Phantom of The Paradise (Collector's Edition) [Blu-ray]

A cult classic and a must-see!

a Gazillion years ago this was often the second feature with the Rocky Horror Picture Show. I like this one much better. (I had friends who dressed up for RHPS)(they've all grown up).

Phantom of the Paradise is a '70s rock version of Phantom of the Opera. Winslow is a composer whose music is stolen by a famous producer named Swan. During all of this, Winslow ends up falling for Phoenix and only wants her to sing his songs. Meanwhile, Swan plans to open a new rock palace called The Paradise using Winslow's music - with a few changes.Phantom of the Paradise actually borrows more from the 1962 version of Phantom of the Opera where the Phantom gets his music stolen and his face is disfigured by acid while trying to destroy the printing plates of his stolen music. In Paradise, Winslow's face is injured while trying to destroy the recordings of the stolen music. Paradise really combines the plots of the 1962 Opera and the play Faust.Thanks to the truth behind the character of Swan (Paul Williams) the movie does have a Twilight Zone quality to it. You even have Rod Serling speaking at the beginning. Brian DePalma likes to borrow from Hitchcock, and he has an interesting and humorous variation on Psycho's shower scene here. It also takes elements from The Picture of Dorian Gray.It does poke some fun at the music industry and some of the insanity of those in it. The movie takes a humorous approach to things - the scenes where Winslow is sentenced was done by using a very basic set and just two lines. May come across as silly to some but the style of parts like that add to the fun. Parts of this movie are not to be taken seriously. (I can't really explain without doing spoilers.)Paul Williams wrote a nice variety of music for this movie - 50s style for the opening scene. One piece reminds me of The Beach Boys. A somewhat darker song is used during staged construction of Beef. The closing song could be viewed as comments on people who had been corrupted by the biz - plus it's humorous. (You'll find some better comments on the songs in the reviews for the soundtrack. I'm not a music pro.) Everyone except for Gerrit Graham does their own singing. In fact, the three groups in the movie are played by the same three artists. They just switch off on who plays the lead singer.The DVD is a wonderful edition of the movie. Image quality is great considering the age. A trailer that doesn't even have the movie's title in it is included as well as trailers for other movies including Rocky Horror Picture Show.The movie does have some truly weird moments, but I love it!A few trivia notes: Sissy Spacek was set dresser on this movie. Archie Hahn, who sings "Goodbye, Eddie, Goodbye," has appeared on the UK version of Whose Line Is It Anyway? Gerritt Graham starred in Used Cars. Jessica Harper appeared in the movies Shock Treatment and Harper Valley PTA.In the back of the Signet Classic edition of Gaston Leroux's Phantom of the Opera, this movie is mentioned and there is a reference to The Paradise looking like New York's Museum of Natural History. (p271) Phantom of the Paradise was filmed in Dallas, TX. The Paradise and most of the musical moments were filmed at The Majestic Theatre in downtown Dallas. In 1991, I saw Ken Hill's musical version of Phantom of the Opera there which added a nice touch for me. Swan's office building (exterior shots) was at one point owned by Mobil Oil, but I'm not sure if they owned it when this movie was made. Although it's changed alot since 1974, it is along Stemmons Frwy (I-35E) just after Carpenter's Frwy (183) joins it when going south. This same building appeared in Logan's Run.Phantom of the Paradise was also mentioned in the program for Andrew Lloyd Webber's Phantom of the Opera and the same material was published in some special editions of the Gaston Leroux novel. I believe the writer was Peter Haining. He described Phantom of the Paradise as simply having The Phantom terrorizing teenyboppers. That does not fit this movie at all. I really wish people would watch a movie before reviewing it.

Still playing on double-bills with The Rocky Horror Picture Show in England, Brian DePalma's foray into the psychodelic world of the musical excesses that was the 70's becomes more than just another rock musical. With a fusion of Faust, Dorian Grey, Phantom of the Opera, the Twilight Zone (courtesy of an opening narration by Rod Serling)and Psycho, using multiple camera angles cleaved into split screens, we follow the tragic trials and tribulations of one Winslow Leech (William Findley, the scary side splitting surgeon of DePalma's "Sisters"), composer, whose music is stolen by mook henchman Philbin (George Memmoli, Joey Clams of Scorsese's "Mean Streets")on the orders of his boss, rock impresario Swan (song writer Paul Williams, in a role that must have had him giddy) to be used in the opening of his new rock palace, The Paradise.Attempting to get his music back, Winslow befriends a young, up and coming singer called Phoenix (Jessica Harper, who many have accused of being woefully miscast. Watch for her in "My Favorite Year"). Beaten by Philbin, set up on drug charges by Swan, subjected to stainless steel dentures because of Swan's own campaign to wipe out dental decay in the penal system, Leech escapes prison upon hearing his music on the radio, breaks into the record factory, and when caught, accidentally has his faced mauled by a hot record press, and sent moaning in pain into the East River.Swan continues his preps for the opening, using his former 50's doo-wop group, the Juicy Fruits, now a surfer band called The Beach Bums (Later, they become a Kiss-like bunch called The Undead. The band is made up of the same three actors, Archie Hahn, Jeffery Commanor and Harold Oblong. Watch for Hahn in many more films, including "Innerspace" as the deadly deliveryman), to perform Winslow's music. A shadowy figure, donning a leather bodysuit, lame lined cape and a hawk-like mask invades the Paradise and starts reeking havoc.From here, all the cliches play out from Phantom of the Opera, but in one absolutely looney twist is the addition of a fay glitter rock star called Beef (Gerrit Graham, singing voice by Ray Kennedy), who delivers a Hitchcock homage that will never let you look at Janet Leigh in the Bates Motel shower the same way ever again. Toss in a bit of Dorian Grey, with a videotape instead of a portrait taking on the years(and we wonder about Dick Clark's never aging profile!), a strange transformation of several musical themes, all familiar but somehow morphed into different personnas, and you have a cult classic on your hands.This movie fits into so many different viewer interest groups. First, the DePalma fans, watching his early work before classics like "Sisters", "Carrie" and "Dressed To Kill"; for musicians/soundtrack fanatics, the mutation of a handful of themes into different works, as well as an incidental soundtrack filled with string quartets, classic piano and organ; for movie trivia fans, the appearance of the star of one of DePalma's all time suspense/horror classics as a production associate, not as an actress (I'm not telling you. watch the credits!).For the rest of us, a great popcorn night movie that will leave you laughing, tapping your feet and wondering "Where was I when this movie came out and how did I miss it the first time?"

finalmente ad un prezzo vicino alla decenza per questa bella limited con libro di 160 pagine che comunque non giustifica i folli prezzi chiesti in giro per tale prodotto che alla sua uscita costava si e no 50 €...il film sembra anticipare futuri musicals di fama mondiale su tutti Grease e Rocky Horror ( vedasi il folle Beef) con evidenti citazioni del Faust...Imperdibile per i fans un gran bel film in definitiva

When I was a teen, I got the soundtrack for this movie as a Christmas present. I had it for a few years before I ever saw the movie. I already had grown a liking for all the songs, and when I finally saw the movie I was blown away.This is the classic Phantom of the Opera story, but modernized (for the 70s), with a little Dorian Grey and some Faust merged with a story about a music producer (Swan) who is opening a new rock palace (The Paradise). He rips off a composer's (Winslow) music, and has him falsely arrested. Winslow escapes prison, but while trying to exact revenge is deeply disfigured in a vinyl record pressing machine, and the Phantom of the Paradise is born.This flick is not a musical in the stricter sense of the meaning, in that the cast does not spontaneously break out into song. Instead, all the songs are a part of either the auditions or the shows at the Paradise. The early show starts out with some music by a band called the Juicy Fruits, very 50s sounding, beach-boys type songs, and then evolves as the music is replaced by the score written by Winslow.The overall production values are a little low, since it was made on a budget, but overall they had everything they needed to get the story across. Large crowds, big theatres, good actors and talented singers really make this show stand out. Swan is played by Paul Williams, and he also writes much of the music. I have to say, he really is the consummate performer in this picture. His tunes are really enjoyable, and his singing is very well done, as is his costar Jessica Harper playing Phoenix.As a side note, this movie really bombed in its initial release, everywhere except Winnipeg Canada and Paris France. Those two cities really took this movie to heart, and in Winnipeg it quickly gained cult status and was around in local theatres for several years. Over the last few decades, they have had "Phantomapolusa" every few years, inviting the cast for a weekend and enjoying a screening, plus even a concert by Paul Williams and Jessica Harper at least once. The last one was just held in summer of 2017. In France, they still show this movie, sometimes in a double feature with Little House of Horrors.

Voilà un film culte devenu depuis un petit classique des seventies iconoclastes et furieuses. Car voilà un film riche et foisonnant franchement fascinant par quel bout qu'on le prenne.De Palma pioche dans tous les genres cinématographiques pour ne finalement faire allégeance à aucun d'entre eux. On passe ici du musical à des scènes cartoonesques en passant par le thriller, l'épouvante, le fantastique ou la comédie. Dans le même temps, De Palma fait virevolter sa caméra en tout sens, dévoilant des plans insensés et utilisant à plein tout un langage cinématographique qu'il maitrise parfaitement. Un langage jamais gratuit puisqu'il correspond à l'exploitation la plus visuelle possible de chaque scène. Voilà pour le fond et la forme.On passe constamment ici du grotesque au sublime, du touchant au ridicule et jamais De Palma n'est intéressé par une quelconque crédibilité. Preuve en sont ces raccourcis phénoménaux que représentent l'évasion rocambolesque de la prison de Winslow Leach, la destruction pure et simple du mur érigé pour l'enfermer ou encore l'apparition de Swan, très rapide, sur le toit de sa maison pour un dialogue hallucinant avec Winslow. Ajoutez à cela un montage au cordeau et vous obtenez un pur film au visuel constamment inventif, baroque et pop à la fois, hyper coloré mais sombre dans le fond.S'il maitrise si bien les codes, De Palma se fait aussi constamment plaisir. Il peut citer une scène de "Docteur Jerry Et Mister Love" en hommage tout comme régler son compte avec son legs hitchcockien avec une scène de douche qui tourne au gag potache. On tient évidemment bien plus ici qu'un remake du "Fantôme De L'Opéra".L'idée du film est venue à De Palma en prenant l'ascenseur et en y entendant une version musak d'un titre divin des Beatles. Le sujet du film est donc le détournement de l'art, de la création, récupéré et mis au service d'une consommation grand public sans aspérité. Ajoutez à cela la mise en scène constante de la vie (ou plutôt la mort) qui devient un spectacle de masse permanent, comme ces images de guerre (le Vietnam, bien sûr) qui font irruption dans chaque foyer, quotidiennement, via la télévision, au moment des infos. On ne sait plus ce qui est vrai, ce qui fait partie de la vie ou d'un spectacle.Bien sûr, cette situation est rendue très présente du fait que De Palma a toujours été subjugué par le voyeurisme. A commencer par celui qui est induit par la position du spectateur d'un film. Ici, le machiavélique Swan filme tout, car il veut tout voir, tout contrôler, jusqu'à cette superbe scène où le Phantom le regarde par la fenêtre tandis qu'il est lui-même filmé et vu par Swan, le troisième voyeur étant bien évidemment le spectateur. Superbe scène qui semble s'étendre en boucle ainsi à l'infini.Le casting est superbe (Gerritt Graham est inoubliable dans son rôle de Beef) avec notamment cette sous-couche de lecture: le vilain voleur Swan est joué par le légendaire Paul Williams alors qu'en vérité, c'est ce même Paul Williams qui signe et chante la musique du film. Ceci comme un ultime pied de nez concernant le thème abordé. Car De Palma n'est jamais dupe et teinte constamment son film d'une cruelle ironie narquoise. Car le sujet, bien sûr, peut être largement rapporté à son propre médium, le cinéma.Grinçant mais toujours fun et vivifiant, voilà bien un film épatant, qu'on peut visionner plein de fois, on y découvre toujours un passage oublié depuis. Un enchantement. Surtout que Carlotta le propose dans un très beau packaging, avec bouquin et version Blu-ray remarquable. Miam, slurp. Dernière chose, la respiration de Dark Vador, mais aussi son costume, hum, ça semble bien venir de ce "Phantom Of The Paradise", œuvre hors du commun, généreuse et inspirée, bouillonnante. Un film unique et une véritable et totale expérience cinématographique. De Palma fera peut-être plus beau et plus fort ensuite mais jamais plus fou.

Es difícil describir Phantom of the Paradise para los no iniciados, pero baste decir que es una joya de culto para todos aquellos amantes del "Bizarro Film". Cinta influyente en muchos cineastas y músicos que la citan como referencia directa a muchas de sus obras, El Fantasma ofrece una versión única y poderosa de 3 obras de la literatura gótica: El Fantasma de la Ópera, El Retrato de Dorian Gray y Fausto.Brian de Palma ofrece la que, tal vez, sea su obra más poderosa en emociones y fuerza narrativa, con experimentos trascendentales de dirección y edición, que aún hoy podemos ver usadas en obras más recientes y de mayor presupuesto. La cinta nos cuenta la historia de un joven compositor llamado Winslow Leach (William Finley) que busca poder llevar su obra a más gente. En su búsqueda, cae en manos del más grande productor de su momento conocido sólo como Swan (interpretado por el músico Paul Williams), quién le ofrece la oportunidad de dar a conocer su obra al mundo en la inauguración de su nuevo club; El Paraíso. En el proceso, Winslow conoce a Phoenix (Jessica Harper), cantante que se vuelve su musa y que Winslow quiere que sea la intérprete de su obra.Winslow es traicionado por Swan y, tras ser desfigurado y con la garganta destrozada, jura venganza en contra del productor. Logra colarse al Paraíso y aterrorizar a las personas que intentan montar la obra con su música, pero Swan lo encuentra y lo convence de seguir trabajando en su obra, prometiéndole que Phoenix sería la intérprete. Winslow acepta sólo para ser traicionado nuevamente, pero en el proceso descubre el secreto de Swan; el famoso productor tiene un pacto con el diablo que lo mantiene siempre joven.El desenlace de la cinta es delirante y excesivo, como toda la película. La música de Paul Williams estuvo nominada tanto a los premios Oscar como a los Globos de Oro, aunque la cinta fue un fracaso en taquilla. Sin embargo, los años le han hecho justicia a la obra siendo citada como cinta de culto y uno de los proyectos más queridos de la amplia carrera de Brian de Palma. La edición de Shout Factory es impecable, con una muy buena remasterización en HD que hace que se vea mejor que nunca, además de muchos, muchísimos extras que complementan la vista y dan más información sobre el proceso creativo detrás de Phantom, así como su perenne influencia en la cultura pop. Sobresale una conversación entre el cineasta mexicano Guillermo del Toro (gran fan de esta película) y Paul Williams.Si dudaban comprarla, mi consejo es que la adquieran, así nunca hayan visto la película, y se den la oportunidad de conoces una obra de culto que, seguro, se quedará en sus mentes y corazones por mucho tiempo.

大学在学中、ブライアン・デ・パルマが好きだと言ったら友人がこれのビデオを貸してくれました。ビデオをね。見たらドはまり。いちいち凝っているし変態性高いし、何よりもミュージカル映画としての狂いっぷりが半端でない。このブルーレイ、音響が最高です。音質がDVDとは比べ物にならない。ウィリアム・フィンレイはもう亡くなりましたがこの映画は永遠です。三留さんはマスターピースとして愛しておられますが分かりますね。これとロッキーホラーピクチャーズショウが同時上映の時代があった。そして、どちらも残った、カルト作として。私は劇場で観てませんがこれの４Kリバイバルがあったら東京でも駆け付けますね。それだけの価値がある。デパルマは本当に好きな監督でこれ以外も好きなものばかりです。まだ作品作ってほしいなあ、ドミノで終わってほしくない。カメラワークが好きなんです。変態性があって。私も変態です。