Sometimes you just can't be cynical enough
Oh dear god.
cleolinda just posted a link to a review of the new Phantom movie soundtrack that is, if one is extremely kind, savage.
It would seem that the early viewers have confirmed the most general worry of Phantom fanatics: visuals were priority #1 and the music was priority #2. The British have been the most vividly spectacular in their negative criticism of the film --after all, the production was their brain child originally and they have the right to claim its successes and denounce its failures-- and one writer from The Herald summed up the critical response by stating, "I approached this with an open mind. I really did. And it made me want to claw out my own eyeballs and use them to plug my ears." But could it really be that horrible? After all, how could one of the greatest compositions of modern times be so thoroughly ruined?
Indeed, the music for this film version of The Phantom of the Opera is an unimaginable disaster of staggering proportions.
If Webber truly thinks that the performances of this film version live up to the standards established by the original recording, then he has completely lost his mind.
[...]
Butler's performance exists on a whole other level of hideousness, though, and it is this unbelievable error that renders the film recording of The Phantom of the Opera as both horrendous and painful. Butler's lack of formal vocal training is blindingly obvious, with the man shouting his role rather than singing it. He cannot hold notes worth a damn, and the entire demeanor of his voice is wrong for the role. The Phantom was both mysterious and romantic. There was something overpowering and seductive about his voice, as captured perfectly by Michael Crawford. Butler does well with the anguish and anger, but that's it. Volumes could be written about the particulars of how this actor was terrible for the role, but at some point, you have to just denounce the poor guy as the wrong choice and move on.
I think I need to go home and listen to my London and Toronto cast recordings so I can stop whimpering.
It would seem that the early viewers have confirmed the most general worry of Phantom fanatics: visuals were priority #1 and the music was priority #2. The British have been the most vividly spectacular in their negative criticism of the film --after all, the production was their brain child originally and they have the right to claim its successes and denounce its failures-- and one writer from The Herald summed up the critical response by stating, "I approached this with an open mind. I really did. And it made me want to claw out my own eyeballs and use them to plug my ears." But could it really be that horrible? After all, how could one of the greatest compositions of modern times be so thoroughly ruined?
Indeed, the music for this film version of The Phantom of the Opera is an unimaginable disaster of staggering proportions.
If Webber truly thinks that the performances of this film version live up to the standards established by the original recording, then he has completely lost his mind.
[...]
Butler's performance exists on a whole other level of hideousness, though, and it is this unbelievable error that renders the film recording of The Phantom of the Opera as both horrendous and painful. Butler's lack of formal vocal training is blindingly obvious, with the man shouting his role rather than singing it. He cannot hold notes worth a damn, and the entire demeanor of his voice is wrong for the role. The Phantom was both mysterious and romantic. There was something overpowering and seductive about his voice, as captured perfectly by Michael Crawford. Butler does well with the anguish and anger, but that's it. Volumes could be written about the particulars of how this actor was terrible for the role, but at some point, you have to just denounce the poor guy as the wrong choice and move on.
I think I need to go home and listen to my London and Toronto cast recordings so I can stop whimpering.
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A disaster beyond your imagination will occur!
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You're a genius! I love this plan!
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At least we don't have to face the horror alone, right? And there might be some pretty costumes.
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I don't think so, the critic seems to be on the same wavelength as me regarding the importance of this work in general, the casting worries I've had from the start, and the overall opinion of what kind of vocal talent should've been at work here. I get the feeling the critic was being, if anything, generous.
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Yep, I'm afraid you're right. :)
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I would have to be paid a lot to watch that film again, and only with the stipulation that I could fast forward whenever I felt like it. I was mildly amused by Karl Urban doing his best Caesar in a goofier outfit routine in that film, but that's about it.
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My understanding was that, musically, the show was not all that great and the second act introduced very little in the way of new music--was this report mistaken?
The importance of this work in general--is that as a piece of art or as a work that many people are very fond of? Both?
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My understanding was that, musically, the show was not all that great and the second act introduced very little in the way of new music--was this report mistaken?
I think it was definitely a work that was dismissed out of hand as simply "popular" with the ignorant masses. ALW was, for quite a while, seen as the McDonald's of theater, just churning out schlock for the lowest common denominator audience. Now with some of his work I wouldn't argue the point, but I believe Phantom stands out as his greatest achievement and one of the greatest musicals of all time.
And anyone who argues that the second act had very little in the way of new music was obviously not paying attention. The second "Notes" sequence is sheer brilliance, and "Point of No Return"...good god. "Wandering Child" and the entire lair scene give me goosebumps just thinking about them.
The importance of this work in general--is that as a piece of art or as a work that many people are very fond of? Both?
Again, both, but I wouldn't argue that the two are mutually exclusive.
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