A great musical made by Andrew Lolyld Webber. It has drama, action, and love. It's one of the best things that ever happened to Broadway
by RawPerryPerson April 5, 2016
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The elusive and mentally unstable Phantom of the Workplace has apparently lifted all of my tampons from my drawer last night!
by Dr Bunnygirl October 22, 2019
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PHANTOM OF THE PARADISE...It has achieved cult status even among viewers who might not consider themselves Brian De Palma "fans," but who still appreciate its unique mixture of genres, flamboyant visual style, and biting social satire.
Aided by an insightful song score by star Paul Williams, the movie skewers the rock music industry (and by extension, other media as well) for its constant pursuit of "bigger and better highs," however destructive those highs may become.
De Palma's screenplay, openly inspired by PHANTOM OF THE OPERA, tells the tragic story of a talented but naive composer, Winslow Leach (William Finley). Believing that music impresario Swan (Williams) wants to work with him to produce his masterwork, a "rock cantata" based on the legend of Faust, Winslow hands over several songs to Swan's talent scout, Philbin (George Memmoli).
But Swan has no intention of giving him credit or involving him in the creative process. Winslow insists on his rights, and tries helping young singer Phoenix (Jessica Harper) to get a part in the production, but he's thrown out of Swan's office and home, then beaten up and framed for drug pushing. In prison, the humiliation continues when his teeth are removed as part of a "Dental Health Research Program" sponsored by the Swan Foundation.
Upon hearing that Swan's new rock palace, the Paradise, is about to open with a bastardized version of the cantata, Winslow escapes and breaks into Swan's "Death Records" plant, hoping to rescue his material. Instead, he's shot by a security guard, falls into a record press (which destroys both his face and voice), then disappears, presumed dead. Yet rising even from this catastrophe, he makes his way to the Paradise, steals a caped costume and mask from the wardrobe room, and becomes "The Phantom" -- using murder to protect both his cantata and Phoenix, whom he deeply loves.
When he's finally able to confront Swan face-to-face, the villain deceives him with an offer he can't refuse. If he'll stop terrorizing the Paradise, FAUST will be produced just as Winslow envisioned it, with Phoenix as the lead soprano. Oh ... and one more requirement: he must sign a contract in blood, the details of which Swan keeps suspiciously vague.
De Palma follows all this in a quick, serio-comic manner that differs sharply from his more suspense driven films of the period (SISTERS, OBSESSION, CARRIE). But that's just what PHANTOM needs, and the cunning use of visuals usually associated with old-fashioned melodrama (title cards, spinning newspaper headlines, wipes between scenes, etc.) lends a frenetic energy to much of the film. In contrast, there are several quieter, more haunting moments, including Phoenix's beautiful performance of "Old Souls" -- a song that bonds her to Winslow in a way she won't immediately understand.
The production of FAUST, for which Swan of course sticks to his own twisted design, is an elaborate "homage" to death, with all the trappings of mid-seventies glitter rock. Swan's replacement for Phoenix, the sexually "ambiguous" star Beef (Gerrit Graham), is brought forth as a monster whom the audience helps create by appearing to offer up their own body parts. This echoes De Palma's early documentary, DIONYSUS IN '69, in which a play's viewers interacted directly with the performers. But soon enough, PHANTOM carries the idea to a disturbing conclusion; the audience relishes the carnage on stage, even when it's real.
Other passages marking PHANTOM as the director's work include a brief split-screen tribute to the opening of Welles' TOUCH OF EVIL (if this sequence seems less complex than you might expect from De Palma, read this 1975 interview to find out why), and a scene of "double voyeurism" involving Swan, Phoenix and The Phantom. Also, those REALLY familiar with De Palma's work might want to compare the overhead shot of Swan resting in a giant replica of a gold record while he "surfs" through auditioning performers ... with a later image of Tony Montana (Al Pacino), just as jaded, sifting through cable stations as he lounges in a circular bubble bath. There's an essay in that somewhere!
Shot independently in New York, L.A. and Texas (the Paradise auditorium is a Dallas movie theater still used today as a performance hall) PHANTOM proved to be a difficult sell when first released, but swiftly gained a reputation at midnight screenings. In the late eighties, De Palma considered directing a stage version for Broadway, and in fact commissioned Williams to expand the show's score, but these plans apparently fell through. Yet the concept itself makes perfect sense, as the trends satirized by the film have only intensified over the years.
PHANTOM OF THE PARADISE...It has achieved cult status even among viewers who might not consider themselves Brian De Palma "fans," but who still appreciate its unique mixture of genres, flamboyant visual style, and biting social satire.
Aided by an insightful song score by star Paul Williams, the movie skewers the rock music industry (and by extension, other media as well) for its constant pursuit of "bigger and better highs," however destructive those highs may become.
De Palma's screenplay, openly inspired by PHANTOM OF THE OPERA, tells the tragic story of a talented but naive composer, Winslow Leach (William Finley). Believing that music impresario Swan (Williams) wants to work with him to produce his masterwork, a "rock cantata" based on the legend of Faust, Winslow hands over several songs to Swan's talent scout, Philbin (George Memmoli).
But Swan has no intention of giving him credit or involving him in the creative process. Winslow insists on his rights, and tries helping young singer Phoenix (Jessica Harper) to get a part in the production, but he's thrown out of Swan's office and home, then beaten up and framed for drug pushing. In prison, the humiliation continues when his teeth are removed as part of a "Dental Health Research Program" sponsored by the Swan Foundation.
Upon hearing that Swan's new rock palace, the Paradise, is about to open with a bastardized version of the cantata, Winslow escapes and breaks into Swan's "Death Records" plant, hoping to rescue his material. Instead, he's shot by a security guard, falls into a record press (which destroys both his face and voice), then disappears, presumed dead. Yet rising even from this catastrophe, he makes his way to the Paradise, steals a caped costume and mask from the wardrobe room, and becomes "The Phantom" -- using murder to protect both his cantata and Phoenix, whom he deeply loves.
When he's finally able to confront Swan face-to-face, the villain deceives him with an offer he can't refuse. If he'll stop terrorizing the Paradise, FAUST will be produced just as Winslow envisioned it, with Phoenix as the lead soprano. Oh ... and one more requirement: he must sign a contract in blood, the details of which Swan keeps suspiciously vague.
De Palma follows all this in a quick, serio-comic manner that differs sharply from his more suspense driven films of the period (SISTERS, OBSESSION, CARRIE). But that's just what PHANTOM needs, and the cunning use of visuals usually associated with old-fashioned melodrama (title cards, spinning newspaper headlines, wipes between scenes, etc.) lends a frenetic energy to much of the film. In contrast, there are several quieter, more haunting moments, including Phoenix's beautiful performance of "Old Souls" -- a song that bonds her to Winslow in a way she won't immediately understand.
The production of FAUST, for which Swan of course sticks to his own twisted design, is an elaborate "homage" to death, with all the trappings of mid-seventies glitter rock. Swan's replacement for Phoenix, the sexually "ambiguous" star Beef (Gerrit Graham), is brought forth as a monster whom the audience helps create by appearing to offer up their own body parts. This echoes De Palma's early documentary, DIONYSUS IN '69, in which a play's viewers interacted directly with the performers. But soon enough, PHANTOM carries the idea to a disturbing conclusion; the audience relishes the carnage on stage, even when it's real.
Other passages marking PHANTOM as the director's work include a brief split-screen tribute to the opening of Welles' TOUCH OF EVIL (if this sequence seems less complex than you might expect from De Palma, read this 1975 interview to find out why), and a scene of "double voyeurism" involving Swan, Phoenix and The Phantom. Also, those REALLY familiar with De Palma's work might want to compare the overhead shot of Swan resting in a giant replica of a gold record while he "surfs" through auditioning performers ... with a later image of Tony Montana (Al Pacino), just as jaded, sifting through cable stations as he lounges in a circular bubble bath. There's an essay in that somewhere!
Shot independently in New York, L.A. and Texas (the Paradise auditorium is a Dallas movie theater still used today as a performance hall) PHANTOM proved to be a difficult sell when first released, but swiftly gained a reputation at midnight screenings. In the late eighties, De Palma considered directing a stage version for Broadway, and in fact commissioned Williams to expand the show's score, but these plans apparently fell through. Yet the concept itself makes perfect sense, as the trends satirized by the film have only intensified over the years.
He's been maimed and framed, beaten, robbed and mutilated. But they still can't keep him from the woman he loves.
Beef: "The karma's so thick around here, you need an aqualung to breathe!"
Beef: "The karma's so thick around here, you need an aqualung to breathe!"
by BohemianEarthMother August 30, 2005
Get the Phantom Of The Paradise mug.by Danders March 11, 2016
Get the phantom of the nutsack mug.Prologue:
It is 1911 and the contents of the Paris Opera House are being auctioned off. Present are the auctioneer, porters and bidders. Raoul, now seventy years old and in a wheelchair, buys a poster and a music box. As the auctioneer displays the Opera House chandelier, he explains that it is connected with the legend of The Phantom of the Opera. With a flash of light, the audience is flung back in time, when the Paris Opera was at its height.
Act 1:
We are thrust in the middle of a rehearsal for the opera Hannibal. Monsieur Lefèvre, the retiring manager of the Opera, is showing the new managers, Monsieurs Firmin and André, the great stage. As the prima donna, Carlotta, is singing, a backdrop falls to the floor, nearly killing her. The cry is raised, "It's The Phantom of the Opera!" Upset, Carlotta refuses to sing.
Meg Giry, daughter of the ballet mistress, Madame Giry, suggests her friend, Christine Daaé, take Carlotta's place. Christine has been taking lessons from a mysterious new teacher.
At her triumph in the Opera, is Raoul, a nobleman and patron of the Opera. Raoul recognizes Christine as a childhood friend. He comes backstage after the performance to escort her to dinner, but Christine tells him she cannot go, because her teacher, "The Angel of Music," is very strict.
When Raoul leaves Christine's room, the Phantom appears. Christine is lured into the bowels of the Opera House, where the Phantom will continue her lessons.
He leads her to his underground lair, where she sees a frightening vision of herself in a wedding gown. She faints, only to be awakened several hours later by the Phantom's music on the organ. Creeping up behind him, she rips off his mask. Horrified, he takes her back to the surface.
The Phantom has sent notes to both the managers of the Opera, as well as Raoul, Madame Giry and Carlotta, which give instructions that Christine will have the lead in the new opera, Il Muto. The manager's refuse to give in to the Phantom's demands.
Il Muto proceeds as planned, with Carlotta in the lead, and Christine in a secondary role. As promised, disaster strikes - the stage hand, Joseph Buquet, is killed, and Carlotta's voice is stolen.
In the confusion, Raoul and Christine escape to the roof of the Opera House. There, with all of Paris around them, they pledge their love to one another. They cannot see the Phantom overhearing their vows of love. Enraged at Christine's betrayal, the Phantom causes the final disaster of the night - the mighty chandelier comes crashing to the stage floor.
Act 2:
The second act opens at a grand Masquerade Ball, held on the steps of the Paris Opera. No one has heard from the Phantom in six months. Christine and Raoul are engaged, but are keeping it a secret; Christine keeps her engagement ring on a chain around her neck.
Suddenly, the Phantom appears, disguised as The Red Death, and delivers to the managers a score from his opera, Don Juan Triumphant.
At first, the managers refuse to perform the strange, disturbing opera. Then, with the help of Raoul, they devise a plan to trap the Phantom, using Christine as bait. Plans for Don Juan Triumphant, and the trap, are made.
Christine visits the grave of her father. There on the grave stands the Phantom, beckoning her to join him. Raoul appears and takes her away.
At last, the opening night of Don Juan Triumphant arrives. The theater is surrounded by guards and police, eager to catch the Phantom. As the opera comes to its end, the Phantom takes the place of Piangi, the lead singer. He confronts Christine on stage during the performance, and escapes with her once more to his labyrinth below the Opera House.
In a last confrontation, the Phantom gives Christine a choice: stay with him forever, or he will kill Raoul. Her decision brings to an end the story of The Phantom of the Opera.
It is 1911 and the contents of the Paris Opera House are being auctioned off. Present are the auctioneer, porters and bidders. Raoul, now seventy years old and in a wheelchair, buys a poster and a music box. As the auctioneer displays the Opera House chandelier, he explains that it is connected with the legend of The Phantom of the Opera. With a flash of light, the audience is flung back in time, when the Paris Opera was at its height.
Act 1:
We are thrust in the middle of a rehearsal for the opera Hannibal. Monsieur Lefèvre, the retiring manager of the Opera, is showing the new managers, Monsieurs Firmin and André, the great stage. As the prima donna, Carlotta, is singing, a backdrop falls to the floor, nearly killing her. The cry is raised, "It's The Phantom of the Opera!" Upset, Carlotta refuses to sing.
Meg Giry, daughter of the ballet mistress, Madame Giry, suggests her friend, Christine Daaé, take Carlotta's place. Christine has been taking lessons from a mysterious new teacher.
At her triumph in the Opera, is Raoul, a nobleman and patron of the Opera. Raoul recognizes Christine as a childhood friend. He comes backstage after the performance to escort her to dinner, but Christine tells him she cannot go, because her teacher, "The Angel of Music," is very strict.
When Raoul leaves Christine's room, the Phantom appears. Christine is lured into the bowels of the Opera House, where the Phantom will continue her lessons.
He leads her to his underground lair, where she sees a frightening vision of herself in a wedding gown. She faints, only to be awakened several hours later by the Phantom's music on the organ. Creeping up behind him, she rips off his mask. Horrified, he takes her back to the surface.
The Phantom has sent notes to both the managers of the Opera, as well as Raoul, Madame Giry and Carlotta, which give instructions that Christine will have the lead in the new opera, Il Muto. The manager's refuse to give in to the Phantom's demands.
Il Muto proceeds as planned, with Carlotta in the lead, and Christine in a secondary role. As promised, disaster strikes - the stage hand, Joseph Buquet, is killed, and Carlotta's voice is stolen.
In the confusion, Raoul and Christine escape to the roof of the Opera House. There, with all of Paris around them, they pledge their love to one another. They cannot see the Phantom overhearing their vows of love. Enraged at Christine's betrayal, the Phantom causes the final disaster of the night - the mighty chandelier comes crashing to the stage floor.
Act 2:
The second act opens at a grand Masquerade Ball, held on the steps of the Paris Opera. No one has heard from the Phantom in six months. Christine and Raoul are engaged, but are keeping it a secret; Christine keeps her engagement ring on a chain around her neck.
Suddenly, the Phantom appears, disguised as The Red Death, and delivers to the managers a score from his opera, Don Juan Triumphant.
At first, the managers refuse to perform the strange, disturbing opera. Then, with the help of Raoul, they devise a plan to trap the Phantom, using Christine as bait. Plans for Don Juan Triumphant, and the trap, are made.
Christine visits the grave of her father. There on the grave stands the Phantom, beckoning her to join him. Raoul appears and takes her away.
At last, the opening night of Don Juan Triumphant arrives. The theater is surrounded by guards and police, eager to catch the Phantom. As the opera comes to its end, the Phantom takes the place of Piangi, the lead singer. He confronts Christine on stage during the performance, and escapes with her once more to his labyrinth below the Opera House.
In a last confrontation, the Phantom gives Christine a choice: stay with him forever, or he will kill Raoul. Her decision brings to an end the story of The Phantom of the Opera.
by Juliet January 26, 2005
Get the Phantom Of The opera mug."I love the Phantom of the Opera 2004 movie based off of Andrew Lloyd Webber's story."
"You crazy phangirl, the Phantom of the Opera was written like 100 years ago!!"
"You crazy phangirl, the Phantom of the Opera was written like 100 years ago!!"
by Jessica P. September 5, 2006
Get the Phantom of the Opera mug.Everyones favorite be-masked co-worker at CollegeHumor. He wears a white mask, a top hat, and a long beige/brownish trenchcoat. Usually referred to as "Phantom".
by Phantom Phan March 7, 2009
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