The supporting cast, including Bill Nighy as the theatre owner, do their best as making this a quasi-musical but Englund is the star here and it's a shame that his performance here doesn't get more recognition. He's still does the quips and one-liners but he is given more to work with when it comes to drama and pathos. ![]() ![]() Robert Englund is now the Phantom, and if he was trying to step away from Freddy Kruger consider this a success and a failure. Little does much better with this material than I expected and it's a shame he's been categorized as merely a working director rather than someone with a vision. Little, in between his gigs on Halloween 4 and Marked for Death, Victorian London is the scene (bookended by modern day New York) and it has a very pleasing snowy feel, much like Barry Levinson's Young Sherlock Holmes. I remember seeing the Robert Englund version in the video store a few years later and thought that it looked much more in-keeping with that old picture than the new musical that everyone was raving about at the time.ĭirected by Dwight H. I would stare at that picture a lot and wonder about the mystery. ![]() I just loved the image, and its probably where my fascination with scarred and disfigured characters came from. I knew nothing of the context, or of Gaston Leroux's novel. I've found The Phantom of the Opera to be absolutely spellbinding ever since I was a kid when I saw a still from the 1925 version in a book which featured Lon Chaney descending the stairs at a masquerade ball surrounded by dames.
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