Both seem to have faith in the basic material and nothing to prove beyond it: The music’s the thing here and, apart from a few structural tweaks and richer settings for the action, neither director nor producer mess with success.Īs the umpteenth adaptation of Gaston Leroux’s baroque novel, Lloyd Webber’s musical was notable for discarding most of its horror-movie legacy (from Lon Chaney’s classic 1925 silent to Dario Argento’s 1998 gorefest) and turning the “Beauty and the Beast” theme into an operatic meller grounded in its legit setting. The combo of a technically experienced film director (Joel Schumacher) with little background in theater and a legit producer-composer (Andrew Lloyd Webber) with little experience in cinema works remarkably well.
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