them instead, I would have adored the movie. Really. Instead, I soon dreaded his every appearance. My second problem was actually with the costuming/make-up and special effects dept. A disconcerting line appears on the Phantom’s forehead (from a wig?) shortly before he is unmasked in front of the opera’s audience, and when his mask comes off, so does, apparently, a huge chunk of his hair that was there in the scene just moments before. My reaction was “What the????” And his hair magically changes colors and turns wild for no particular reason. Also, the scarring–what there is of it–is centered around his eye, which we (and Christine) have had a good look at for minutes at a time, and so we know that there is no way his eyelids can be pulled funny or we would have already seen it. Even more bizarrely, he abruptly gets a five o’clock shadow int he middle of the scene with Raoul, the Phantom, and Christine all in his underground lair.
This, I think, was a terrible mistake on the part of the make up dept. The problem is that the allure and power of the Phantom is destroyed when A) his face really isn’t scarred that badly and B) his hair goes wild and he grows magical stubble. Why? Well, the Phantom is compelling because his wonderful body is broken, but you must have both the wonder and horror of it. That means that his hair should stay perfectly coifed (and, needless to say, the same COLOR) and his chin smooth and should be singing at LEAST as wonderfully as he ever was while the other side of his face should be a true nightmare. This sort of wishy-washy craziness doesn’t work. It is the contrast which creates sympathy with the madman. For some reason, the director and the make-up artists just didn’t get that. And it’s a shame.
To end on a positive note, there was one REALLY good dancer. The guy who did the “mime” stuff at the top of the stairs during Masquerade was very impressive! I had noticed him earlier–as well as later–in the company. He was so good that he really captured my attention. I’d like to know what his background is!
I adore the Phantom of the Opera. Unfortunately, I just can’t like this version of it that much. It’s definitely in the C range for me. 
On the up side, the Bear LOVED it and insisted upon seeing it four times and sang “Past the Point of No Return” all night long. He got almost none of the lyrics and often wandered off the tune, but it was recognizable. (Weirdly, it’s the first bit that he loved so much–the eerie minor key stuff. Strange!)
Also, TRR was the only major review source that gave VEIL such a mediocre rating, and absolutely the only one with a reviewer who was so clearly befuddled by the book. *crosses eyes* If “mixed” means a single reviewer, then sure, but I promise in that case that ALL my reviews will be “mixed.” *g*]
