Make this version worth a look for those who found the stage musical Other changes aimed apparently at clarifying the work for the screen might Some compromises haveīeen made in the transfer, and this is likely to rile the purists.
The stage version - which just surpassed its 7000th performance on Broadway,Īnd is holding up splendidly - remains to be seen. Schumacher's own dramatic point of view and sense of visual style give theįilm a different - but equally valid - feel from Prince's.īut whether this ambitious and expansive film will appeal to diehard fans of Harold Prince, so the film's fidelity isn't particularly surprising, though Much detail had already been laid out by the stage production's director, This film than were necessary to accommodate 2002's Chicago. Stage production is impressive fewer changes were made to the structure of The respect the film's director, Joel Schumacher, shows for the epochal The knowledge that the movie takes its source very seriously. Fans of the stage version can at least rest easy in Is a remarkably faithful adaptation of one of the most successful stage Webber's The Phantom of the Opera has finally hit the silver screen in what
We've passed the point of no return: The film version of Andrew Lloyd Late last week Matthew Murray was dispatched to the Majestic Theatre and then to a private screening of the new Phantom of the Opera film to give us a report on the differences between the two versions.
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