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The Phantom of the Opera (2004)

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The Phantom of the Opera (2004)

From director Joel Schumacher comes this big-screen adaptation of Andrew Lloyd Webber's smash-hit stage musical! The Phantom, a disfigured musical genius.

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Description.

Deep in the passageways below the Paris Opera lives a lonely, talented, horribly disfigured man who revels in terrorizing the theater's employees as The Phantom of the Opera. But when the masked Phantom sees young Christine Daaé, his heart melts. He secretly trains her, transforms her into a star ... and loves her. But when she cannot return his affection, as her heart already belongs to another, all the pain that the Phantom has held within is revealed with horrifying results.

Cast and crew

Joel Schumacher

Gerard Butler

Emmy Rossum

Patrick Wilson

Miranda Richardson

Minnie Driver

Ciarán Hinds

Simon Callow

Victor McGuire

Jennifer Ellison

Murray Melvin

Kevin Mcnally

James Fleet

Imogen Bain

Miles Western

Judith Paris

Halcro Johnston

Paul Brooke

Oliver Chopping

Alison Skilbeck

Lee Sellers

Ramin Karimloo

Chris Overton

Jesika Cannon

Annabel Porter

Laura Hounsom

Gaston Leroux

Andrew Lloyd Webber

Additional information, released year.

Parental guidance 13

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• Cast & crew
• User reviews

The Phantom of the Opera

A young soprano becomes the obsession of a disfigured and murderous musical genius who lives beneath the Paris Opéra House. A young soprano becomes the obsession of a disfigured and murderous musical genius who lives beneath the Paris Opéra House. A young soprano becomes the obsession of a disfigured and murderous musical genius who lives beneath the Paris Opéra House.

• Joel Schumacher
• Gaston Leroux
• Andrew Lloyd Webber
• Gerard Butler
• Emmy Rossum
• Patrick Wilson
• 2.1K User reviews
• 149 Critic reviews
• 40 Metascore
• See more at IMDbPro
• 7 wins & 42 nominations total

• The Phantom

• Madame Giry

• (as Kevin R. McNally)

• Carlotta's Maid

• Carlotta's Wigmaker

• Carlotta's Seamstress

• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia The doll in the Phantom's lair that is supposed to resemble Emmy Rossum is not actually a wax mold. It is Emmy Rossum. The production produced a mask of her face to use on the mannequin but when they put in the fake eyes it didn't look like her. She suggested to stand in as the mannequin instead. This was done by her being made up like a doll with waxy makeup on, and her standing very, very still.
• Goofs When Raoul is on his way down the stairs to the Phantom's lair, he falls through a hole, down into a pit of water. Iron bars then lower from above, but since Raoul fell straight down into the water, it would be impossible for the bars to be there.

[as he leads Christine down the tunnels of the opera]

The Phantom : [sings] Sing once again with me our strange duet. / My power over you grows stronger yet. / And though you turn from me to glance behind, / The Phantom of the Opera is there, inside your mind.

• Connections Featured in HBO First Look: The Phantom of the Opera (2004)
• Soundtracks Auction at the Opera Populaire, 1919 (Prologue) Written by Andrew Lloyd Webber , Charles Hart , and Richard Stilgoe Performed by Patrick Wilson Produced by Andrew Lloyd Webber , Nigel Wright , Joel Schumacher , Simon Lee , and Guy de Villiers

User reviews 2.1K

• Mar 15, 2006

Everything New on Max in October

• What is 'Phantom of the Opera' about?
• Is this an opera?
• What does "Hand at the level of your eyes" mean?
• January 21, 2005 (United States)
• United Kingdom
• United States
• Central Partnership (Russia)
• Andrew Lloyd Webber's The Phantom of the Opera
• London, England, UK
• Warner Bros.
• Odyssey Entertainment
• Really Useful Films
• See more company credits at IMDbPro
• $70,000,000 (estimated)
• $51,293,931
• Dec 26, 2004
• $154,674,241

Technical specs

• Runtime 2 hours 23 minutes
• Black and White
• Dolby Digital

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The Phantom of the Opera

2004, Musical/Drama, 2h 21m

What to know

Critics Consensus

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. Read critic reviews

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The phantom of the opera   photos.

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). The Phantom, wearing a mask to hide a congenital disfigurement, strong-arms management into giving the budding starlet key roles, but Christine instead falls for arts benefactor Raoul (Patrick Wilson). Terrified at the notion of her absence, the Phantom enacts a plan to keep Christine by his side, while Raoul tries to foil the scheme.

Rating: PG-13

Genre: Musical, Drama, Romance

Original Language: English

Director: Joel Schumacher

Producer: Andrew Lloyd Webber

Writer: Gaston Leroux

Release Date (Theaters): Jan 21, 2005  wide

Release Date (Streaming): Dec 27, 2011

Box Office (Gross USA): $51.2M

Runtime: 2h 21m

Distributor: Warner Bros. Pictures

Production Co: Joel Schumacher Productions

Sound Mix: Surround, Dolby SRD, DTS, SDDS

Aspect Ratio: Flat (1.37:1)

Cast & Crew

Gerard Butler

The Phantom

Emmy Rossum

Patrick Wilson

Miranda Richardson

Madame Giry

Minnie Driver

Simon Callow

Ciarán Hinds

Jennifer Ellison

James Fleet

Victor McGuire

Murray Melvin

Paul Brooke

Laura Hounsom

Young Madame Giry

Chris Overton

Young Phantom

Imogen Bain

Carlotta's Maid

Miles Western

Carlotta's Wigmaker

Judith Paris

Carlotta's Seamstress

Halcro Johnston

Oliver Chopping

Alison Skilbeck

Nun , Nurse

Joel Schumacher

Gaston Leroux

Andrew Lloyd Webber

Jeff Abberley

Executive Producer

Julia Blackman

Keith Cousins

Louis Goodsill

Paul Hitchcock

Austin Shaw

Eli Richbourg

Co-Producer

John Mathieson

Cinematographer

Terry Rawlings

Film Editing

David Grindrod

Anthony Pratt

Production Design

John Fenner

Art Director

Celia Bobak

Set Decoration

Alexandra Byrne

Costume Design

News & Interviews for The Phantom of the Opera

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Critic Reviews for The Phantom of the Opera

Audience reviews for the phantom of the opera.

The Phantom of the Opera is a true masterpiece, it not only fully realizes the vision of Andrew Lloyd Webber's musical, but it also retains the spirit of the original novel. Newcomer Emmy Rossum gives a stunning performance as Christine, capturing the character's youth and innocence, and Gerard Butler's depicting of the Phantom embodies the character's tortured soul and disillusionment. The sets and costumes are also extraordinary, creating an immersive, fantastical world that's breathtaking. Yet the stylistic tone never overwhelms the story, but instead services to heighten its romanticism, and the themes of social alienation and artificial reality. Translating a musical to cinema is a difficult task, however not only does director Joel Schumacher succeed brilliantly, the visual style of The Phantom of the Opera excesses Webber's stage production.

Thoroughly enjoyable.

It took them, like, 78 tries, but they finally got the musical version, which, in all fairness, didn't hit the stage until nearly 80 years after "Le Fantôme de l'Opéra" came out, but that still narrows the number of adaptations down to about 43 since 1986. Man, this novel has been adapted to death, then back again actually in the form of a phantom, then back to death again, but now, we've got ourselves a little twist... and no film adaptations since, so that should probably tell you about how well this film did with critics... even though it was a booming financial success and hit with audiences, though that's probably because the non-critic drama geeks likely didn't know about Joel Schumacher's filmography. Speaking of finally getting the musical version, this is certainly Joel Schumacher's big return to the magical world of musicals, only this time, he's actually dealing with white people problems instead of trying to be "that white guy" who does a black film, which is probably why this film got better reviews other than "Sparkle", which isn't to say that this film's reviews have been all that glowing. Man, I certainly don't agree with the Rotten Tomatoes consensus, but I love how it goes on and on about how the film is "histrionic, boring, and lacking in both romance and danger", and then they turn right around and basically say, "Oh yeah, but it looks pretty". I reckon the critics can't help but look at cheesiness in a Joel Schumacher film and not think of "Batman & Robin", and considering that Schumacher is nothing short of cheesy, whether it be on a "Batman & Robin" scale or whatever, I guess he'll continue to never catch a break, as sure as Emmy Rossum will clearly have a hard time breaking out as a major star, even with a hit this massive under her belt, and Gerard Butler will never catch a break when it comes to romance films of any kind. Man, that poor son of Scot just isn't doing it for the critics when it comes to romances and, well, that's good, because his romantic comedies deserve it. A film like this, on the other, regardless of what the critics say, is what Butler and Schumacher should be gunning more for. Still, make no mistake, this operatic opus hardly goes unhaunted. Now, we're talking about a Joel Schumacher-directed and written adaptation of a musical adaptation of a romantic drama dealing with an opera here, so it's not like you can't see corny coming, yet that hardly makes the cheesiness any less problematic, for although some fluffiness gets to be snappy, all too often, it's more along the lines of sappy, turning in some cornball set pieces and dialogue that momentarily take you out of the film, though perhaps not as much as much of the forced musicality. The musical aspects that drive this film heavily are indeed competently crafted enough to aid in the final product's being as rewarding as it is, yet the incorporation of the musical goes plagued by a bit of inorganic forcefulness that not only overwhelms certain set pieces with profound prominence of musicality that distances you from reality considerably, as well as over-the-top flashiness to exacerbate the already pretty well-established cheesy aspects, but leaves the plotting that should be built around the music rather than more along the lines of a slave to the musical aspects to come off as more awkwardly manufactured than fluid. The musicality's driving the plot along isn't quite as awkward as I expected, yet awkwardness is there, and common within the musical aspects, and with the musical aspects being so exceedingly prominent in the story structure, you better believe that this film's plotting is often rather problematic. Of course, on the handful of occasions in which plotting isn't driven by musicality, the film's storytelling is still flawed, being not necessarily terribly messy, but rather hurried and under-expository, which isn't to say that Joel Schumacher's directorial missteps end there. Schumacher's directorial efforts are indeed inspired, yet he remains a flawed director handed quite a bit to work with, thus he faults quite often, particularly when it comes to the dramatic aspects, which are generally effective, yet tainted with overblown histroinics that were undoubtedly found and evidently somewhat overlooked in Andrew Lloyd Webber's original play and Gaston Leroux's antecedent novel, yet goes particularly pronounced by the overambition within Schumacher's direction that only drowns out quite a bit of what Schumacher desperately strives to achieve. I'm not at all totally in agreement with the consensus' bold statement that this film fails to capture "both romance and danger", yet there is some spark lost in the midst of Schumacher's overambition, which brings more to light certain aspects of the source material's not translating quite as well as it should have to the silver screen, thus leaving the final product to stand rather short of full potential. Of course, what does make it to the cinematic world organically proves to be a graceful success, maybe not to where the shortcomings are obscured, though certainly to where the final product, as a whole, stands as genuinely rewarding, largely thanks to its, as put best by the consensus, "sheer spectacle". Boasting striking color, near-breathtaking flare and brilliant dynamicity, this film is, if nothing else, a masterpiece of art direction, with John Fenner and Paul Kirby translating Andew Lloyd Webber's spectacular with an abundance of graceful artistry to the thoroughly attractive visuals, complimented by John Mathieson's lushly handsome cinematography. As for the production designs by Anthony Pratt that the art direction compliments, they stand as nothing short of truly tremendous, as well, with Alexandra Byrne's costume designs being cleverly flashy and often memorably definitive of the characters behind the costumes, and Celia Bobak's set decoration being colorfully intricate and engrossingly sweeping in scale, thus truly bringing to life Webber's original vision's spectacle and musicality, which in turn helps greatly in bringing the film to life more than working to the film's detriment, which is saying a fair bit. Clocking in at 143 minutes and going handled by a storyteller who doesn't need substance driven by style to be a flawed storyteller, this film's narrative is told primarily, by a considerable margin, through musical numbers, and while that is certainly a delight to see on the stage, on screen, it often taints storytelling with a kind of awkward style-over-substance that throws off resonance and could very well distance investment, so if you're going to have the guts to make a film of this type, then you better have some powerful musical style, and, well, needless to say, considering the essentially unparalleled success of Andrew Lloyd Webber's original stage vision, this film delivers on upstanding musicality that, I must admit, gets to be a touch flawed, both as a storytelling component and as the holder of the ever so occasional improvable stylistic choice (Seriously, what in Senesino's name is up with that pop rock sound that pops in occasionally?), yet remains thoroughly impressive, with sweeping style and striking substance that both engrosses and entertains as it goes dazzlingly performed, both instrumentally and vocally, which isn't to say that fine singing is the only thing done right by the performers, or at least some of them. Minnie Driver is quite underused as Carlotta Giudicelli, and quite frankly, I'm surprised and a little upset to say that I'm glad, because although Driver has proven herself to be a competent actress, in this film, she slips up, turning in a terrible Spanish accent to make all the worse the overbearing overacting that makes her much more obnoxious than effective as the antagonist, and while no other performance proves to be that faulty, only so many people really standout, due to restraints in material, yet do expect to see quite a few charmers in the secondary or even tertiary cast, and quite a bit of compellingness within the lead cast. Gerard Butler's film-picking tastes have, at least in recent years, proven to be very faulty, and, quite honestly, his overacting self wasn't exactly all the commendable in something like "300", yet I would still consider him a reasonably promising talent who has his moments, with this film being one of his moments, for although he only has so much to work with, Butler captures the misery, mystery and dark depths of the titular and iconic Phantom character with engaging charisma and, towards the end, pretty powerful emotional range, while Patrick Wilson charms as our down-to-earth male protagonist, Raoul, Vicomte de Chagny, and the very lovely leading lady Emmy Rossum compels as the both vulnerable and strong spirit as, Christine Daaé, the iconic center of a dark romance and danger. On-screen performances are hit-or-miss, yet generally work and keep this film going, and really, that's what you can say about a certain off-screen performance, for although Joel Schumacher has never really been all that strong of a director, and one who makes more than a few mistakes with his overambitious execution of this promising project, his palpable inspiration will give this film its fair share of moments of genuinely effective resonance, while keeping consistent in something of a smooth pacing that keeps you generally comfortable with the flow of the film, even with the storytelling mishaps. If nothing else, Schumacher delivers on thorough entertainment value, proving the consensus' statement that this film is "boring" to be particularly wrong by keeping everything lively and colorful, with occasions of true depth, and while such a formula has enough missteps to plague the film with shortcomings, it gets the final product by as a rewarding piece. Closing the curtains, it's hard to look back at this film and not recognize quite a bit of cheesiness in certain dialogue pieces, set pieces and histrionics, as well as a bit of awkwardness to forceful moments in the musicality and other distancing areas of storytelling, thus making for a flawed execution of a promising vision, yet one that still stands strong, supported by the stellar art direction by John Fenner and Paul Kirby, - complimented by striking cinematography by John Mathieson - and production designs by Anthony Pratt that compliment Andrew Lloyd Webber's upstanding musical numbers, which liven up a strong story, brought to life by a couple of charismatic performances - particularly those by our compelling leads - and the, albeit overambitious, yet generally engagingly inspired, smoothly-paced and entertaining direction that goes into making Joel Schumacher's adaptation of Andrew Lloyd Webber's "The Phantom of the Opera" an underrated and fairly worthwhile watch. 3/5 - Good

The Phantom of the Opera is one of the few enjoyable Joel Shumacher films, and whatever problems I had with this film, its still a fantastic musical. I have never seen the original Broadway musical so I may not be the best source for a review, but I have listened to these songs before, and I can tell that they did a fine job at making the songs on the big screen. One large problem I had the film was Gerard Butler, who I felt looked to handsome to be believable as the Phantom of the Opera. His singing voice was the only one I didn't enjoy in the film and its hard to explain but he just doesn't have the voice for a singer. They make his character out to be so hideous when really he just looks like he was given a terrible makeup artist, so I really did not find it believable that everyone would consider him some gross beast. Another problem I had is that I should fee a sense of fear from the Phantom, but they don't give us any thrills are questioning, just Gerard Butler running around in a mask. But I did find I loved the music and was really getting into it, and if I ever got to see the musical in its true form on Broadway I would definently do it. The setting and stage is incredible and everything about the films setting is gorcious, so they really made it all feel beautiful. Its trying to be a good musical and it succeeds, but I wasn't impressed by the cast or the character of the Phantom.

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The Phantom of the Opera

Cast & crew.

Gerard Butler

The Phantom

Emmy Rossum

Patrick Wilson

Miranda Richardson

Madame Giry

Minnie Driver

Slightly stiff but sumptuous and faithful production.

• Reviews 169

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Palm Beach church offers haunted fun with live silent movie, 'Phantom of the Opera'

Famed organist Dorothy Papadakos will accompany the 1929 release of the film on Oct. 27 at the Episcopal Church of Bethesda-by-the-Sea in Palm Beach.

A historic local church is offering some spooky fun, with a live showing of the silent film, “The Phantom of the Opera.”

“They can expect lots of high drama, and also lots of laughter,” said Papadakos, who is on tour performing live organ music along with a slate of silent films. “With our sensibility all these 100 years later, some of the film seems very campy and melodramatic. It’s a fun movie to watch.”

See Photos: Blessing of the Animals ceremony at the Church of Bethesda-by-the-Sea

The movie and performance are suitable for ages 8 and older, with costumes suggested, Papadakos said. The cost is $10 for adults and $5 for ages 12 and younger. Children ages 12 and younger who wear a costume and are accompanied by an adult in costume will get in free, with the adult’s paid admission.

The evening begins with a family-friendly Halloween party in the church’s garth at 6:30 p.m. The movie begins at 7 p.m.

Stuart Forster, associate for Music and Liturgy, organist and choirmaster for Bethesda-by-the-Sea, said he has known Papadakos for years and has wanted to work with her in Palm Beach. “She has this bubbly personality that makes you feel good, and it translates into her music beautifully,” he said.

More: Police: SUV crashes into Church Mouse resale shop in Palm Beach

The party in the garth will be casual with a few treats, so everyone can see each other’s costumes, Forster said.

Then the movie will be projected onto a 12-foot screen at the front of the sanctuary, with the organ console pulled forward to sit next to the screen so guests can enjoy the full theatrics of Papadakos’ performance, he said.

Those theatrics include the organist herself dressed in a red-and-black Phantom costume.

“I swoop in,” she said, laughing.

The movie features early 1900s movie star and pioneering makeup artist Lon Chaney in the titular role, with Mary Philbin as Christina, the young opera singer at the story’s heart. The film — and later, the hit Broadway musical — is based on the serial novel "The Phantom of the Opera" by Gaston Leroux.

“There’s some moments of true horror and real suspense,” Papadakos said.

The version being shown at Bethesda is the fourth release of the film, for which Chaney supervised an edit, she said. It’s about 30 minutes shorter than the original — and it’s in color, she said.

“The entire film is tinted, and there’s actually 17 minutes of original technicolor footage,” Papadakos said.

Forster said he’s never been to a silent movie before, and he looks forward to the experience.

“They’ve been growing in popularity, and all the organists’ conventions have them,” he said.

Papadakos noted that it’s exciting to see that “everything that’s old is new again.”

“I bet you, maybe one out of that entire audience we’re going to have that night will have seen a silent movie live in their lifetime,” she said.

The response so far has been exciting, Forster said. “We’re constantly looking for new ways of inviting people to come and experience this fantastic space,” he said.

“I think as people reinvent their lives coming out of COVID, they’re all looking to see what the options are, and we want everybody to know that we’re a warm, loving community, and that everybody is welcome here.”

Papadakos said she most looks forward to the interaction between herself, the actors on the screen and the audience.

“I love the dynamic, the synergy of all of us going on this journey together,” she said. “You never know what’s going to happen, because every organ and audience is different. … Some audiences burst out laughing, and others hold their breath. I have to play to their feeling.”

What: Live viewing of the silent film “Phantom of the Opera”

Where: The Episcopal Church of Bethesda-by-the-Sea, 141 S. County Road, Palm Beach

When: 6:30 p.m. Oct. 27

Cost: $10 for adults, $5 for ages 12 and younger, free for costumed children ages 12 and younger when accompanied by a paying adult

Information and tickets: www.bbts.org

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Pit violinist Claudin hopelessly loves rising operatic soprano Christine Dubois (as do baritone Anatole and police inspector Raoul) and secretly aids her career. But Claudin loses both his touch and his job, murders a rascally music publisher in a fit of madness, and has his face etched with acid. Soon, mysterious crimes plague the Paris Opera House, blamed on a legendary "phantom".

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• Sunset Boulevard

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Princess Theatre 163 Spring St, Melbourne

From 21 May 2024

Performed in English.

Running time

Approximately 2 hours and 40 minutes, including one interval.

Please note

Sarah Brightman will not be appearing on Tuesday evenings or Wednesday matinee performances. The appearance of any artist cannot be guaranteed as it is always subject to illness and leave arrangements.

Opera Australia & GWB Entertainment

By arrangement with the really useful group, sarah brightman, andrew lloyd webber’s, sunset boulevard.

Are you looking for Sunset Boulevard in Sydney ?

“And now, Mr. DeMille, I’m ready for my close-up…”

Musical theatre and international recording superstar Sarah Brightman leads a lavish new production of Andrew Lloyd Webber’s musical masterpiece.

Sunset Boulevard weaves a magnificent tale of faded glory and unfulfilled ambition. Having been discarded by Hollywood with the advent of “talkies”, legendary silent movie star Norma Desmond is tortured by her longing for a return to the big screen. When she meets struggling Hollywood screenwriter Joe Gillis in a dramatic chance encounter, their subsequent passionate and volatile relationship leads to an unforeseen and tragic conclusion.

Norma Desmond is one of musical theatre’s greatest roles and it requires a true legend to fill her shoes. Sarah Brightman is the iconic artist who originated the role of Christine in Andrew Lloyd Webber’s The Phantom of the Opera both in the West End and on Broadway.  Since then, she has become the world’s best-selling soprano, topping the charts across the world.

This historic theatre event marks her first theatrical role in almost three decades.

This brand-new production features stunning sets and costumes, evoking the glamorous Golden Age of Hollywood. The thrillingly atmospheric score features the hits ‘With One Look’, ‘The Perfect Year’, and the anthemic ‘As If We Never Said Goodbye’.

Sunset Boulevard is the musical theatre event of the year. Don’t miss this strictly limited season at Melbourne’s Princess Theatre from May 2024.

Casts & Creatives

Set & costume designer, choreographer, musical supervision by, norma desmond.