Phantom: Requiem for the Phantom, Part One (Limited Edition)

Phantom: Requiem for the Phantom, Part One (Limited Edition) Review

Phantom: Requiem for the Phantom, Part One (Limited Edition) Feature

• PHANTOM - REQUIEM FOR THE PHANTOM - PT 1 (DVD)

Phantom: Requiem for the Phantom, Part One (Limited Edition) Overview

A young man with no memories fights to salvage his humanity when he's forced into a life of murder by a dangerous crime syndicate called Inferno. The organization gives him a new name, Zwei, and molds him into a perfect killing machine, a meticulous instrument of death created to obey his masters' every deadly command.
Zwei s not the only puppet controlled by Inferno; Ein is a girl as beautiful as she is brutal, as lethal as she is lost. While mafia violence escalates around them, the two assassins grow closer, and Zwei begins the struggle to reclaim his past and save Ein from a blood-soaked future.

Phantom: Requiem for the Phantom, Part One (Limited Edition) Specifications

Reiji Azuma, the teenage hero of the dark, game-based adventure Phantom: Requiem for the Phantom (2009), awakens in a half-ruined building in the California desert, stripped of his memories. A mysterious girl named Ein has been assigned to teach him how to kill, using pistols, machine guns, and knives. Reiji learns fast: in six months he becomes the assassin Zwei, killing people for the criminal cabal Inferno. When the theatrical Scythe Master leads a revolt within Inferno, Zwei becomes The Phantom, the mob's top hit man. Reiji takes up with Cal, a blonde orphan who's eager to become a killer in her own right. Requiem for the Phantom is comprised of three story arcs, all of which suffer from underdeveloped characters, inconsistencies of time, too much on-the-nose dialogue, and absurd plots. Even after he regains his memories, Reiji's not very interesting; Ein's murderous blandness makes Key the Metal Idol seem downright vivacious. Cal somehow goes from wide-eyed moppet to murderous vixen in the two years that elapse between episodes 19 and 20. Despite the body count, which must run well into three figures, Phantom moves at a glacial pace. Director Koichi Mashimo tries to disguise the lack of inertia with odd camera angles, but he's defeated by the endless succession of static, talky scenes. Shooting mobsters may be evil, but boring them to death seems needlessly cruel. The set comes with two discs of extras, including 12 "Picture Dramas," weird spoofs involving still artwork and hand puppets of the characters. (Unrated; suitable for ages 17 and older: violence, violence against women, grotesque imagery, profanity, ethnic stereotypes, nudity, drug dealing, alcohol and tobacco use) --Charles Solomon

(1. Awakening, 2. Training, 3. Practice, 4. Assassination, 5. Moment, 6. Conflagration, 7. The Past, 8. Emergency, 9. Name, 10. Finale, 11. Succession, 12. Ghost, 13. Camouflage, 14. Surveillance, 15. Reunion, 16. Confession, 17. The Truth, 18. Confrontation, 19. Promise, 20. Homeland, 21. Rage, 22. Fury, 23. Decision, 24. Faceoff, 25. Showdown, 26. Eren)

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The Phantom of the Opera (Full Screen Edition)

The Phantom of the Opera (Full Screen Edition) Review

I had seen the movie years ago and loved it. Then just recently saw the stage show in NYC and really do love them both. Just ordered this special edition and look forward to the extra stuff. I think maybe I'm in the minority, but I really enjoy both versions of the Phantom. I've had the original London soundtrack for a long time and to be honest, I like Gerard Butler and Emmy Rossum's voices better (I know....the minority again!). I think Sarah Brightman and Michael Crawford have beautiful voices, but sometimes found Brightman's a little too high pitched (maybe operatic?) for me and the same for Crawford. For me, Butler's raspy voice was more what I would picture the Phantom to sound like and I found it a little easier to hear Emmy Rossum's words more clearly. Minnie Driver was hilarous, although a bit much at times...I was sorry that she wasn't able to sing as I know she can..but I guess the soprano voice is hard if you're not practiced in it. Miranda Richardson and Jennifer Ellison were great as Madame Giry and Meg. I suppose the only disappointment was Patrick Wilson's Raoul. He's certainly handsome and has gorgeous eyes, but I don't think the long hair was a good choice. He does have a beautiful voice though. To sum it up, I really enjoyed this movie and will watch it many times in the future.

The Phantom of the Opera (Full Screen Edition) Feature

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• Condition: Brand New DVD
• Edition: Full Screen; Region 1 DVD (U.S. and Canada DVD players only)
• Number of DVD discs: 1
• Actors: Gerard Butler, Emmy Rossum, Patrick Wilson, Miranda Richardson, Minnie Driver

The Phantom of the Opera (Full Screen Edition) Overview

Musical Drama based on Andrew Lloyd Webber's celebrated musical phenomenon. The Phantom of the Opera tells the story of a disfigured musical genius (Gerard Butler) who haunts the catacombs beneath the Paris Opera, waging a reign of terror over its occupants. When he falls fatally in love with the lovely Christine (Emmy Rossum), the Phantom devotes himself to creating a new star for the Opera, exerting a strange sense of control over the young soprano as he nurtures her extraordinary talents.

The Phantom of the Opera (Full Screen Edition) Specifications

Although it's not as bold as Oscar darling Chicago, The Phantom of the Opera continues the resuscitation of the movie musical with a faithful adaptation of Andrew Lloyd Webber's blockbuster stage musical. Emmy Rossum glows in a breakout role as opera ingénue Christine Daae, and if phantom Gerard Butler isn't Rossum's match vocally, he does convey menace and sensuality in such numbers as "The Music of the Night." The most experienced musical theater veteran in the cast, romantic lead Patrick Wilson, sings sweetly but seems wooden. The biggest name in the cast, Minnie Driver, hams it up as diva Carlotta, and she's the only principal whose voice was dubbed (though she does sing the closing-credit number, "Learn to Be Lonely," which is also the only new song).

Director Joel Schumacher, no stranger to visual spectacle, seems to have found a good match in Lloyd Webber's larger-than-life vision of Gaston LeRoux's Gothic horror-romance. His weakness is cuing too many audience-reaction shots and showing too much of the lurking Phantom, but when he calms down and lets Rossum sings "Wishing You Were Somehow Here Again" alone in a silent graveyard, it's exquisite.

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Those who consider the stage musical shallow and overblown probably won't have their minds changed by the movie, and devotees will forever rue that the movie took the better part of two decades to develop, which prevented the casting of original principals Michael Crawford and Sarah Brightman. Still, The Phantom of the Opera is a welcome exception to the long line of ill-conceived Broadway-to-movie travesties.

DVD Features
The special edition of The Phantom of the Opera has two major extras. "Behind the Mask: The Story of The Phantom of the Opera" is an hourlong documentary tracing the genesis of the stage show, with interviews of composer Andrew Lloyd Webber, director Harold Prince, producer Cameron Macintosh, lyricists Richard Stilgoe and Charles Hart, choreographer Gillian Lynne, and others. Conspicuously absent are stars Sarah Brightman and Michael Crawford. Both do appear in video clips, including Brightman performing with Colm Wilkinson at an early workshop, and Crawford is the subject of a casting segment. Other brief scenes from the show are represented by a 2001 production. The other major feature is the 45-minute making-of focusing on the movie, including casting and the selection of director Joel Schumacher Both are well-done productions by Lloyd Webber's Really Useful Group.

The deleted scene is a new song written by Lloyd Webber and Charles Hart, "No One Would Listen," sung by the Phantom toward the end of the movie. It's a beautiful song that, along with Madame Giry's story, makes him a more sympathetic character. But because that bit of backstory already slowed down the ending, it was probably a good move to cut the song. --David Horiuchi

More on The Phantom of the Opera

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