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Posts Tagged ‘Joel Schumacher’

From the Hootoo archive. Originally published December 16th 2004:

[Originally following a review of Blade: Trinity…]

From a film which is a bit of mixed bag in terms of quality, to one with an extremely eclectic cast and crew. Yes, with Moulin Rouge and Chicago both doing rather well at the box office, Andrew Lloyd-Webber’s The Phantom of the Opera has finally made it onto a screen near you, directed by Joel Schumacher. Yes, Joel Schumacher, a man whose track record with masked obsessives who only come out at night is not fantastic (let us not forget, this is the man who nearly-singlehandedly destroyed the Batman franchise) – but then again his particular brand of tastelessness could be just what Lloyd-Webber’s money machine needs…

Set in 1870s Paris, this is the tale of queer doings a-transpiring at the Opera House. The new management (Ciaran Hinds and the perennially Dickensian Simon Callow) are shocked when their diva-ish leading lady (an appallingly OTT silly accent performance by Minnie Driver) walks out on them and they are forced to recast with chorus girl Christine (Emmy Rossum). However, Christine stuns the crowd and is a great success on her debut, catching the eye of her childhood sweetheart Raoul (a rather damp Patrick Wilson), who just happens to be the new financial backer of the House.

But, as Christine later tells her friend Meg (an unexpected swerve upmarket for lad’s mag regular Jennifer Ellison), she has been given extensive musical tuition for the past decade by a mysterious, near-ghostly presence in the Opera House. And now this Phantom is prepared to reveal himself to her and declare his love! It turns out to be Gerard Butler in a mask that gives him a slight but still distracting resemblence to Space Commander Travis from Blake’s 7. He is a deformed polymath living in a secret cavern under the Opera House (the cavern must be fairly well soundproofed as he spends most of his time singing his head off), a pitiful creature living vicariously through the success of his young musical protege. Did anyone mention Simon Cowell?

Well, Gaston Leroux’s original story survives pretty much intact, as does the Lloyd-Webber stage show (additional lyrics, let us not forget, by Richard Stilgoe). Having seen three-quarters of the theatrical version (it’s a long and slightly embarrassing story, and hello, Leiner, if you’re reading this) it seems very clear to me that when writing the screenplay Schumacher and his Lordship took great pains not to alienate the huge and devoted fanbase the stage show has acquired, as this is a fairly literal adaptation. The musical arrangements are extremely retro as a result. A few of the tricks and stunts have been excised but nothing appropriately startling has been put in to replace them.

And as on stage, the movie rather uncomfortably straddles the frontier between musical and real opera: once beyond the opening, there’s virtually no dialogue that isn’t sung, even when it doesn’t actually rhyme or scan. This does seem rather pretentious, especially given how middle-of-the-road most of the actual songs are. Butler, Rossum, and the rest do a fair old job of belting them out but given how closely associated they are with the original cast (Michael Crawford, Sarah Brightman, etc) the best-known numbers always have a hint of karaoke about them.

Given that Moulin Rouge kick-started the current musical revival, and that Phantom occurs in a very similar milieu, it’s a shame that some of the demented energy of Baz Luhrmann’s film didn’t find its way into this one – Schumacher’s direction is surprisingly restrained and pedestrian. Only rarely does Phantom take flight and acquire a sort of phantasmagorical deliriousness that helps fend off the ever-present threat of cheesiness.

But it has an interesting cast, including familiar TV faces like Miranda Richardson, Vic McGuire and Kevin McNally, and it’s involving enough (if a bit too long and flabby in the middle section). Long-term readers will recall my concern for Gerard Butler’s career, and while he makes an impression as the Phantom, he never really makes the most of what is, on paper at least, an exceptionally good part. As for Emmy Rossum, she does a good enough job, but I found the way she was rather unsubtly sexed up towards the end of the film rather tawdry and disturbing. Oh well, I must be getting past it.

Whatever the merits of the stage version of Phantom of the Opera, this film adaptation is not up to the same standard as Chicago or Moulin Rouge, simply because it never quite breaks free from its theatrical origins. The songs and score remain thrilling, but the realisation of the rest of the production isn’t up to the same standard. Devotees of the original will doubtless have a great time, but I remain rather ambivalent about the whole thing.

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From the Hootoo archive. Originally published April 24th 2003:

A good few years ago I lived in a house where, for a while, we didn’t have a phone installed. And so every time I needed to make a call – normally in emergencies, to my family or the takeaway or a chat line – I had to pop out and use a phone box. And I rapidly came to loath and despise a certain class of users above all other – no, not the ones who wee on the floor, but people who ring someone up and then get them to call them back in the booth! Thus enabling them to hog the damn thing all night without worrying about running out of change!

This scourge of society has largely become a thing of the past what with everyone and their dog (except me, it seems) having their own mobile phone, thus allowing them to annoy people in a much wider range of locales, but it is nice to see them excoriated one last time in Joel Schumacher’s Phone Booth.

This is the cautionary tale of New York publicist Stu Shepard (Colin Farrell) who, when not wheeling and dealing via his handheld, uses the city’s last remaining phone booth to call his girlfriend Pam (Katie Holmes) (his wife (Radha Mitchell) checks the mobile bills, y’see). But one day someone (the unmistakeable dulcet tones of Kiefer Sutherland) rings Stu at the booth – someone who’s offended by his exploitative lifestyle and loose morals, and who’s more than happy to express his displeasure with the high-powered sniper’s rifle currently trained on the booth…

Phone Booth takes place almost entirely in real-time and is set in a single street. The importance of the concept to the film, plus the presence of Sutherland, inevitably puts one in mind of a certain TV series running along vaguely similar lines. But this isn’t a cash-in on the success of 24 – this movie was made a couple of years ago, prior to Sutherland’s career renaissance, and was delayed firstly by the Twin Towers disaster and then by the Washington sniper. Looking on the bright side, though, the postponement has meant it cuts down further still the already tiny number of weeks this year when a Colin Farrell movie isn’t released (given his astonishing ubiquity, it’s a wonder the producers of X Men 2 didn’t cast him as Madrox the Multiple Man, but nobody’s perfect).

This is pretty much a two-hander of a film, centring on Farrell’s relationship with his tormentor. And both actors are impressive: Farrell’s initial dismissive ness towards the sniper slowly shading into alarm and then outright terror, as his smooth facade cracks and shatters. Sutherland is arguably even better, his voice dripping with malice and contempt. It’s a showy part (for all that he’s unseen) and he gives it the right mix of credibility and flamboyance. Not that there isn’t good work being done amongst the supporting cast – Forrest Whittaker is a reliable presence as a police captain trying to keep control of the situation, and Mitchell and Holmes are both good as the women in Farrell’s life.

But a film occurring within such a restricted locale and limited timeframe, and with such a small cast, could easily become rather static and repetitive, and as such what success Phone Booth achieves is down to the script and direction. Now I was never part of the ‘Joel Schumacher must die’ lobby of the late 90s – Batman and Robin was bad, but not that bad – but I’ve never been a great fan of his either. Here, though, he does a sterling job, constantly finding new angles and techniques to keep the story interesting (his use of split screen is another 24-ish touch). The same can be said for Larry Cohen’s script – Cohen has been a creator of inventively schlocky concepts for many years, including It’s Alive! and Q: The Winged Serpent – which sets up and runs with the concept with impressive slickness.

Alas, however, the end of the film is a bit disappointing. Farrell does his considerable best with the material he’s given, but it still doesn’t quite convince, and the end result is variously schmaltzy, lacklustre, and predictable. A credibility gap looms large as loose ends go untied and questions go unanswered. But in a film of this type the journey is the entertainment, not the destination. The film doesn’t outstay its welcome and for most of its (rather brief) running time manages to be gripping and enjoyable. It’s nice to find a Phone Booth that isn’t completely out of order.

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