The 8 Best 'The Phantom of the Opera' Film Adaptations, Ranked

"The phantom of the opera is there, inside your mind."

French author Gaston Leroux 's 1910 novel, Le Fantôme de l'Opera , continues to be a popular and beloved classic constantly retold throughout the years. The plot tells the tragic story of Erik, a deformed man living beneath the Palais Garnier Opera House in Paris, who becomes obsessed with the beautiful soprano Christine Daaé.

Whether in theater or a major motion picture, this dark romance tale about love and murder has had many reinterpretations, most famously in an enjoyable stage musical created by Andrew Lloyd Webber . Over the years, the entertainment industry has produced several worthy film adaptations of Leroux's story. Some were more faithful, and others offered different and unique takes. Similarly, the Phantom has been portrayed as both a tragic hero and a straightforward antagonist. However, each film considerably brought this classic story and its titular Phantom to life, even if some are undoubtedly better than others.

8 'The Phantom of the Opera' (1989)

Fans of Wes Craven 's A Nightmare on Elm Street will be delighted that Freddy Krueger himself, Robert Englund , played The Phantom in a much more brutal and sadistic version of the story. Dwight H. Little 's 1989 adaptation of the classic novel has less romantic drama and more focus on atmospheric shock and body horrors, making it undoubtedly the darkest adaptation out there.

Englund brings the same energy he gave Freddy to his performance as Erik Destler, complete with a few entertaining one-liners, an eerie presence, and make-up that more than borrows from Krueger's iconic look. Like a regular slasher film, this version of The Phantom is violent, full of gory deaths, and plenty of good scares. Though 1989's The Phantom of the Opera is not for everyone, it's still a fun and terrifying adaptation that will surely please more horror fans - and a glorious tour-de-force for the already iconic Englund.

7 'The Phantom of the Opera' (1962)

Between the 1950s and 1970s, Hammer Film Productions became wildly popular by creating interesting adaptations of classic Gothic horror and fantasy stories. The Curse of Frankenstein , Horror of Dracula , and The Curse of the Werewolf were all released by the studio and drew audiences in with their gratuitous use of blood, gore, and sex appeal. In 1962, the company released its version of The Phantom of the Opera , directed by the famous Hammer Director, Terence Fisher .

Unfortunately, unlike many other Hammer films that push the envelope on showing violence, this version feels more reserved and tamed, with a few moments that drag and don't carry the rest of the story. It was also a box office bomb and severely changed the original text, including removing the Phantom's macabre side and turning him into a tragic antihero. Despite its flaws, this version does feature impressive performances from actors like Herbert Lom in the titular role, Heather Sears as Christine, and Michael Gough , a staple of Hammer Horror who brought considerable dignity to the film.

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6 'The Phantom of the Opera' (2004)

Director Joel Schumacher brought Andrew Lloyd Webber's 1986 musical to the big screen in a 2004 adaptation. Starring Gerard Butler as The Phantom and the then-unknown Emmy Rossum as Christine, the film co-stars Patrick Wilson as Raoul, Oscar-nominee Minnie Driver as Carlotta, and Oscar-nominee Miranda Richardson as Madame Giry. This bigger-budgeted adaptation takes Leroux's novel into the mainstream.

With more sets, elaborate costumes and makeup, and plenty of showstopping glitz, Schumacher set out to make a profitable musical blockbuster. Upon its release, the film performed strongly at the box office and later received three Oscar nominations in the Cinematography, Art Direction, and Original Song categories. Although it grossed over $150 million worldwide, the 2004 version has its fair share of criticism, with some finding the film boring or disserving of Webber's play. Jonathan Rosenbaum of The Chicago Reader even found it lacking the horror that made the novel appealing.

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5 'Song at Midnight' (1937)

Chinese Horror Director Ma-Xu Weibang released a loosely based film of The Phantom of the Opera in 1937 called Song at Midnight . The story follows a different interpretation of The Phantom named Song Danping ( Shan Jin ), a former Left Wing revolutionary actor who sought revenge against his rival who disfigured him.

Though not very well known today, this underrated Chinese horror classic was the first of its kind and proved to be a major box office success of the time. It received a sequel in 1941, followed by multiple remakes, the last of which came out in 2005. The film features a few key elements from the novel but also adds clever anti-war themes, matching the real-life situation in China. Song at Midnight came out shortly before the outbreak of the Second Sino-Japanese War, adding a layer of controversy to the film.

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4 'The Phantom of the Opera' (1943)

Eighteen years after the success of their famous 1925 silent film version, Universal Studios decided to readapt The Phantom of the Opera , this time with sound and in beautiful Technicolor. With better production values, more sets and costumes, and a more extensive cast, this 1943 version tried to outdo its predecessor.

Claude Rains , best known for his iconic monster performance in The Invisible Man , uses his unique and powerful speaking voice to portray The Phantom. He brings considerable emotion to this sympathetic villain but uses his unique talent to be intimidating and threatening at times. Though it received mixed reactions upon release, 1943's The Phantom of the Opera was still well-liked amongst general audiences. It became a box office success and won two Oscars, Best Art Direction and Cinematography, becoming the only classic Universal horror movie to earn the coveted statuette.

3 'The Phantom Lover' (1995)

Ma-Xu Weibang's Song At Midnight became a Chinese classic over the years. Of the many remakes that followed, only 1995's The Phantom Lover surpassed the original's status. Accomplished comedy and horror director Ronny Yu honored the original with his musical adaptation, a romance film that also borrowed elements from Shakespeare's Romeo and Juliet .

Like its 1937 original, The Phantom Lover follows a looser adaptation focusing even more on drama and mood rather than horror or suspense. While this version isn't scary and doesn't include several dark elements from the novel, it's still a compelling love story of two passionate lovers separated by violence and tragedy. As the title implies, The Phantom Lover turns the titular character into more of a Byronic hero than a Gothic protagonist, contributing to the Phantom's current status as a tragic figure rather than the tortured villain in Leroux's novel.

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2 'Phantom of the Paradise' (1974)

Brian De Palma 's 1974 musical horror comedy, Phantom of the Paradise , was a colorful and unique take on Leroux's novel, full of exciting songs and hilariously over-the-top characters. It follows a talented singer-songwriter named Winslow Leach ( William Finley ), who seeks revenge after becoming disfigured and betrayed by the conniving record tycoon Swan ( Paul Williams ).

Though a box office flop and mixed reactions from critics, Phantom of the Paradise has become a cult film over the years and has been praised for its uniqueness and absurdity. Along with its impressive sets, makeup, and costume designs, the film is a standout adaptation that tried to honor the source material while bringing The Phantom of the Opera to a modern age. It's among the most unique musicals , standing out even more because of its commitment to larger-than-life absurdity.

1 'The Phantom of the Opera' (1925)

Regarding The Phantom of the Opera film adaptations, nothing tops Universal's classic silent version from 1925. With its eerie setting, gothic horror atmosphere , and dark tone, it's easily the most faithful version of the novel, complete with a memorable starring performance by "The Man of a Thousand Faces" himself, Lon Chaney .

Chaney gave life to this performance, using his skills as a talented makeup artist and physical actor to create a book-accurate and frightening representation of The Phantom that is still remembered today. The film's marketing even pushed to keep his ghastly appearance a secret until release, leading to several accounts where audiences reportedly fainted once The Phantom's disfigured face was finally revealed . Since its release, this version has become recognized as a true classic of the silent era and praised for honoring Leroux's story and bringing it from page to screen.

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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


John Mathieson


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.

phantom of the opera from the movie

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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Deformed since birth, a bitter man known only as the Phantom lives in the sewers underneath the Paris Opera House. He falls in love with the obscure chorus singer Christine, and privately tutors her while terrorizing the rest of the opera house and demanding Christine be given lead roles.

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Tv/streaming, collections, great movies, chaz's journal, contributors, 'phantom' merits a look, but don't bother listening.

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The question at this point is whether " The Phantom of the Opera " is even intended to be frightening. It has become such a product of modern popular art that its original inspiration, "the loathsome gargoyle who lives in hell but dreams of heaven," has come dangerously close to becoming an institution, like Dracula, who was also scary a long, long time ago.

Lon Chaney's Phantom in the 1925 silent had a hideously damaged face, his mouth a lipless rictus, his eyes off-center in gouged-out sockets. When Christine tore off his mask, she was horrified, and so was the audience. In the Lloyd Webber version, now filmed by Joel Schumacher , the mask is more like a fashion accessory, and the Phantom's "good" profile is so chiseled and handsome that the effect is not an object of horror but a kinky babe magnet.

There was something unwholesome and pathetic about the 1925 Phantom, who scuttled like a rat in the undercellars of the Paris Opera and nourished a hopeless love for Christine. The modern Phantom is more like a perverse Batman with a really neat cave. The character of Raoul, Christine's nominal lover, has always been a fatuous twerp, but at least in the 1925 version, Christine is attracted to the Phantom only until she removes his mask. In this version, any red-blooded woman would choose the Phantom over Raoul, even knowing what she knows now.

But what I am essentially disliking is not the film, but the underlying material. I do not think Lloyd Webber wrote a very good musical. The story is thin beer for the time it takes to tell it, and the music is maddeningly repetitious. When the chandelier comes crashing down, it's not a shock, it's a historical reenactment. You do remember the tunes as you leave the theater, but you don't walk out humming them, you wonder if you'll be able to get them out of your mind. Every time I see Lloyd Webber's " Phantom ," the bit about the "darkness of the music of the night" bounces between my ears, as if, like Howard Hughes, I am condemned to repeat the words until I go mad. (I have the same difficulty with "Waltzing Matilda.") Lyrics like:

Let your mind start a journey through a strange new world/Leave all thoughts of the world you knew before/Let your soul take you where you long to be/Only then can you belong to me.

Wouldn't get past Simon Cowell, let alone Rodgers & Hammerstein.

Yet Schumacher has bravely taken aboard this dreck and made of it a movie I am pleased to have seen. To have seen, that is, as opposed to have heard. I concede that Emmy Rossum , who is only 18 and sings her own songs and carries the show, is a phenomenal talent, and I wish her all the best -- starting with better material. What an Eliza Dolittle she might make. But the songs are dirges or show-lounge retreads; the dialogue laboriously makes its archaic points, and meanwhile, the movie looks simply sensational. Schumacher knows more about making a movie than the material deserves, and he simply goes off on his own, bringing greatness to his department and leaving the material to fend for itself.

I recently attended a rehearsal of the Lyric Opera's new production of " A Wedding ," and talked with its co-writer and director, Robert Altman . "I don't know $#!+ about the music," he told me. "I don't even know if they're singing on key. That's not my job. I focus on how it moves, how it looks, and how it plays." One wonders if Schumacher felt the same way -- not that it would be polite to ask him.

He has a sure sense for the macabre, going back to his 1987 teenage vampire movie " The Lost Boys " and certainly including his " Flatliners " (1990), about the medical students who induce technical death. His " Batman Forever " was the best of the Batman movies, not least because of its sets. Here, working with production designer Anthony Pratt (" Excalibur "), art director John Fenner (" Raiders of the Lost Ark "), set decorator Celia Bobak (Branagh's " Henry V " and "Hamlet") and costume designer Alexandra Byrne (" Elizabeth "), he creates a film so visually resonant you want to float in it.

I love the look of the film. I admire the cellars and dungeons and the Styx-like sewer with its funereal gondola, and the sensational masked ball, and I was impressed by the rooftop scenes, with Paris as a backdrop in the snow. The scarlet of the Phantom's cape acts like a bloodstain against the monochrome cityscape and Christine's pale skin, and she rises to an occasion her rival lovers have not earned. She responds to more genuine tragedy than the film provides for her. She has feelings her character must generate from within, and she is so emotionally tortured and romantically torn that both Raoul and the Phantom should ask themselves if there is another man.

I know there are fans of the Phantom. For a decade in London, you couldn't go past Her Majesty's Theater without seeing them with their backpacks, camped out, waiting all night in hopes of a standby ticket. People have seen it 10, 20, 100 times -- have never done anything else in their lives but see it. They will embrace the movie, and I congratulate them, because they have waited too long to be disappointed. Some still feel Michael Crawford should have been given the role he made famous onstage; certainly Gerald Butler's work doesn't argue against their belief. But Butler is younger and more conventionally handsome than Crawford, in a GQ kind of way; Lloyd Webber's play has long since forgotten the Phantom is supposed to be ugly and aging and, given the conditions in those cellars, probably congested, arthritic and neurasthenic.

This has been, I realize, a nutty review. I am recommending a movie that I do not seem to like very much. But part of the pleasure of moviegoing 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. This is such a fabulous production that by recasting two of the three leads and adding some better songs it could have been, well, great.

Ebert's Great Movie review of "The Phantom of the Opera" (1925) is online at His serial "Behind the Phantom's Mask" (1993), a murder mystery involving an alcoholic understudy to the Phantom, is nowhere near selling out at

Roger Ebert

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Andrew Lloyd Webber's Phantom of the Opera (2004)

Rated PG-13

143 minutes

Directed by

  • Joel Schumacher

Produced by

  • Andrew Lloyd Webber

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The Phantom of the Opera

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December 22, 2004

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Every Phantom of the Opera Film Ranked, According to Critics

The Phantom of the Opera has received several adaptations on and off screen, but here's what film critics thought of each movie.

Although The Phantom of the Opera isn't as popular as its Universal Horror peers, such as Dracula and Frankenstein, the tragic hero has starred in multiple film adaptations since the release of the 1910 novel. The most celebrated of those adaptations is the stage musical by Andrew Lloyd Webber, which remains the longest-running musical in Broadway history. While the Webber musical remains the definitive Phantom , there still have been film versions of the Opera Ghost from over the century that range from groundbreaking to downright strange. Based on ratings on Rotten Tomatoes and Metacritic, here's a ranking of every film adaptation of The Phantom of the Opera .

Honorable Mention: The Phantom of the Opera (1962)

Hammer Film Productions is legendary for its groundbreaking horror films , such as The Curse of Frankenstein and Dracula, but in 1962 it also did an incarnation of The Phantom of the Opera. Like the other films from the studio, Hammer gives its signature gritty atmosphere while also delivering on the small spectacles it's now known for. Its Rotten Tomatoes page is confusing because it conflicts with the page of the 1925 film, and its own page lacks info about the cast, crew, title and more, only providing three middle-of-the-road reviews. Furthermore, it lacks a Metacritic score, so for it to be fairly weighed against these other adaptations, it will be an honorable mention.

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6) The Phantom of the Opera (1998) - Average Score: 13

Dario Argento is a legendary Italian horror director, and he directed a classic in the '80s called Terror at the O pera. which had a similar storyline to The P hantom of the Opera . Based on this, him doing a version of Phantom should've turned out well, but that wasn't the case. This movie's Phantom doesn't even wear a mask, nor is his face scary, departing greatly from the known image of the character. While The Phantom is always supposed to be creepy, this one depicted him as a rapist with a rat fetish, removing much of the sympathy other versions try to illicit. Most critics were right in their reviews, with the film receiving 13 percent. Fans of Argento should simply watch Terror at the Opera instead.

5) The Phantom of the Opera (2004) - Average Score: 36.5

The long-awaited movie adaptation of Andrew Lloyd Webber's musical has its fans. Despite getting only 33 percent from critics on Rotten Tomatoes , 84 percent of audiences approve of Joel Schumacher's lavish film. The movie is bizarre to watch in retrospect since it features successful actors Gerard Butler , Emmy Rossum and Patrick Wilson. Butler was an inexperienced singer and tried his best, but he was miscast in a role that requires more raw talent and theatrical presence. It also didn't help that his "monstrous" appearance is actually underwhelming when the mask is removed.

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4) The Phantom of the Opera (1989) - Average Score: 38

Robert Englund played another horror icon in the most slasher-like version of Phantom yet. This film came out during the heyday of both the Broadway musical and A Nightmare on Elm Street 's franchise, so it tries to cash in on both. In this version, The Phantom sold his soul to the devil to become a great composer, but he paid the price by becoming a Freddy Krueger-like serial killer. The critics who were already tired of slasher tropes did not give favorable reviews for this, and reviewer Tim Brayton summed it up best by writing , "Doing a period piece on an '80s slasher budget was a doomed idea."

3) The Phantom of the Opera (1943) - Average Score: 69.5

Claude Rains will live on in cinema immortality for his performance as Captain Louis Renault in Casablanca , not to mention he was also the original The Invisible Man . However, just after he did Casablanca, he starred in Universal's first Phantom of the Opera movie since the 1925 silent film. While it doesn't get the same acclaim as its predecessor, critics generally favor this Phantom thanks to its lavish sets, phenomenal costumes and Rains' intriguing performance. It currently has a solid 76 percent on Rotten Tomatoes and a rating of 63 percent on Metacritic.

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2) Phantom of the Paradise - Average Score: 76

The most interesting and unique film adaptation of The P hantom of the Opera by far is Brian De Palma's Phantom of the Paradise. While Phantom is usually constricted to the Paris Opera House during the 1880s, De Palma defies the conventions with one of the most visually stunning and bizarre movies of the '70s. Instead of the usual setting, Paradise takes place in an alternate modern-day universe, with a hard rock club called "The Paradise" replacing the Opera House. This Phantom is a songwriter who sold his soul to get the woman he loves to sing his songs, only to have a record tycoon steal his music. The shocking visuals, as well as the satire of the music industry, make this arguably the most entertaining Phantom adaptation.

1) The Phantom of the Opera (1925) - Average Score: 90

If there's one adaptation of The Phantom of the Opera that's as well-known as the stage musical, it's this groundbreaking, silent film starring Lon Chaney. While The Phantom is known for his mask, the most iconic image of the character in cinema is of his unmasked face in this film. Chaney himself applied the make-up and prosthetics, which were ahead of their time, and it paid off greatly. Critics wrote about members of the audience screaming upon the face reveal, with some patrons fainting in response. To this day, critics hail it as a classic in early cinema, with Roger Ebert writing , "in its fevered melodrama and images of cadaverous romance, it finds a kind of show-biz majesty."

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The phantom of the opera (2004): 10 facts about joel schumacher’s film.

Joel Schumacher's adaptation of The Phantom of the Opera has its fans and as such, they need to learn how this movie was made.

Andrew Lloyd Webber's The Phantom of the Opera is one of the most popular musicals of all time, holding the record for the longest running show in Broadway history . It comes as no surprise, then, that movie studios wanted to make a film adaptation of the musical, which would ultimately be released in 2004.

RELATED:  10 Famous Quotes From Broadway Musicals

While the film wasn’t as well-received as the stage show and ended up polarizing fans of the original source material, Joel Schumacher's film still developed a cult following and helped to introduce a new generation to the grandiosity and magnificence of  The Phantom of the Opera.

Emmy Rossum Also Played The Christine Doll

One of the most memorable scenes in the movie concerns a doll in the Phantom’s lair that looks like Christine. Originally, the plan was for this to be a hyper realistic doll that looked like Emmy Rossum.

However, due to the fact that the eyes of the doll didn’t look lifelike enough, the production team had Emmy Rossum stand still and play the doll  instead, complete with ‘doll-makeup.'

The Phantom Only Has 14 Non-Singing Lines

Musicals, as is their nature, generally have fewer speaking lines than other movies. The reason for for this is, naturally, that the characters are more likely to sing their thoughts and feelings than to merely speak them.

As a result of this, despite being the title character, the Phantom of the Opera only has 14 lines of dialogue in the movie. Every time he appears onscreen, the Phantom sings whatever he's feeling at the moment.

There's A Nod To The Phantom's Original Weapon

One of the most memorable scenes in the movie was Raoul’s warning to the soldiers to keep their hands at the level of their eyes. The reason for this was actually a very subtle Easter Egg for the book upon which the musical and movie are based.

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In the book, the Phantom uses a ‘Punjab Lasso’ (a handheld hangman's noose that could be swung like a lasso) to kill his victims. Keeping one’s hands at the level of one’s eyes helps to stop the Punjab Lasso from getting a tight grip on someone's neck.

Michael Jackson Wanted To Be The Phantom

As with any production, several actors were considered for the role of the main lead. Over the course pre-production, actors including Heath Ledger , Hugh Jackman, Antonio Banderas, Meat Loaf, and John Travolta were all considered for the role of the Phantom.

However, the strangest connection to the role of the Phantom was Michael Jackson . The King of Pop allegedly was a huge fan of the production and wanted to play the Phantom. For a number of reasons, none of these casting ideas went anywhere, and Gerard Butler became the film's star.

Anne Hathaway & Keira Knightley Almost Played Christine

In a similar manner to the casting of the Phantom, several prominent actresses were considered for the role of Christine. The most prominent of which were Keira Knightley and Anne Hathaway .

However, Joel Schumacher was very set on casting Emmy Rossum in the role. Since Hathaway was filming another project in 2004, the role ultimately went to Rossum

Gerard Butler Never Had A Proper Singing Lesson

It’s fairly common for actors to take part in singing lessons if a role requires it. After all, it’s only natural that the actor takes part in lessons so that they can, not only sing better, but also so they can learn to express themselves more convincingly in the musical genre.

RELATED:  Phantom Of The Opera: 10 Memes That Would Make Even The Phantom Laugh

However, some may be surprised to learn that Gerard Butler didn't have a real singing lesson for his role as the titular Phantom. As a result, Gerard Butler  admitted that he struggled when singing, especially the song 'Music of the Night.' This also led to most of the criticisms, with many citing Butler's singing as the film's weakest link.

The Script Was Written In 1989

The Phantom of the Opera is one of the most popular musicals of all time, with the production holding the record for the longest running Broadway musical of all time. Perhaps to lead off the back of this popularity, Andrew Lloyd Webber and Joel Schumacher actually wrote the screenplay in the South of France way back in 1989 .

While the screenplay for the movie was finished at the tail end of the '80s, the film itself didn't see the light of day until the following century, with the film releasing in 2004.

Ramin Karimloo Was Christine’s Father

Fans of The Phantom of the Opera will recognize Ramin Karimloo as one of the most popular actors to ever take on the role of the Phantom. However, some may be surprised to learn that the actor actually appeared in the movie.

Rather than playing the Phantom, Karimloo was given the role of Christine’s father . This makes Karimloo one of the rare Phantom  stars to have played Christine’s father, Raoul, and the Phantom.

The Chandelier Had A Stunt Double

The chandelier is one of the most iconic elements of the The Phantom of the Opera musical. It is the rising of the chandelier that starts the musical and it is through its crashing later on that we learn of the disaster at the opera house. Basically, the chandelier could be considered to be a character all of its own.

The chandelier in the movie was made by Swarovski and weighed over 2.2 tons and cost roughly a million Dollars to make. Due to its massive weight and how impractical and expensive it would be to build another chandelier, it had a stunt double  that was used during some of the dangerous and intense scenes.

Emmy Rossum Was Only 17-Years Old When Filming

Emmy Rossum played Christine Daaé, who's relatively younger than her two male co-stars. Despite the fact that her two love interests, the Phantom and Raoul, were both played by actors in their thirties, Emmy Rossum was only 17 .

The age gap between the love interests in terms of the story's time-setting may not be too surprising, but the fact that Rossum wasn't even 18 at the time of filming is incredibly shocking to some viewers.

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Dark Fantasies: What 2004’s The Phantom of the Opera Tells Us About Trauma and Love

phantom of the opera from the movie

Based on the worldwide hit stage play of the same title , 2004’s The Phantom of the Opera is a love story for the ages featuring a handsome Count, a fair maiden, and an evil presence. However, it also is much more than that, a multilayered tale of twisted love, hatred, and how solitude can warp and twist one’s perception of reality. It is also the story of how trauma guided and impacted the lives of its two main protagonists, namely The Phantom and Christine, as they deal with the events of their respective pasts and navigate the present to feel the emotions within themselves correctly. 

Foundation of Trauma: The Mirror  

A woman in a white dress with long brown hair, looks into a cloudy mirror, flowers are next to her. In the reflection is a man with a mask on half his face, and wearing a suit from the 1800s

To understand the characters of The Phantom and Christine, one must understand the foundational events that changed the course of their lives forever. For The Phantom, this event was the killing of his abuser, and for Christine, it was the death of her father. Both of these events cemented the emotions and stunted the growth of the above-mentioned characters. 

Christine loved her father very much, and when he died, she was not only devastated but also cast out and abandoned at the Paris Opera House. She was raised without care and love, only receiving discipline from her overseers. Playing small roles and regulated to obscurity, she found validation and love in the metaphorical arms of The Phantom who allowed Christine, for the first time since her father died, to feel validation, love, and care. 

The Phantom on the other hand was almost the opposite: born rejected and treated without care and love for all of his young life, the only thing he experienced was abusive discipline. When Christine first arrived at the Opera House and The Phantom began teaching her, he experienced for the first time validation, love, and care, as Christine viewed him as an “Angel of Music” sent from her father, or the spirit of her Father himself. This was likely the first time The Phantom even felt these emotions and he found himself growing ever more attached to Christine as time went on. 

Christine and The Phantom are in many ways mirrors of each other, as we see when he first reveals himself to her, she gazes into her mirror and slowly her image is replaced by The Phantom’s form. They both are broken people, connected by trauma, who are using each other to fill a void in their souls. 

Dark Fantasies: Music of the Night 

A man looks past the camera, a white mask over half his face, a gloved hand holds a boat oar.

The lyrics from one of the most famous songs of the film, “Music of the Night,” go like this….

Softly, deftly music shall caress you Hear it, feel it secretly possess you Open up your mind, let your fantasies unwind In this darkness which you know you can not fight The darkness of the music of the night Let your mind start a journey through a strange new world Leave all thoughts of the life you knew before Let your soul take you where you long to be Only then can you belong to me

The idea of fantasy runs throughout the film and its two characters, showing how they each deal with the life they have and the history they carry.  The Phantom is showcased as an emotionally stunted individual who is trying to cope with his newfound feelings of love, in the only way he knows how, through using fantasy as a means to understand the world.  When he begins to feel love and attraction to Christine, he has nothing in real life to frame these feelings with. He has never seen love or care in the real world, and because he is disfigured, he has been forced to live a life of solitude in the bowels of the Opera house. Books, plays, and music are his only friend and guide to the world. He has likely read stories such as Beauty and the Beast and The Hunchback of Notre Dame  that describe a romance of a beautiful woman to a man who is unloved and unwanted by the world. 

Trapped in the Opera House, he has also embraced music and the tales of sweeping romance told in the nightly Opras, This is his guide to how he should love and how he should feel emotion. He bursts forth in fits of love and rage, much like the characters in his beloved “Music of the Night”: t he song itself tells this story, as the lyrics describe his musical life and his inviting Christine to join him on his journey. 

Let your mind start a journey through a strange new world Leave all thoughts of the life you knew before Let your soul take you where you long to be 

All of which shows her what he went through: the dark fantasies of the music and opera allowed him to journey into the strange world of emotion and love, where he hopes it will take his soul to a place of care and love that he has never known before. 

In much the same way, many wonder why would Christine join and go with him. However. Christine is much like the Phantom: she has been stunted emotionally from the death of her father, she has grown into a young woman inside the Opera house, and has seemingly not experienced much of the outside world. Besides her childhood crush on the Count, she has never experienced love or care. She has also lived and loved the opera and its lavish, larger-than-life characters. She desperately wants to believe in the Angel of Music, from her father, and why can’t she? The Opera is filled with stories such as this, she even tricks herself into seeing what is not there. As the Phantom leads her to his lair, she sees brightly lit hallways with gold and candles, but when the Count follows, we see in reality it’s a dark, wet, and cobwebs-filled hallway. Again when she goes to talk to her father at his grave, she imagines light from his tomb greeting her, and the voice of the Phantom she hopes is maybe her Father called out to her, but again when we are shown the reality, the tomb is dark and cold and it was all in her mind, created by the fantasy of the music of the night. 

True Loves Kiss: The Point of No Return 

A young woman, with long brown hair and a white dress, looks at a man in front of her, there are lit candles behind her.

It is not until the third act and the climax of the picture that the Phantom and Christine are broken out of the dark fantasies they have allowed themselves to be ensnared by. As the story leads up to their final encounter, we see Christine caught up in the narrative of the handsome Count saving his love from the monster. The Phantom, meanwhile, has descended into an Opera-like story of revenge and possession, determined to take Christine and kill his rival the Count. 

Once The Count is tied up and the Phantom threatens to kill him if Christine won’t come away with him, she finally breaks free of the fantasy. The Count is unable to save her, and she is unable to save herself; the only thing she can do is, as the song says, “Open up your mind, let your fantasies unwind.” It’s then she sees the Phantom for who he truly is, a broken man. She kisses him to save who she truly loves in a selfless act, and frees all three of them. 

When he is kissed, the Phantom is also pulled out of his delusions and sees the story for the real-life event that it is. He tells the Count that he would never hurt Christine, but the kiss makes him realize that he is killing her by making her stay with someone she does not love. So he selflessly lets her go.  In the last song, he is seen smashing mirrors and lamenting that the music of the night is over. He has finally opened up his mind and allowed his fantasies to unwind; he sees life as more than the music of the night and departs for a new life. 

2004’s The Phantom of the Opera is a fascinating picture, one that frames Christine and The Phantom as two sides of the same coin. Both were triggered by trauma, both molded and guided by the fantasy world of the opera, who in the end needed each other to break free from that world and find new meaning and purpose in their lives. The motion picture is not so much a monster story as  a tale of how love and loss can impact the human psyche and allow it to either be bound or free. 

phantom of the opera from the movie

Written by Byron Lafayette

Byron Lafayette is a film critic and journalist. He is the current Chairman of the Independent Film Critics of America, as well as the Editor and Lead Film Critic for Viralhare and a Staff Writer for Film Obsessive. He also contributes to What Culture and many other publications. He considers Batman V Superman the best superhero film ever made and hopes one day that the genius of Josh Lucas will be recognized.

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'The Phantom of the Opera' will close in 2023 after 35 years on Broadway. Here are 10 stunning photos from the show's historic run.

  • "The Phantom of the Opera" will close in 2023 after 35 years on Broadway, according to its website.
  • The drama by Andrew Lloyd Webber opened at the Majestic Theatre in January 1988.
  • The musical drama became the longest-running show in Broadway history in January 2006.

"The Phantom of the Opera," written by Andrew Lloyd Webber, premiered at the Majestic Theatre in New York City on January 26, 1988.

phantom of the opera from the movie

The musical is based on French author Gaston Leroux's 1910 novel of the same name.

In a statement to CBS , the musical's producer Cameron Mackintosh said "it has been an unparalleled honour to have presented the longest-running musical in Broadway's history," adding that the show is "legendary."

According to The Hollywood Reporter , the production struggled to bounce back after being forced to close during the coronavirus pandemic.

A message on the show's official website says that tickets are on sale for performances through January 22, 2023, with the final block of tickets going on sale "shortly."

Michael Crawford, who played the original Phantom in 1988, was all smiles during rehearsals for the Broadway opening.

phantom of the opera from the movie

Crawford originated the role of the Phantom in London's West End, which is known for its theater culture, before joining the Broadway cast, Playbill writes .

Andrew Lloyd Webber joined the cast onstage for a curtain call on January 9, 2006 —the same night the show surpassed "Cats" as the longest longest-running show in Broadway history.

phantom of the opera from the movie

The score for "Cats," which is currently the fourth longest-running show of all time, was also written by Lloyd Webber, according to Broadway's official website . 

The same night, actors who played the musical's titular character joined together in costume for a performance.

phantom of the opera from the movie

An assembly of actresses who played the lead character Christine Daaé were also present, per Playbill , with both groups taking their bows onstage.

At the 25th anniversary of the production's Broadway premiere, Hugh Panaro and Sierra Boggess sang their hearts out as the Phantom and Christine.

phantom of the opera from the movie

Panaro is one of the few actors to play both the Phantom and Raoul in the Broadway production, the New York Theater Guide writes . He was cast as Christine's love interest Raoul in 1991 and invited to play the title role in 1999, a part he would play on and off until 2014.

In May 2014, Norm Lewis became the first Black actor to play the Phantom on Broadway (and only the third Black actor to take on the role worldwide).

phantom of the opera from the movie

Lewis, who took over for Panaro, told CBS Mornings in 2014 that it was emotional for him to step into the role.

" ... I feel very honored, and I hope that I make not only everyone who's involved proud, but hopefully this will open up a lot of doors for people of color."

Broadway's first Christine, Sarah Brightman, returned to the stage to celebrate the musical's 30th anniversary at the Majestic Theatre in 2018.

phantom of the opera from the movie

Lloyd Webber wrote "The Phantom of the Opera" during his marriage to Brightman, who originated the role on London's West End before continuing with the Broadway cast, per her website .

When "The Phantom of the Opera" re-opened in October 2021, the audience was given masks of their own to wear during the performance.

phantom of the opera from the movie

"New York loves the arts. New York loves Broadway. New York loves 'Phantom,'" New York Senator Schumer said in a pre-show address, per Variety . "We must never forget that the arts are a great economic engine for New York."

The show's most iconic prop, the chandelier, also returned to audiences in 2021. The glow from the large light illuminated the theater's intricate architecture.

phantom of the opera from the movie

Because the chandelier is a moving piece of the musical's set, its dramatic rise to the ceiling at the beginning of the show served as a symbol for the post-pandemic return of Broadway.

Emilie Kouatchou starred as the first Black Christine in the musical in 2022.

phantom of the opera from the movie

NBC reports that Kouatchou unsuccessfully auditioned for the production twice before getting cast as an understudy. She told the outlet in February that the rejection served a larger purpose in her journey.

"Honestly, this was the perfect time for something like this to happen, even though it had been quite a long time. There have been so many different Black women that could have played Christine," she said. "We're in a period of intense change in this industry, and I'm just happy that I could be a part of that change."

phantom of the opera from the movie


10 Great Performances In Bad Musicals

  • Outstanding performances can elevate even the worst musicals, like Maddie Ziegler's in "Music" and Gene Kelly's in "Xanadu."
  • Despite critical and commercial failures, talents like Kelly Clarkson in "From Justin to Kelly" and Michelle Pfeiffer in "Grease 2" are worth watching.
  • Cher's powerful vocals in "Burlesque" and Emmy Rossum's remarkable portrayal of Christine in "Phantom of the Opera" solidify their status as entertainment legends.

Musicals, one of the most beloved genres in Hollywood, have produced some great performances even in bad movies. Full of enchanting performances, catchy songs, and dazzling theatrics, it's easy to see why they are so popular. When done well, they can be extraordinary, but not all musicals hit the mark. Over the years, some have failed to resonate with critics and audiences. But even in less successful musicals, there can be outstanding performances by actors that make them worth watching. These performances shine through and past the bad elements of the film and provide a reminder of the great skill and talent it takes to deliver a stellar musical performance.

Movies like The Sound of Music , West Side Story , and Mary Poppins have been named as some of the best musicals of all time . However, even if a musical is considered a failure by critics or at the box office, the performances in it can still be exceptional. When an actor delivers a great performance, it's hard not to be captivated, even if the overall production is disappointing. This just goes to show that standout talent can shine through in any setting, even turning a less popular musical into something special. This redeeming quality can even make some of the worst musicals enjoyable to watch.

Maddie Ziegler Gives It Her All

Music (2021).

Co-directed by singer and songwriter Sia, Music follows the story of a non-speaking autistic girl named Music. The film focuses on the relationship between a newly sober drug dealer (Kate Hudson) and her autistic sister. Music failed to perform at the box office, grossing only a sliver of its initial budget. The film was also slated by critics for being insensitive and distasteful in its portrayal of autism. Sia faced criticism due to her insensitivity towards individuals with disabilities, and many accused the film of actually being harmful in its portrayal of autism. Nonetheless, Maddie Ziegler gives it her all as Music, truly committing to the character in her performance.

Music can be streamed on Apple TV and Amazon Prime Video.

Gene Kelly Is A Timeless Talent

Xanadu (1980).

Gene Kelly's final film appearance in the 1980 musical fantasy Xanadu showcases his timeless talent despite the movie's critical failure. In the film, he plays Danny McGuire, a 1940s big band musician turned businessman who partners with the protagonist, Sonny, to create a nightclub. This story combines elements of 1940s MGM musicals and 1980s New Wave, complete with Greek muses on roller skates. At the age of 67, Kelly even roller-skated himself . Kelly's performance, combined with the fantastic choreography and special effects, adds a unique charm to the film. Over time, Xanadu has gained cult status and has become one of those must-see musical movies .

Xanadu can be streamed on Apple TV and Amazon Prime Video.

Kelly Clarkson's Impressive Vocal Abilities Are On Full Display

From justin to kelly (2003).

Kelly Clarkson's only acting role was a reflection of her career's trajectory - it wasn't headed anywhere. The musical comedy From Justin to Kelly was poorly received when it was released in 2003, and it didn't do justice to Kelly's talents. Kelly even admitted that she didn't want to win American Idol initially because she knew it would mean starring in this movie. The film was heavily criticized for lacking a clear direction and being strangely cartoonish. Not even Kelly's charm and vocal abilities were able to save the film from its harsh reception, and she didn't go on to pursue more acting roles.

From Justin to Kelly can be streamed on Amazon Prime Video.

Michelle Pfeiffer Portrays A Strong Female Protagonist With Great Ease

Grease 2 (1982).

When it was originally released, Grease 2 was slammed by critics for not bringing anything new to the franchise. Despite its commercial and critical failure, Michelle Pfeiffer's performance stands out. Playing the role of Pink Lady Stephanie Zinone, Pfeiffer brings a new, stronger, and independent female character to the franchise. Unlike Sandy from the original Grease, her character challenges traditional gender roles by rejecting the notion of changing herself for a man. This aspect of her performance, along with the movie's more progressive themes, resonated with more modern audiences over time.

Grease 2 can be streamed on Apple TV and Amazon Prime Video.

Cher Cements Herself As An Entertainment Legend

Burlesque (2010).

The 2010 musical Burlesque , despite not initially getting the recognition it deserved in Hollywood, has since become a cult classic. The film marked Christina Aguilera's first major movie role and was also the first screen musical for Cher. Cher plays Tess, the tough owner of a glamorous but struggling Los Angeles club who mentors the main character, Ali (Christina Aguilera). Her powerful vocal performances, particularly in numbers like "You Haven't Seen the Last of Me," are some of the film's most iconic moments. The film provides a stage for Cher's unique voice and definitely cements her legendary status in the entertainment industry .

Burlesque can be streamed on Netflix.

Francesca Hayward's Background As A Ballerina Shines Through IHer Performance

Cats (2019).

Release Date 2019-12-20

Director Tom Hooper

Cast Zizi Strallen, Robbie Fairchild, Jason DeRulo, Ian McKellen, Jennifer Hudson, Idris Elba, Mette Towley, Laurie Davidson, Judi Dench, Taylor Swift, Rebel Wilson, Ray Winstone, James Corden

Tom Hooper's film adaptation of Andrew Lloyd Webber's musical Cats was a catastrophic failure , hated by both critics and viewers alike despite its cast of A-list stars. In the film, Francesca Hayward, a principal dancer with the Royal Ballet, stars as the abandoned white kitten Victoria. The bizarre digitally animated fur of the cats in the musical particularly disturbed viewers, creating a sort of uncanny valley. Despite the heavy use of digital effects, Hayward's exceptional ballet prowess shines through , showcasing her exquisite and precise movements, even through all the chaos. However, not even a trained ballerina could save this movie from a critical catastrophe.

Daniel Day-Lewis Displays His Acting Versatility

Nine (2009).

Nine is a musical film adaptation of Federico Fellini's 8 1/2 , focusing on the life of Guido Contini, a famous Italian director. Daniel Day-Lewis excels as the struggling artist. Despite the film's mixed reviews from critics and audiences, Day-Lewis's performance, distinct from his previous roles, shows a vulnerable, subdued Guido struggling with scriptwriting pressure. His singing and dancing are captivating and blend well with the film's artistic style. The role even landed Day-Lewis a nomination for a Golden Globe. Day-Lewis has a habit of continuously playing unique and complicated characters, delivering an exceptional performance every time.

Nine can be streamed on Apple TV and Amazon Prime Video.

Quvenzhané Wallis Showcases Her Remarkable Talents At A Young Age

Annie (2014).

Release Date 2014-12-25

Director Will Gluck

Cast Cameron Diaz, Bobby Cannavale, Rose Byrne, Jamie Foxx, Quvenzhan Wallis

Quvenzhané Wallis, at only 11, shines in the 2014 Annie remake. The role even earned her a Golden Globe nomination. Her performance, following an Oscar-nominated role in Beasts of the Southern Wild , brings fresh energy to the classic musical, now set in a modern, social-media-driven New York. Wallis's portrayal of Annie stands out for its maturity and charm, especially for such a young talent. Her ability to enthrall audiences helps lift the film's overall message of optimism. Despite delivering a wonderful performance, Wallis failed to elevate the film's standing among critics, some even hailing her as the best part of the movie.

Tom Cruise Perfectly Embodies The Persona Of An '80s Rockstar

Rock of ages (2012).

Despite the film's overall critical and commercial failure, Tom Cruise delivers a standout performance as Stacee Jaxx in Rock of Ages. His portrayal of the over-the-top rock star, complete with enthusiastic renditions of classic rock songs like Def Leppard’s “Pour Some Sugar on Me,” brings a punchy edginess that adds so much life to the film. Cruise captures the essence of an '80s rock band frontman with infectious energy, embodying the extreme traits of real-life rock stars like Axl Rose and Steven Tyler. With his transformed physical appearance, Cruises embodies the role, and his performance is a highlight in a movie that otherwise didn't meet expectations.

Rock of Ages can be streamed on Apple TV and Amazon Prime Video.

Emmy Rossum's Portrayal of Christine Is Outstanding

Phantom of the opera (2004).

Joel Schumacher's adaptation of Andrew Llyod Webber's Phantom of the Opera was slated by critics for being boring, melodramatic, and unimpressive. Despite such scathing reviews, Emmy Rossum's portrayal of Christine is remarkable. Her performance brilliantly captures Christine's innocence, grace, emotional journey, and seduction by the Phantom. Rossum's singing, particularly in "Think of Me," is stunning and demonstrates her immense skill, even rivaling many stage renditions of the character . Rossum's stage presence and nuanced portrayal of Christine secure her place among the greatest to ever play the role.

The Phantom of the Opera can be streamed on Apple TV and Amazon Prime Video.

10 Great Performances In Bad Musicals

  • Cast & crew
  • User reviews

The Phantom of the Opera at the Royal Albert Hall

The Phantom of the Opera at the Royal Albert Hall (2011)

A disfigured musical genius, hidden away in the Paris Opera House, terrorizes the opera company for the unwitting benefit of a young protégée whom he trains and loves. A disfigured musical genius, hidden away in the Paris Opera House, terrorizes the opera company for the unwitting benefit of a young protégée whom he trains and loves. A disfigured musical genius, hidden away in the Paris Opera House, terrorizes the opera company for the unwitting benefit of a young protégée whom he trains and loves.

  • Nick Morris
  • Laurence Connor
  • Richard Stilgoe
  • Andrew Lloyd Webber
  • Gaston Leroux
  • Ramin Karimloo
  • Sierra Boggess
  • Hadley Fraser
  • 42 User reviews
  • 22 Critic reviews

The Phantom of the Opera at the Royal Albert Hall

  • The Phantom

Sierra Boggess

  • Carlotta Giudicelli
  • Monsieur Firmin
  • Monsieur André
  • Madame Giry
  • Ubaldo Piangi

Sergei Polunin

  • Slave Master - Hannibal …

Daisy Maywood

  • Joseph Buquet
  • Monsieur Reyer
  • Monsieur Lefevre

Stephen John Davis

  • Don Attilio ("Il Muto")
  • (as Stephen Davis)
  • Passarino ("Don Juan Triumphant")
  • Madame Firmin
  • Wardrobe Mistress
  • Laurence Connor (stage direction)
  • All cast & crew
  • Production, box office & more at IMDbPro

More like this

Love Never Dies

Did you know

  • Trivia Ramin Karimloo and Sierra Boggess previously acted together as the same characters in 'Love Never Dies' another show written by Andrew Lloyd Webber and the sequel to 'The Phantom of the Opera'.
  • Goofs Ramin Karimloo 's tattoo (on his wrist) is visible in one of the close-ups during "Music of the Night".

Raoul : [singing] I love her! Does that mean nothing? I love her. Show some compassion!

The Phantom : The world showed no compassion to me!

  • Connections Followed by Love Never Dies (2012)

User reviews 42

  • phantomoperaphan
  • Aug 8, 2012
  • How long is The Phantom of the Opera at the Royal Albert Hall? Powered by Alexa
  • October 2, 2011 (United Kingdom)
  • United Kingdom
  • Official Facebook
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  • Andrew Lloyd Webber's The Phantom of the Opera at the Royal Albert Hall
  • Royal Albert Hall, South Kensington, London, England, UK
  • The Really Useful Theatre Company
  • Steam Motion and Sound
  • See more company credits at IMDbPro

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  • Runtime 2 hours 17 minutes

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