![]() And fortunately, whatever their shortcomings, I do. Phantom imposes a similar requirement - fear and pity the Phantom! - but if you don't, you can at least care about Christine and Raoul. Who else is there to identify with? Che the shape shifter or Peron the adoring spouse? You're following Eva on her journey and if you don't like it, too bad. With Evita, if you don't connect with Eva Peron, you're sunk. If I like the movie version of Phantom better than Evita, or at least find it easier to sit through, it is because of the characters. ![]() When I went to see the movie back in 2004, I could not recall any major promotion. At least that's how it felt to me at the time. And while Evita was promoted for months as a potential Oscar contender, Phantom all but sneaked into the theatre. ![]() Any tinkering with the story or songs was very modest. Phantom, on the other hand, seemed to have no goals larger than transposing the musical onto the screen. Evita was the much more ambitious film, and in many ways it succeeded in its goals of being a grand epic. The same with "All I Ask of You," a very similar song.Īnd it's not because the film version of Phantom is so ambitious or well executed. In total, there are maybe three songs I really like from the musical: "Masquerade," "The Point of No Return," and, of course, "The Phantom of the Opera." "Music of the Night"? Pretty, but bored me on subsequent listens. ![]() While I nearly wore out the CD when I was 15, I came to dislike the hackneyed lyrics, bombastic score, and incoherent ensemble numbers. Even though Evita was the more successful of the two Andrew Lloyd Webber movie musicals, I find myself coming back to The Phantom of the Opera more often. There are actually quite a few things I like about this adaptation. ![]()
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