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Peter Malone是 SIGNIS主 席 , 有 31 年 影 評 的 經 驗 , 並 出 任 16 個 國 際 影 展 如 柏 林 影 展 、 威 尼 斯 影 展 的 評 判 , 可 以 堪 稱 為 「 電 影 百 科 全 書 」 !

INDEX


The Phantom of the Opera















by Peter Malone,30-DEC-2004

The Phantom of the Opera

Director: Joel Schumacher
Cast: Emmy Rossum, Gerard Butler, Patrick Wilson
Category: IIB
Duration: 143 minutes

The Phantom premiered in the London West End in its Lloyd Webber incarnation in October 1986. 80,000,000 tickets sold worldwide these past 18 years and still playing, the author-composer has decided it is the right time for the screen version.

While many reviewers are unshakably convinced that 80,000,000 people are not only wrong but disgracefully wrong and incapable of recognising trash and derivative music. If, at this stage of this review, you find yourself agreeing with the reviewers, don't read on. This lavish and loud version is not for you.

If, on the other hand, your find your indignation rising against these alleged arbiters of taste, the film is definitely for you.

At a minimum, it is an opportunity for those who have not been able to afford theatre tickets or who have not been near a theatre where The Phantom was playing to see and hear what the enthusiasm was all about. Again, it provides a very colourful and tuneful memento for those who loved their theatrical experience.

One reviewer who bristles at the mention of Andrew Lloyd Webber's name, concedes that the film's plot is still strong enough without the music and that the look of the film is outstanding. It certainly is a 'visual-feast' production. The press notes use the word 'sumptuous'. We can add 'lush' and 'lavish'. The 1870s Paris settings mean that the visual style is a kind of baroque-gothic-gallic, pre-raphaelite- rococo. Something striking for everyone.

A new framework has been introduced: an auction of Opera House mementos in 1919, filmed in black and white - with a return to 1919 at different stages of the film.

We spend a lot of time in the Opera House, its glittering auditorium (and the chandelier), the vast backstage area, the opulent foyer (for the beautifully-staged Masquerade) and the vast caverns, staircases, channels and rooms that constitute the world of the Phantom. The film opens out the play and includes a carriage ride, a chase by horse, visits to the cemetery, even a sword fight.

Several of the characters have been given back stories (including flashbacks to the Phantom's childhood). Raoul's presence has been increased. In fact, the plot of the film (which Lloyd Webber has co-written with director Schumacher) is more coherent than the play.

As regards the songs and music, we either like them or not. They are all here with full orchestra and reprises.

As regards the performances, Emmy Rossum is a charming Christine. However, Gerard Butler may disappoint many audiences as the Phantom. He is not a dominating screen presence (Patrick Wilson as Raoul comes across more forcibly) which lessens the drama. Again, one of the difficulties of seeing him close-up is that the final revelation of his disfigurement is not particularly startling or frightening.

On the other hand, the supporting cast, mainly British, give the film some substance: Miranda Richardson as the ballet mistress who knows the secret of the Phantom, Simon Callow and Ciaran Hinds as the bourgeois owners of the Opera House and Minnie Driver well over the top (director Schumacher advised her that no one pays to see 'under the top'!) as the haughty diva, Carlotta.

Most fans should enjoy it.

 

 

 

 

 




歌聲魅影

導演:祖舒密查
演出:艾美羅森、謝拉畢拿、柏德烈韋遜
級別:IIB
片長:143分鐘

〈歌聲魅影〉得到安德魯萊韋伯編曲,於1986年10月在倫敦西區(劇院林立區)舉行首映。過去18年,全球一共售出8千萬張門票,該劇目前仍在公映。身兼作家及作曲家的萊韋伯決定,是時候將音樂劇搬上大銀幕。

正當許多劇評人無可置疑地深信那8千萬位觀眾犯下丟臉的錯誤,竟然辨別不出舞台劇裡粗製濫造及沿襲他人的音樂。評論至此,若閣下發現自己認同劇評人的觀點,請不要繼續閱讀下去。這舖張、喧鬧的電影版本並不適合你。

相反,若你對那些自稱是品味權威的劇評人感到憤憤不平的話,本片絕對適合你。

最低限度,本片對於那些沒能力購買歌劇門票或居於偏遠地區而錯過欣賞〈歌聲魅影〉的觀眾來說,這是一個大好機會,讓他們了解這股熱潮。本片再次為喜愛舞台劇的觀眾提供一個色彩繽紛、悅耳和諧的回憶。

其中一名評論人聽見安德魯萊韋伯的名字便怒不可遏,承認電影情節紮實,即使沒有音樂襯托亦同樣出色;整體包裝相當出色。影片確實是一個「大飽眼福」的製作,新聞稿裡用上「奢華」一詞,我們可以加上「豪華」和「舖張」。以1870年巴黎作背景,即視覺形格有著巴羅克-歌德-高盧的風格,及前拉斐爾風格的洛可可式設計,使人震憾萬分。

影片以新的故事骨幹揭開序幕:1919年一次歌劇院紀念品拍賣,以黑白菲林拍攝。影片不時返回1919年的場景去。

故事情節大多發生在歌劇院內,我們看到金光閃爍的音樂廳(及水晶吊燈)、闊大的後台、華麗的門廳(為亮麗的化裝舞會而設)、深不見底的洞穴、樓梯、通道及房間,組成鬼魅的世界。電影甫開場便上演舞台劇,場景包括馬車、馬匹追逐、進入墓地甚至比劍場面。

幾位人物交代了故事背景(包括倒敘魅影的童年),影片增加了羅爾的戲份。事實上,電影情節(萊韋伯與導演祖舒密查一起撰寫)較音樂劇版本更為連貫。

歌曲及音樂方面,我們只會喜歡或討厭,它們由現場管弦樂團重新演奏。

演出方面,艾美羅森飾演迷人的姬絲汀。然而,謝拉畢拿飾演的魅影或許令不少觀眾失望。他未能在銀幕上擔綱重要位置(柏德烈韋遜飾演的羅爾更具說服力),削弱了劇情。同樣,他在最後被發現毀容的近鏡並不嚇人或恐怖。

另一方面,主要以英國演員為主的配角令影片生色不少:例如美蓮達李察遜扮演得悉魅影秘密的芭蕾舞蹈團團長;西蒙哥路與基安希斯飾演中產的劇院老闆,還有美妮哉花飾演高傲的頂尖女歌唱家(導演祖舒密查忠告她,說沒有人會付錢看「二流表現」)。

相信大多數影迷必定樂在其中。

翻譯:TMG
編輯:王慧慈

 

 


 

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