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Hypnotic Magic Having never seen the musical performed on stage (and knowing only bits and pieces of the story) I was eager to see the original Andrew Lloyd Webber songs and storyline played out, if not performed before me in person then performed on screen. I just had to know what the hype was about - after all it's the most recognized musical in history. I know the songs far better than I know what the songs are about. While it is a rare double-threat to be a great actor and singer at the same time, it's not impossible. I kept thinking, as I watched, that there must have been a tremendous amount of pressure upon the filmmakers to cast an artist who can do both, and do both well. The creators seem to have opted more for the acting slant versus vocal ability - and I agree perhaps that was the better of the two talents to emphasize in the film version - but I still think there might be a perfect young Christine out there waiting to be inserted into this production, and certainly there is a handsome actor/singer who could hit the Phantom's notes without a horse, rustic country-rock squalor? Emmy Rossum, the actress who takes on the role of Christine here (whom you may remember from "The Day After Tomorrow") is a decent performer with a history in musical productions. She can sing fine (though I find it hard-pressed to call her a possible opera star, unlike Sarah Brightman for whom the role was penned in 1985 by then-husband Webber) but she doesn't sing strongly enough to make me believe that she could command an Opera stage. Gerard Butler, who plays the Phantom, seems like a member from the cast of the O.C. who decided he would like to start a rock band, but opted to live like a recluse in an Opera House's basement and somehow manage to train pretty young girls to sing like, well, Sarah Brightman. Strange casting in the role of the Phantom. Patrick Wilson, who plays Christine's legitimate love-interest, belts his songs out fine, if not a little dry and uninspired. This is a film that makes the concept of real singers singing the parts and real actors mouthing those pre-recorded tracks seem like a better idea; everything music-wise is a tinge too mediocre. It's as if a decent film-maker is attempting to produce an album. Now for the impressive bits that make the movie retain some appeal of its own: the cinematography. It's a beautiful film... most of the time. The sweeping camera shots, warm, vibrant colors, spectacular sets and costumes, and old-world charm is often entrancing and absorbing. The Paris opera scene comes to vivacious life. Yet, the cumbersome black & white flash-forward scenes are treated like a Madonna or Prince music video from the 1980's. It's when we're at the stage/back stage/in the audience of the opera house, watching elegant fake elephants trot across the stage and chandeliers crash to the ground in a fiery blaze that the movie comes together in the finest way. If you're a die-hard fan of the stage musical, I can't imagine that you'll be terribly blown away with this big-screen cinema-interpretation. If you're curious as to what story fits the fantastic original Webber tunes, you might like to check this one out on DVD. Grade: C