12 selections from the movie adaptation of this Broadway classic: Think of Me Angel of Music The Phantom of the Opera; The Music of the Night; Prima Donna;. - «The Phantom of the Opera ()»: Szenenbilder und Artwork zum Film. Der Film beginnt mit einer Schwarz-Weiß-Sequenz in der Oper, wo eine Versteigerung stattfindet. Ein alter Herr, der von dem Auktionator Vicomte de Chagny.
The Phantom Of The Opera Movie Selections For Piano & Voice18 Jahre nach der Bühnenpremiere in London treibt die Renaissance des Filmmusicals auch diese scheue Kreatur ins Kino. Andrew Lloyd Webbers opernhafte. 12 selections from the movie adaptation of this Broadway classic: Think of Me Angel of Music The Phantom of the Opera; The Music of the Night; Prima Donna;. Die aus dem Film herausgeschnittene Szene, in der das einsame Phantom in seinem Verlies sein Schicksal beklagt ist zum Heulen schön. Ein schönes DVD-.
Phantom Of The Opera Movie Navigation menu VideoThe Phantom of the Opera (1990 Charles Dance) Part 2/2 (EU Print) (HQ!) It is unknown whether Rupert Julian walked away from Atlanta Stream production or was fired; in any case, his involvement Virginia Hey the Visier Statt Maske had ended. The Snoopy Show. Fate: The Winx Saga. He would report Julian's directions to Chaney, who responded "Tell him to go to hell. Gerard Butler Emmy Rossum Patrick Wilson Miranda Richardson Minnie Driver.
Meine Phantom Of The Opera Movie Nichte Phantom Of The Opera Movie mich noch einmal umarmt, NITRO. - NavigationsmenüDas Phantom flieht mit Christine, die während der Flucht dem Phantom entwischen kann. It was used in hundreds of movies and television series. Animation World Network. Milton Bridenbecker Virgil Miller Charles Van Enger. Raoul arrives, the Phantom threatening to kill him unless Christine weds him. Meanwhile, Mme. With such a strong technical and visual grounding it would have been difficult for Chaney to totally muck things up, and his performance is indeed integral, elevating an already solid horror drama into the realms of legendary cinema. McCormack Tom Reed Raymond Ben Hur Netflix. Sparkle Car Wash The Wiz The Phantom has no longer studied Bayern Drei Live Persia in his past. InCarl Laemmlethe president of Universal Picturestook a vacation to Paris. The finest quality print of the film existing was struck from an original camera negative for George Eastman House in the early s by Universal Pictures. Paris, In der Oper feiert das Chormädchen Christine ihre Sternstunde. Im Publikum verfolgt der neue Förderer des Ensembles, Raoul, die Aufführung und ist begeistert vom jungen Nachwuchstalent. Die beiden kennen sich noch aus Kindertagen und. Der Film beginnt mit einer Schwarz-Weiß-Sequenz in der Oper, wo eine Versteigerung stattfindet. Ein alter Herr, der von dem Auktionator Vicomte de Chagny. Das Phantom der Oper (). aus Wikipedia, der freien Enzyklopädie. Zur Navigation springen Zur Suche springen. Film. Die aus dem Film herausgeschnittene Szene, in der das einsame Phantom in seinem Verlies sein Schicksal beklagt ist zum Heulen schön. Ein schönes DVD-. Movie Info From his hideout beneath a 19th century Paris opera house, the brooding Phantom (Gerard Butler) schemes to get closer to vocalist Christine Daae (Emmy Rossum). From director Joel Schumacher comes this big-screen adaptation of Andrew Lloyd Webber's smash-hit stage musical! The Phantom, a disfigured musical genius. China's first horror film, this is loosely based on The Phantom of the Opera. A disfigured musical genius roams a traditional Chinese opera house, punishing those who offend him. Director: Weibang Ma-Xu | Stars: Menghe Gu, Ping Hu, Shan Jin, Chau-Shui Yee Votes: Begins when an opera ghost terrorizes the cast and crew of the French Opera House while tutoring a chorus girl. He finally drives the lead soprano crazy so she and her friend leave. The girl is able to sing lead one night but the soprano doesn't want her show stolen so she comes back. The ghost demands they keep giving his protégé lead roles. The Phantom of the Opera is a American silent horror film adaptation of Gaston Leroux 's novel Le Fantôme de l'Opéra, directed by Rupert Julian and starring Lon Chaney in the title role of the deformed Phantom who haunts the Paris Opera House, causing murder and mayhem in an attempt to make the woman he loves a star.
As the mob approaches, the Phantom attempts to flee with Christine in a carriage meant for Raoul and Christine. While Raoul saves Christine, the Phantom is thrown by the mob into the River Seine , where he drowns.
In a brief epilogue, Raoul and Christine are shown on their honeymoon in Viroflay. In , Carl Laemmle , the president of Universal Pictures , took a vacation to Paris.
During his vacation Laemmle met the author Gaston Leroux, who was working in the French film industry.
Laemmle mentioned to Leroux that he admired the Paris Opera House. Leroux gave Laemmle a copy of his novel The Phantom of the Opera.
Laemmle read the book in one night and bought the film rights as a vehicle for actor Lon Chaney. The screenplay was written by Elliot J.
Clawson, who had worked as the scenario writer of director Rupert Julian since The scene was filmed by Rupert Julian but excised after he left the project.
Inspired by the novel, Clawson added a lengthy flashback to Persia, where Erik the Phantom served as a conjurer and executioner in the court of a depraved Sultana, using his lasso to strangle prisoners.
Falling from her favor, Erik was condemned to be eaten alive by ants. Instead, a line of dialogue was inserted to explain that Erik had been the chief torturer and inquisitor during the Paris Commune , when the Opera served as a prison.
The studio considered the novel's ending too low-key, but Clawson's third revised script retained the scene of Christine giving the Phantom a compassionate kiss.
He is profoundly shaken and moans "even my own mother would never kiss me. Erik flees the Opera House with Christine. He takes over a coach, which overturns thanks to his reckless driving, and then escapes the mob by scaling a bridge with his strangler's lasso.
Waiting for him at the top is Simon, who cuts the lasso. The Phantom suffers a deadly fall. His dying words are "All I wanted The studio remained dissatisfied.
In another revised ending, Erik and Christine flee the mob and take refuge in her house. Before entering Erik cringes "as Satan before the cross.
He asks if she will kiss him and proposes to give her a wedding ring, so Christine can give it to Raoul. The Persian, Simon, and Raoul burst into the house.
Christine tells them Erik is ill; he slumps dead to the floor, sending the wedding ring rolling across the carpet.
Christine sobs and flees to the garden; Raoul follows to console her. Production began in mid-October and did not go smoothly.
According to director of photography Charles Van Enger, Chaney and the rest of the cast and crew had strained relations with director Rupert Julian.
Eventually the star and director stopped talking, so Van Enger served as a go-between. He would report Julian's directions to Chaney, who responded "Tell him to go to hell.
But on the set of The Phantom of the Opera his directorial mediocrity was obvious to the crew. According to Van Enger, Julian had wanted the screen to go black after the chandelier fell on the Opera audience.
Van Enger ignored him and lit the set with a soft glow, so the aftermath of the fall would be visible to the film audience.
The ending changed yet again during filming. The scripted chase scene through Paris was discarded in favor of an unscripted and more intimate finale.
The mob enters his lair under the Opera House, only to find the Phantom slumped dead over his organ, where he had been playing his composition Don Juan Triumphant.
Principal photography was completed just before the end of the year, with , feet of negative exposed.
Editor Gilmore Walker assembled a rough cut of nearly four hours. The studio demanded a length of no more than 12 reels.
A score was prepared by Joseph Carl Breil. No information about the score survives other than Universal's release: "Presented with augmented concert orchestra, playing the score composed by J.
Carl Briel, composer of music for Birth of a Nation ". The exact quote from the opening day full-page ad in the Call-Bulletin read: " Universal Weekly claimed a piece orchestra.
Moving Picture World reported that "The music from Faust supplied the music [for the picture]. The first cut of the film was previewed in Los Angeles on January 7 and 26, Audience reaction was extremely negative and summed up by the complaint "There's too much spook melodrama.
Put in some gags to relieve the tension. It is unknown whether Rupert Julian walked away from the production or was fired; in any case, his involvement with the film had ended.
To salvage the film Universal called upon the journeymen of its Hoot Gibson western unit, who worked cheaply and quickly.
Edward Sedgwick later the director of Buster Keaton 's film The Cameraman was then assigned by producer Laemmle to direct a reshoot of the bulk of the film.
Raymond L. Schrock and original screenwriter Elliot Clawson wrote new scenes at the request of Sedgewick. Most of the new scenes depicted added subplots, with Chester Conklin and Vola Vale as comedic relief to the heroes, and Ward Crane as the Russian Count Ruboff dueling with Raoul for Christine's affection.
This version was previewed in San Francisco on April 26, , and did not do well at all, with the audience booing it off of the screen.
The third and final version resulted from Universal holdovers Maurice Pivar and Lois Weber editing the production down to nine reels.
Most of the Sedgwick material was removed, except for the ending, with the Phantom being hunted by a mob and then being thrown into the Seine River.
Much of the cut Julian material was edited back into the picture, though some important scenes and characters were not restored.
This version, containing material from the original shooting and some from the Sedgwick reworking, was then scheduled for release. It debuted on September 6, , at the Astor Theatre in New York City.
However, Hinrichs' score was not prepared in time, so instead, according to Universal Weekly , the premiere featured a score by Eugene Conte, composed mainly of "french airs" and the appropriate Faust cues.
As it was a legitimate house , the Astor theater used an orchestra, not an organ, for its music.
Following the success of The Hunchback of Notre Dame in , Chaney was once again given the freedom to create his own makeup, a practice which became almost as famous as the films he starred in.
Chaney commented "in The Phantom of the Opera , people exclaimed at my weird make-up. I achieved the Death's head of that role without wearing a mask.
It was the use of paints in the right shades and the right places—not the obvious parts of the face—which gave the complete illusion of horror He raised the contours of his cheekbones by stuffing wadding inside his cheeks.
He used a skullcap to raise his forehead height several inches and accentuate the bald dome of the Phantom's skull. Pencil lines masked the join of the skullcap and exaggerated his brow lines.
Chaney then glued his ears to his head and painted his eye sockets black, adding white highlights under his eyes for a skeletal effect. He created a skeletal smile by attaching prongs to a set of rotted false teeth and coating his lips with greasepaint.
To transform his nose, Chaney applied putty to sharpen its angle and inserted two loops of wire into his nostrils. Guide-wires hidden under the putty pulled his nostrils upward.
According to cinematographer CharlesVan Enger, Chaney suffered from his make-up, especially the wires, which sometimes made him "bleed like hell.
When audiences first saw The Phantom of the Opera , they were said to have screamed or fainted during the scene where Christine pulls the concealing mask away, revealing his skull-like features to the audience.
Chaney's appearance as the Phantom in the film has been the most accurate depiction of the title character based on the description given in the novel, where the Phantom is described as having a skull-like face with a few wisps of black hair on top of his head.
Producer Laemmle commissioned the construction of a set of the Paris Opera House. Because it would have to support hundreds of extras, the set became the first to be created with steel girders set in concrete.
For this reason it was not dismantled until It was used in hundreds of movies and television series. In preparation for the demolition of Stage 28, the Paris Opera House set went through a preservation effort and was placed into storage.
Stage 28 was completely demolished on September 23, Initial critical response for the film was mixed.
Mordaunt Hall of The New York Times gave the film a positive review as a spectacle picture, but felt that the story and acting may have been slightly improved.
Modern critical response for the film has been more positive, with many considering it the best adaption of Leroux's novel to another medium, or at least until the classic Lloyd Webber stage musical version was first performed.
Roger Ebert awarded the film four out of four stars, writing "It creates beneath the opera one of the most grotesque places in the cinema, and Chaney's performance transforms an absurd character into a haunting one.
With such a strong technical and visual grounding it would have been difficult for Chaney to totally muck things up, and his performance is indeed integral, elevating an already solid horror drama into the realms of legendary cinema.
The site's critical consensus reads, "Decades later, it still retains its ability to scare -- and Lon Chaney's performance remains one of the benchmarks of the horror genre.
After the successful introduction of sound pictures during the —29 movie season, Universal announced that they had secured the rights to a sequel to The Phantom of the Opera from the Gaston Leroux estate.
Entitled The Return of the Phantom , the picture would have sound and be in color. Universal later scrapped the sequel, and instead opted to reissue The Phantom of the Opera with a new synchronized score and effects track, as well as new dialog sequences.
Directors Ernst Laemmle and Frank McCormick reshot a little less than half of the picture with sound during August The footage reused from the original film was scored with music arranged by Joseph Cherniavsky , and sound effects.
Mary Philbin and Norman Kerry reprised their roles for the sound reshoot, and Edward Martindel, George B. Williams, Phillips Smalley, Ray Holderness, and Edward Davis were added to the cast to replace actors who were unavailable.
The voice overs are uncredited, but were probably done by Phillips Smalley. Because Chaney's talkie debut was eagerly anticipated by filmgoers, advertisements emphasized, "Lon Chaney's portrayal is a silent one!
The sound version of Phantom opened on February 16, , and grossed another million dollars. The success of The Phantom of the Opera inspired Universal to finance the production of a long string of horror films through to the s, starting with the base stories of Dracula , Frankenstein , The Mummy , The Invisible Man and The Wolf Man , and continuing with numerous sequels to all five movies.
Although this particular adaptation is often considered the most faithful, it contains some significant plot differences from the original novel.
In the movie, M. Debienne and M. Poligny transfer ownership of the opera to M. Montcharmin and M. Richard, while in the novel they are simply the old and new managers.
The character of Ledoux is not a mysterious Persian and is no longer a onetime acquaintance of the Phantom. He is now a French detective of the Secret Police.
This character change was not originally scripted; it was made during the title card editing process. The Phantom has no longer studied in Persia in his past.
Rather, he is an escapee from Devil's Island and an expert in " the Black Arts ". As described in the "Production" section of this article, the filmmakers initially intended to preserve the original ending of the novel, and filmed scenes in which the Phantom dies of a broken heart at his organ after Christine leaves his lair.
Because of the preview audience's poor reaction, the studio decided to change the ending to a more exciting one. Edward Sedgwick was hired to provide a climactic chase scene, with an ending in which the Phantom, after having saved Ledoux and Raoul, kidnaps Christine in Raoul's carriage.
He is hunted down and cornered by an angry mob, who beat him to death and throw him into the Seine. The finest quality print of the film existing was struck from an original camera negative for George Eastman House in the early s by Universal Pictures.
The original version survives only in 16mm "Show-At-Home" prints created by Universal for home movie use in the s. There are several versions of these prints, but none is complete.
All are from the original domestic camera negative. Because of the better quality of the Eastman House print, many home video releases have opted to use it as the basis of their transfers.
This version has singer Mary Fabian in the role of Carlotta. In the reedited version, Virginia Pearson, who played Carlotta in the film, is credited and referred to as "Carlotta's Mother" instead.
Most of the silent footage in the version is actually from a second camera, used to photograph the film for foreign markets and second negatives; careful examination of the two versions shows similar shots are slightly askew in composition in the version.
For the Image Entertainment— Photoplay Productions two-disc DVD set, the soundtrack was reedited in an attempt to fit the Eastman House print as best as possible.
There is no corresponding "man with lantern" sequence on the sound discs. On November 1, , Image Entertainment released a new Blu-ray version of Phantom , produced by Film Preservation Associates, the film preservation company owned by David Shepard.
On January 10, , Shadowland Productions released The Phantom of the Opera: Angel of Music Edition , a two-disc DVD set featuring a newly recorded dialogue track with sound effects and an original musical score.
The film was also reedited, combining elements from the version with the sound release. A 3D anaglyph version is included as an additional special feature.
It is uncertain for what purpose the negative used to strike the Eastman House print was produced, as it includes footage from the sound reissue, and shows few signs of wear or damage.
For unknown reasons, an opening prologue showing a man with a lantern has been added—using a single continuous take—but no corresponding title cards or dialogue survive.
While it was common practice to simultaneously shoot footage with multiple cameras for prints intended for domestic and foreign markets, the film is one of few for which footage of both versions survives others include Buster Keaton 's Steamboat Bill, Jr.
These versions were meant to cash in on the talkie craze; by anything with sound did well at the box office, while silent films were largely ignored by the public.
Since the films included synchronized music and sound effect tracks, they could be advertised as sound pictures, and therefore capitalize on the talkie craze in foreign markets without the expense of reshooting scenes with dialogue in foreign languages.
To make an international version, the studio would simply replace any spoken dialogue in the film with music, and splice in some title cards in the appropriate language.
Singing sequences were left intact, as well as any sound sequences without dialogue. The surviving sound discs of The Phantom of the Opera belong to the domestic release, but do not synchronize with the dialogue portions of the film, which have been abbreviated on the Eastman House print.
Furthermore, for international sound versions, one negative was generally made for all of Europe, sent overseas, and not returned.
During the transition to sound in , it was not uncommon for two versions of a picture, one silent and one sound, to play simultaneously particularly for a movie from Universal, which kept a dual-format policy longer than most studios.
One possibility is that the Eastman House print is actually a silent version of the reissued film, made for theaters not yet equipped with sound.
However, according to trade journals of the time, no silent reissue was available. Harrison's Reports , which was always careful to specify whether or not a silent version of a movie was made, specifically stated that "there will be no silent version.
Nevertheless, if the extant print is a silent version, it would explain why Universal still had it and also the lack of wear on the negative from which it was struck.
Schumacher was inspired by Jean Cocteau 's Beauty and the Beast , where a hallway is lined with arms holding candelabra.
The Phantom of the Opera was released in the United States on 22 December Anthony Pratt and Celia Bobak were nominated for the Academy Award for Best Art Direction , as was John Mathieson for Best Cinematography.
However, both categories were awarded to The Aviator. In the same ceremony , Emmy Rossum was nominated for Best Actress in a Motion Picture Musical or Comedy , losing to Annette Bening in Being Julia.
The soundtrack of the film was released in two separate CD formats on November 23, as a two-disc deluxe edition which includes dialogue from the film and a single-disc highlights edition.
The film had its initial North America video release on DVD and VHS on May 3, followed by its first digital release on HD-DVD on April 18, and a Blu-ray edition on October 31, The site's critical consensus reads: "The music of the night has hit something of a sour note: critics are calling the screen adaptation of Andrew Lloyd Webber's popular musical histrionic boring and lacking in both romance and danger.
Still, some have praised the film for its sheer spectacle. Despite having been impressed with the cast, Jonathan Rosenbaum of the Chicago Reader wrote that "Teen romance and operetta-style singing replace the horror elements familiar to film-goers, and director Joel Schumacher obscures any remnants of classy stage spectacle with the same disco overkill he brought to Batman Forever.
In a mixed review for Newsweek , David Ansen praised Rossum's performance, but criticized the filmmakers for their focus on visual design rather than presenting a cohesive storyline.
Still, I can easily imagine a more dashing, charismatic Phantom than Butler's. Rest assured, however, Lloyd Webber's neo- Puccinian songs are reprised and reprised and reprised until you're guaranteed to go out humming.
Roger Ebert , who gave the film three stars out of four, reasoned that "part of the pleasure of movie-going is pure spectacle—of just sitting there and looking at great stuff and knowing it looks terrific.
There wasn't much Schumacher could have done with the story or the music he was handed, but in the areas over which he held sway, he has triumphed.
Now, in Schumacher's film, that spell lives on. From Wikipedia, the free encyclopedia. Theatrical release poster.
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Film Threat. Archived from the original on 11 April Andrew Lloyd Webber. Jesus Christ Superstar Joseph and the Amazing Technicolor Dreamcoat Evita Tell Me on a Sunday Cats Song and Dance Starlight Express Cricket The Phantom of the Opera Aspects of Love Sunset Boulevard By Jeeves aka Jeeves Whistle Down the Wind The Beautiful Game aka The Boys in the Photograph The Woman in White The Likes of Us Love Never Dies The Wizard of Oz Stephen Ward School of Rock Cinderella.
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Really Useful Group. The Phantom of the Opera by Gaston Leroux. The Phantom of the Opera — Phantom The Canary Trainer The Phantom of Manhattan Phantom of the Opera The Phantom of the Opera Phantom Love Never Dies Das Phantom der Oper The Phantom of the Opera Song at Midnight Phantom of the Opera The Phantom of the Opera The Phantom of Hollywood Phantom of the Paradise Opera The Phantom of the Opera Phantom of the Mall: Eric's Revenge The Phantom of the Opera The Phantom Lover The Phantom of the Opera Phantom of the Megaplex The Phantom of the Opera The Phantom of the Opera at the Royal Albert Hall Don Juan Triumphant Adaptations Return of the Phantom Palais Garnier The Phantom of the Opera pinball.
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