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The Phantom of the Opera (2004)
Soap opera acting and poorly sung music is a hit!
If you love soap operas, and you love fabulous music sung terribly, this is the film for you! Schumacher's film version of Webber's "Phantom of the Opera" is the Titanic, in so many words. The film looks fantastic, feels like it should be fantastic, and in fact, is predicted it should be a success. But as the film goes on its merry way, it fumbles through the darkness and rams right in to a gigantic iceberg and sinks miserably to the bottom of the ocean.
Originally written for the stage, the music should probably be left there. Schumacher, instead of spreading his artistic canvas to incorporate much-needed back story and characteristics from Gaston Leroux's novel, from which the musical is based, the director decides the musical is complete enough in itself and stretches it for all its worth. In turn, the musical splits down the seams and is turned to shambles for the sake of the film. The singing is mediocre at best. No, this film was never meant to be a blockbuster like the director is used to making. If the movie had to be made, it should have been given to a talented director, which, let's face it, Schumacher is not. He has no idea how to direct the actors in this film, and it's blatantly telltale. Emmy Rossum is a brainless little twit as Christine, walking around on tiptoe with no mind of her own, wavering to whoever cries, "I love you!" There is no hint of turmoil in her character when it comes to the tear she is supposed to feel between Raoul, her love, and her desire to be with her Angel of Music. The film feels fake and so comically surreal it's embarrassing. Butler is no Phantom. The Phantom of the Opera is supposed to have a spectacular singing voice because he trains a girl to be an acclaimed opera singer. Now, it stands to reason that he should be able to sing better than anyone, right? Actually, his voice is almost as bad as the infamous Carlotta is supposed to be. Butler does not have the range for the part; it's not his fault there was poor casting choices.
At the climax of the film, when the Phantom is unmasked by Christine in front of the entire opera house, there is a cut in the middle of a shot. Sloppy editing beyond belief, beyond comprehension makes me hate the director for allowing this. Butler's character goes from a slick, black-haired handsome man with a tiny white mask to a scarred, white-haired freak with a single unmasking. I didn't see a wig get pulled off, and I don't think there was supposed to be. It's the worst job I've ever seen in transforming a character. If I was supposed to see some symbolic movement in this gesture, turning the handsome idol to a disfigured creature, I didn't buy it. The whole film we could not see a hint of the scars on Butler's face, and we saw PLENTY of his face. The Phantom is a character shrouded in darkness. In the film, he's dancing in the light of day like there's no tomorrow. And, did I mention, he bears a striking resemblance to Zorro? I could have SWORN Antonio Banderas wasn't in the film, but I kept second guessing during certain scenes.
I give the film three stars. One for the first five minutes of the film, which was beautiful and brought me to tears from the toy monkey playing "Masquerade," leading into the story with the chandelier lifting into the air and transforming the rotted opera house into its grandeur from the past; two for the beauty of the sets and costume designing that was just beautifully done; and the third star is for the black and white sequences. This was a great trick to move the story forward; it's a pity Schumacher didn't go back to the book for his ending. Leroux's final moments in "The Phantom of the Opera" are among my favorite in literature. Sad, tear spilling, and quiet. The movie is two of those for unfortunate reasons.
Heavy (1995)
A movie that understands the importance of subtle moments.
"Heavy" is not the type of movie I would watch when looking for action, thrills, horror, or adventure. It's not about a fat guy making goo-goo eyes at a pretty waitress where he makes pizzas, either... although that could be seen from an outsider's glance.
The movie captures a period of time where our big hero, Victor, is experiencing a number of life-altering changes. From what we know, he has always led a sheltered life under the regime of his mother. When a new waitress, Callie (Liv Tyler), starts work at the bar, Victor's daily life is suddenly altered from a spark of curiosity. He's not a perverted horndog, but he is fascinated by this girl's kindness and beauty, watching her from afar and having visions of her as the drama grows. It's the quiet internal struggle Victor faces that really heightens the intensity of the movie. Those nervous eyes, the quiet voice, the big guy who won't fight back... he is a man trying to become a man. By the end of the film, we are at least given the hope that he is now on the right track.
It's the subtle moments in "Heavy" that really make the film. From the airplanes soaring overhead, giving transition to new points in the lives of the characters, to the Boston Terrier noticing important details, this movie is one to sit back and ponder. The more I think about this movie, the more I like it. It's a lesson on how the quiet subtle moments in life can be the most important.