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The Phantom Of The Opera

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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

• Dec 13, 2004

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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Currently you are able to watch "The Phantom of the Opera" streaming on Amazon Prime Video, fuboTV, MGM Plus Amazon Channel, Paramount Plus Apple TV Channel , MGM Plus, Screambox, Classix, Fandor Amazon Channel, Screambox Amazon Channel, TCM, Cultpix, FlixFling or for free with ads on The Roku Channel, Tubi TV, Crackle, Pluto TV, Darkmatter TV, Cineverse . It is also possible to rent "The Phantom of the Opera" on Amazon Video, FlixFling, Kino Now online and to download it on Amazon Video, FlixFling, Kino Now .

The deformed Phantom who haunts the Paris Opera House causes murder and mayhem in an attempt to make the woman he loves a star.

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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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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

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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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• Cast & Crew

The Phantom of the Opera

• 40   Metascore
• 2 hr 23 mins
• Drama, Horror, Music

Glorious visuals, impressive performances and one showstopping number after another grace this adaptation of Andrew Lloyd Webber's spectacle. Gerard Butler plays the disfigured composer; Emmy Rossum is the young opera singer he loves. Joel Schumacher directed and co-wrote the script with Lloyd Webber.

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2:27 The Phantom Of The Opera

• 2005 - Golden Globe - Best Original Song - Motion Picture - nominated
• 2005 - Golden Globe - Best Performance by an Actress in a Motion Picture - Musical or Comedy - nominated
• 2005 - Golden Globe - Best Motion Picture - Musical or Comedy - nominated
• 2005 - Critics' Choice Awards - Best Picture - nominated

Cast & Crew See All

Gerard Butler

The phantom.

Emmy Rossum

Patrick Wilson

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The Best Horror Movie Musicals

By Neil Bolt

There’s something quite exquisite about the marriage of music and movies.

Ever since The Jazz Singer made it a mainstream combination to be feared, the musical has been a sublime stalwart of cinema that is primarily dominated by the likes of Gene Kelly (and with good reason, that man was a don of dance).

Now mix in a little (or a lot) horror, and things get interesting. There aren’t many horror musicals, but what is about contains plenty of good ones. So here you are, an article highlighting some of the finest examples of Halloween harmonies and tunes of terror.

Little Shop of Horrors (1986)

Frank Oz directs this film adaptation of Howard Ashman and Alan Menken’s musical take on Roger Corman’s original 1960 movie, giving it a demented edge to its catchy rock opera.

Seymour Krelborn ( Rick Moranis ) works at a plant shop where he pines over his abused co-worker Audrey (Ellen Greene). The chance discovery of a strange new plant changes the fortunes of Seymour, Audrey, and the plant shop, but the strange little plant grows a big appetite for humans.

From the off, there are incredibly catchy numbers of all shapes and sizes. As far as the cast is concerned, the undisputed King of Little Shop of Horrors is Steve Martin ‘s turn as a sadistic motorcycle-riding dentist.

Phantom of the Paradise (1974)

Brian De Palma has made some of the most intense thrillers and horror movies in his storied career. But when he took a stab at making a musical that modernizes The Phantom of the Opera, he showed just how flexible a director he was.

The range of musical styles featured in this dazzling yet cynical take on the music industry is incredibly varied, from 50s-style rock to heartfelt piano ballads and Beach Boys-style pop songs. Phantom of the Paradise runs the gamut as poor old Winslow is subjected to all kinds of torment at the hands of slimy music guru Swan, played by musician Paul Williams.

The Rocky Horror Picture Show (1975)

The Rocky Horror Picture Show is a horror musical phenomenon only matched by one other movie on this list. It’s designed from the ground up to be an audiovisual spectacle, as well as a delightfully camp extravaganza.

It helps that it has the strait-laced Brad and Janet (Barry Bostwick and Susan Sarandon) coming up against the lurid and creepy duo of Tim Curry’s Doctor Frank-N-Furter and Richard O’Brien’s Riff Raff. The chalk and cheese dynamic soon melts away until all are pure goopy horny cheddar.

Anna and the Apocalypse (2017)

I’m such a fan of this teeny sub-genre because it gives the movies a life long after you watch them. The soundtracks are earworms that ensure you will return with a renewed fondness. Anna and the Apocalypse is perhaps my favorite example of that.

There is no soundtrack I have had on repeat more in the past five years than the one to John McPhail’s twisted high school musical. The film’s oddly accurate look at life in a UK school is a surprise, but the set piece song and dance numbers tap into all kinds of emotions. From the Innuendo-laden It’s That Time of Year, the oblivious joy of Turning My Life Around to the pain and sadness of I Will Believe, this festive zombie movie deserves to be in the same company as our next entry.

The Nightmare Before Christmas (1993)

The spooky giant that can exist in two seasonal periods. The Nightmare Before Christmas is a movie that deserves respect for how much cultural impact it has managed to have as a celebration of both Halloween and Christmas.

It’s a pretty loose story that probably doesn’t earn its iconic central romance, but I suppose it’s a case of ”who cares?” That absolutely majestic soundtrack and arresting stop-motion animation do the heavy lifting. Plus, it gave us that Blink-182 line!

The Happiness of the Katakuris (2001)

I really like Takashi Miike . He makes oddball violent nonsense as Ichi the Killer one minute, then makes something as chilling and poignant as Audition the next. Much like De Palma, doing a musical feels like a barmy choice but ends up making some strange sense.

The Happiness of the Katakuris is less about being a set of catchy tunes and choreography than most entries on this list. However, it’s such a deliciously odd and dark musical experience that could only come from someone as eccentric as Miike.

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