Phantom of the Opera movie

I was tremendously excited about seeing this film - being a great musical theatre fan and having enjoyed the Phantom on stage several times before.

I went into the cinema with the reservation that the transference of a theatrical masterpiece to the silver screen is a big ask and there were bound to be perceived inconsistencies and criticisms through the harsh viewpoint of comparison.

Certainly, I felt that the electric and unquestionable energy of a staged production was lost on the film (how could it be otherwise) as the atmosphere of live performance has an unmatchable buzz in my book. Particularly during the more "conversational" sequences of singing (and the lengthy Music of the Night) - momentum is lost.

The film is long and for some people less than passionate about musicals - this could be the main failing. Modern audiences have less and less patience and many people are becoming less able to concentrate and appreciate each moment of a story, let alone modern cinema-goers with no real musical theatre interest.

This is not to say that the film should not have been attempted - indeed I am thrilled to see the culture of musical theatre being re-introduced to the wider public through the medium of film (and what a success for the unexpected and obviously truly diverse director Joel Shumacher - better known for films such as Phone Booth and the Batman series).

For those who allowed themselves to become fully immersed in the storyline and drawn in by the breath-taking spectacle of its masterful and indulgent (in the nicest possible way!) cinematography The Phantom of the Opera is a classy, beautiful and timeless film.

For those with the imagination and romanticism left in their souls - somewhat desensitised and hardened by the modern, fast-paced action flick - The Phantom holds a key into a parallel universe of powerful music, seduction, magic, smoke, mirrors and love.

I too was disappointed in The Phantom, Gerard Butler's vocals at times - but by the end of the film I was drawn into his plight. Christine (Emily Rossum) is obviously an enchanting beauty and an expressive performer. Her voice might not be powerful but for the screen, a different kind of expression is needed and her delicate performance was a stand-out. Raoul (Patrick Wilson) was also commendable and fit the role of suave, knight-in-shining-amore perfectly.

Miranda Richardson was also fitting as Madame Giry and Minnie Driver's performance as Carlotta was surprising and successful - providing a positive tension release from the rest of the dark, smouldering feature.

My major complaint about the film would be in the dubbing and sync of the voices. Having developed a keen eye for that sort of detail (highly irritating when you're trying to lose yourself in a film) it stuck out to me that on a fair few occassions the performers lips were moving entirely out of time with the vocals. Although of course, this is a challenge in any film, let alone a musical where over-dubbing is almost entirely essential.

Notable numbers were All I Ask of You, Wishing You Were Somehow Here Again and Masquerade.

For any musical theatre lover, film enthusiast or hopeless romantic this is a must see - just take a little patience, an open mind and let your fantasies unwind...