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The movie synopsis:
In the 1974 film PHANTOM OF THE PARADISE, William Finley stars as Winslow Leach, a very talented composer who is working on a rock opera based on FAUST. Pop composer Paul Williams plays Swan, an unexcited and mysterious report producer who has made the careers of many accepted rock musicians. [For the youngsters reading this, a portray is, like, an antique version of a music CD.] Swan has built the Paradise, a massive enclosed amphitheater that will be extinct to showcase the many bands and musicians under his auspices, but he wants to regain fresh material and unique talent for the extravagant gala he is planning for opening night. Enter Winslow–who wants Swan to deem his FAUST material for the Paradise grand-opening–and an resplendent and talented young female singer named Phoenix (played by the cute Jessica Harper, here in her film debut) . While waiting to audition for Swan, Winslow and Phoenix meet and…well, it’s admire at first observe. Unbeknownst to the two lovebirds, though, is their imminent appointment with destiny–and with the rotten Swan. Swan indeed wants Winslow’s music for the theater debut, but he wants to explain it as his have work, and with knowledge of the feelings that the composer and singer have for each other, he uses Phoenix as leverage to manipulate Winslow like marionette.
So Swan steals Winslow’s work, then arranges for Winslow to salvage arrested on a bogus drug-possession charge. In prison, Winslow learns of Swan’s manipulation, which spurs him to rush and, soon after, to atomize into Swan’s narrate factory and end the machines cranking out recordings of his stolen music. However, in a freak accident, Winslow’s head gets caught in a hot relate press and his face is thereby mutilated. He flees from the scene and finds his draw to the Paradise, where he swipes a really cold costume, sets up house, and then starts lurking around incognito. When he begins causing mayhem and thwarting the efforts of Swan and his theater staff, Winslow is dubbed The Phantom of the Paradise. And now the actual fun begins….
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He’s been beaten, mutilated, maimed, and framed, but he’s not gonna let Swan support him from his music or from the woman he loves.
The review:
On the surface, Brian De Palma’s satisfactory PHANTOM OF THE PARADISE may seem like exiguous more than a send-up of THE PHANTOM OF THE OPERA, but it is remarkable more complex than that. It is actually a very hip, very surreal satire of the depravity and decadence in the rock-and-roll music industry of the 1970s–specifically the two sub-genres known as Conception Rock and Glitter Rock–as well as a silly yet affectionate homage to several classic fright stories and movies such as Represent OF DORIAN GRAY, PSYCHO, FRANKENSTEIN, FAUST, THE PHANTOM OF THE OPERA, and many others.
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De Palma’s directing style for this film is sometimes very novel and inventive (of course, it doesn’t wound that he is directing his enjoy material) . Especially nice is his effective expend of the split-screen technique in a few key scenes, and the frenetic cuts and camera angles he uses for some scenes–especially the musical performances inside the Paradise–convey the capable atmosphere of a 1970s-era rock concert.
The sets are outrageously exaggerated in layout and color, especially the position for the inside of the Paradise theater. In many ways, the overall behold of the movie harkens aid to the quiet German Expressionist films, specifically METROPOLIS and THE CABINET OF DR. CALIGARI. That isn’t to say that it looks too worn. Indeed, the shining sets, surreal costumes, and extravagant staging are all unbiased reflections of the performances and ostensibly flamboyant lifestyles of the 1970s rock artists like Glitter Rock’s Alice Cooper or David Bowie and the Concept-Rock band Jethro Tull. By the scheme, those aforementioned sets were designed and dressed by Sissy Spacek, who a few years later would originate on the road to greater fame playing the title role in the dismay film CARRIE (1976) .
The acting in PHANTOM OF THE PARADISE is also outstanding. Paul Williams exudes a perfect air of smarminess as the tainted music impresario, Swan. In valid life, Williams has collected and produced many successful pop songs for groups like The Carpenters and Three Dog Night, and this inside knowledge of the music industry only adds to the realism of his performance. Incidentally, Williams also wrote or co-wrote the music and win for PHANTOM OF THE PARADISE.
As Winslow Leach, William Finley creates a very convincing naive and nerdy musician (as well as a naive and nerdy Phantom!), and heavenly Jessica Harper does a shapely job in her debut role as an up-and-coming singer and dancer (the object of Winslow’s cherish) . But it is the over-the-top performance of Gerrit Graham that really steals the exhibit. Graham plays Beef, a Glitter-Rock singer whose stage persona is that of a astronomical, tough-and-buff Frankenstein’s-monster type. Off stage, however, Beef is a stereotypical homosexual queen, and Graham really chews the scenery as he plays the character to titanic comic carry out. Don’t earn the conception that Graham is merely poking fun at homosexuals, though; he is really satirizing the misconception, especially prevalent in the 1970s, that all Glitter-Rock artists are happy. (One of the best and funniest scenes in the film is a takeoff on the shower scene from PSYCHO, with Graham’s Beef replacing the Janet Leigh character and Finley’s Phantom filling in for Norman Bates.)
PHANTOM OF THE PARADISE is one of those nearly forgotten gems that is a must-see for anxiety fans and admirers of director De Palma.
The DVD from Twentieth Century Fox offers a nice anamorphic widescreen transfer of the film, but dinky by intention of extras (in fact, the theatrical trailer only) . However, it is very reasonably priced, so fans of apprehension & satire have no excuse for not adding this film to their collections.
Talk about a outlandish brew… a mixture of panic, comedy, rock music, unrequited care for and fantasy. A songwriter’s music is stollen by a promoter (Paul Williams) who has the writer thown in jail, beaten and almost killed. The songwriter returns as the “phantom” and haunts the rock palace of the promoter.
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It’s hard to recommend this movie to someone. If they like the music, they may loathe the fright elements, or visa versa. But if you’re a child of the seventies, this will probably appeal to you.
First off: the music is salubrious. It was written by Paul Williams, who also sings some of the songs. It was nominated for an Academy Award (it is also available on CD) .
Next: If you like Brian Depalma, with his split screens, mood lighting and fast cuts, it’s all here.
Also: Jessica Harper, in her film debut as the care for interest, is vast, and she does her gain singing. Gerrit Graham is absolutely hysterical as “Beef” the glam rock KISS wannabe.
A truely unusual film that will appeal to the more adventurous, but if you like a joyful ending, you’ll have to glimpse elsewhere.
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Glenn Golden