This is a review of a “Fan Edit.” Details of the original film, including twists and the ending, may be revealed.
Ah, but now that I think about it, I’m the perfect person to examine a fan edit of Phantom. After all, could you trust any critic who recommended the original? (Read my full review here.)
OK, so what was right with The Phantom of the Opera? Not much. Its use of color brought out not only the fantastic elements of the story, but looks damn good. It was a pretty movie. Stage-bound and claustrophobic, but pretty. The costumes helped there as well. The only other sign of competence was the casting of Emmy Rossum. Looking at her, I have no problem believing that any number of people could become obsessed. Plus, she can carry a tune.
So what was wrong, since that’s what’s important when constructing a fan edit? There were all the elements carried over from the stage musical, but lets focus on the film, not its source material. The movie specifically failed because:
- It was overlong. Stage shows need extra time for set changes. Movies don’t. This one was far too slow and seemed to never end.
- The character of the Phantom had been stripped of his mystery, and was portrayed not only as a jerk, but a wimp.
- Gerard Butler (The Phantom) had a reedy voice that would be fine for minor background singing, but lacks the quality needed to carry a show.
- Secondary singers (such as Patrick Wilson) were acceptable, but hardly exciting.
Excessive length is one of the things fan edits is best at repairing, but weak singing? Not much can be done about that. Right? Ummmm. Right?
The Phantom of the Opera Resynched 
Editor: Wui-Ming Gan. Runtime: 91 min (-52 min). 2006.
In a musical (or operetta) nothing is more important than the songs and how they are performed, and while Gan can’t change the songs themselves (I have a feeling he wouldn’t want to), he does improve how they are presented many fold. Dumping the sound track, he has synched (thus the title) the Original London Cast Recording to the film, and created something much different, and far better. To do this, he at times alters the speed of the video. It jitters, it races, and I swear it slows down. A problem? Nope. The effect is dreamlike. It is a surreal Phantom which is exactly the atmosphere needed. Plot holes and bizarre character choices? Not a problem in a dream. Overripe romance? Again, perfect for a dream. We don’t here footsteps or door slams or any number of non-music-related sounds. They aren’t missed.
As for the music, I wrote in my review that I hated it. And so I did. I forgot the difference a really fine performance makes. Michael Crawford’s voice replaces that of Gerard Butler. Now Crawford is not my idea of a perfect Phantom. This powerful figure should have a deep, booming base. But Webber wrote for a tenor, and if you must have a tenor, Crawford’s the guy. Every song that Butler let die, Crawford resurrects. Steve Barton is also a vast improvement over Patrick Wilson as the less interesting second male lead. Wilson sang from his throat, Barton from his diaphragm. Neither Crawford or Barton are worth going out of your way to find, but as they replace singers that you should put effort into avoiding, it changes the nature of the production.
Which leaves Sarah Brightman. Emmy Rossum had a pleasant voice and earned her role as Christine, but Brightman’s voice is a thing of beauty. Hey, I just listened to her so I’m excused if my praise is overly effusive. It’s pointless to attempt to describe her talent, so I’ll stick with the effect: every song she sings is more emotional, more enjoyable, and far more powerful.
In synching the movie to the London cast recording, Gan remedies another major ailments The cast recording is shorter, so he chops the video to fit. What was drudgery at one hundred and forty-three minutes is tight and almost exciting at ninety-one. No plot is lost. No character development is missing.
Two alterations deserve specific mention. The first is the swordfight in the graveyard. In the original film, this is where we learn that the Phantom is not a larger-than-life creature to be reckoned with, but an impotent figure to be forgotten. Raoul whips him with ease. Gan’s cut changes that. You’ll have to forgive me if I don’t describe the exact slices since that would require me re-watching the theatrical release, and there are some things that are unfair to ask of me. The gist of it is that the duel ends close to a tie, with the Phantom coming out ahead with the weapons but Raoul leaving with the girl. It works for the story. Gan also tried something more extreme. To make the Phantom more mystical, he rotoscoped his sword to make it glow magically. It was a clever idea, but it doesn’t work. It’s too cartoony. Even with the film’s now-surrealistic persona, it is artificial.
The other change is the ending. The leads have left, the mob enters the underground lair, and a girl lifts the abandoned mask. That’s it. Done. But not in the original release. The movie goes on. Why? I haven’t a clue. The story is over. Smart filmmakers end their films when they run out of story. Gan did just that.
With the singing no longer an ongoing irritant, with the pace no longer lulling me to sleep, and with the characters less meek and annoying, I could do something I couldn’t before: enjoy the visuals. As I mentioned, this is a pretty film, but who cares when you want to throw things at the screen. Gan not only brought in better elements, but he made it possible to enjoy what the film already had of value.
For good or ill, watching The Phantom of the Opera Resynched doesn’t feel like watching a film. Think of it as listening to the album while some pertinent pictures happen to appear nearby. Or maybe as a really long music video.
Did I love it? No. I’m never going to love any version of Webber’s The Phantom of the Opera. I’m not even sure I liked it. But I didn’t hate it. And that’s huge.