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Show Phantom of the Opera' a Classic mmi Ryan Lee Reiger Staff Writer It has been hailed as a musical phenomenon and grossed more money in box office receipts than any other stage or screen production world- wide - over $3.2 billion. As of August 2003, it had been performed 7,000 times. It has garnered over 50 awards, including three Olivier Awards and seven Tony Awards. After 15 years in the making, according to its official Web site, Andrew Lloyd Webber (Evita) and Joel Schumacher (Batman Forever) bring the epic musical The Phantom of the Opera to the silver screen. Based on Gaston Lerouxs novel Le Fantome de lOpera, Webbers musical centers on Christine Daae (Emmy Rossum) who makes her home in the Opera Populaire after her fathers death. Upon his death, her father promised that he would send the Angel of Music to Christine to teach her how to sing, whom she believes she has been visited by since she are left with nothing to do but replace her with Daae, whose performance blows away the audience, the Viscompte Raoul de Chagny (Patrick Wilson) and the Phantom, wrho focuses his efforts on making his protege the next big star. Daae is drawn to the Phantom, but her feelings toward the Viscompte anger the Phantom. According to the movies official Web site, this anger sets the stage for a dramatic crescendo in which soaring passions, fierce jealousies and obsessive love threaten to drive the fated lovers past the point of no was a child. The man she believes to be the Angel of Music is actually the Phantom (Gerard Butler). After the latest productions diva, La Carlotta (Minnie Driver), storms out the directors mid-rehears- 7 THE FORUM Feb. 9. 2005 al, return. Overall, the movie makes an incredible impression. The visuals, the emotions, the themes - they all add up to a grand catharsis that envelops you completely. Because this is a musical, the first to be sized up will be the musical quality of the film. According to the Web site, Webber claims that he chose Schumacher to direct because he has a great ear for music, he really gets it, he understands how music drives the story. This is true with regard to this movie. There were times in the movie that I forgot I had gone to critique because I was so caught up in it, mostly because of the music Schumacher has a great ability to identify the perfect timing and volume for the music in each scene. Given the emotional nature of the soundtrack, this ability helps to keep you swept up in the emotions of the movie, and perfectly navigate from scene to scene. In addition to the score, the performers vocal abilities must be judged. I must admit that I hate Webbers music. He takes one riff and runs with it, almost throughout the whole musical, but definitely throughout the whole song, and that is quite annoying. It leaves room for neither artistic license nor vocal development However, this cast was talented enough to be able to exceed expectations. There is a scene in the beginning of the movie when Daae takes the place of La Carlotta and is performing Think of Me. Expectations were low, but it was so magnificent that by the end of Rossums performance, I was floored to the point that I subconsciously started to put my hands together to applaud. This does not mean that she was perfect simply angelic. However, she did have her flaws. She continually scooped from the note she was currently on to the note to which she was supposed to escalate. Vocally, the men were better. Wilson was very strong as well, but not quite as good as the Phantom, although his role Instead of following in calls for less impressive musical challenges. Wilson may get the girl, the path of past Webber musicals-made-into-movi- es but Butler aims directly at your heart. He was nothing short of amazing from the first note to the last, although I felt like there were times that those in charge edited his volume, lowering it. This was rather bothersome when you were in the middle of a great song, and the cathartic climax was about to reach its peak, and then on you got short-changemotions. your The acting was not as great as the singing, but it was Both definitely not sub-pa- r. times I saw the movie, people were so awed by the emotion in the acting that at the end, it was literally as silent as when The Passion of the Christ ended. The audience at my second viewing of The Phantom even clapped heartily at the end! I could not comprehend how a director might run this musical on a stage, because the elaborate special effects that of were so well-maed de this, one were to it would pale in comparison. stage-dire- ct Schumacher was able to present it as a movie, with obvious advantages over a stage production, such as interesting camera angles and budget, but still brought the feel of a real musical to life. He did this in part through casting. such as Joseph and the Amazing Technicolor Dreamcoat and Evita, Schumacher cast with genuine talent rather than stars with vocal ability. Schumacher also does an extraordinary job of weaving everything together quite fluidly. He also makes sure that every theme, such as the roses that the Phantom gives to Daae, is given due attention. Artistic awareness such as this is impressive and shows time was spent on this film - it is not just another Webber tradition of spoon feeding garbage to worldwide audiences. This movie stands above the rest as a double-edge- d sword. It is definitely a chick flick, rife with enough love, emotion and tears to make Steel Magnolias look like Rambo. But it also has an interesting sword fight toward the end, and the plot is satisfying enough to follow. If you like musicals, this is most definitely a must-sebut go with as little expectations as you possibly can, otherwise you may be disappointed, especially if you are familiar with the musical. If you do not like musicals, go e, anyway. Jr it an enjoyable time, a great cathartic experience, and as good a drama as you can find.OJ The New Yorker tfationai Condom Benjamin Foreman . Staff Writer Many restaurants have good food, and many restaurants have a stylish atmosphere.. However, to find both good food and a stylish atmosphere in one place, is very difficult. Gastronomy Inc. has been in the restaurant business since 1978 and started with their award winning restaurant the New Yorker. The New Yorker has been named in Zagat's as number one in popularity for American traditional Cuisine, Top Lunch Spot and tops in continental cuisine, service, decor and private rooms. The decor of the New Yorker features mirrors and a look of a city diner. Another award that the New Yorker has won is the Utah Lifetime Achievement Award for Excellence in Dining from the Salt Lake Magazine in January of 2001. Zagat recommends the New Yorker for business dining, historic interest, people watching, power scenes, prewinning wine lists, in places, and romantic dining. The New Yorker is a great and-post-theat- er, . . restaurant for casual dining as well. It kind of reminds me of an old city diner, a place to just go and relax with a couple good appetizers, says Westminster student Nicole Barton. The New Yorker has a very respectable reputation of being one of Salt Lakes premier restaurants. The New Yorker is one of the premier restaurants downtown because of quality service, ambiance and quality food, said Steve Field, president of the Concierge Directory. One of the most popular appetizers at the New Yorker is steamed black mussels with lemongrass, ginger and lime. The filet mignon is with Yukon gold potatoes, cabernet sauce and Maytag blue cheese. The filet mignon is definitely a favorite of many customers. To go with your meal, the New Yorker has an extensive wine list. There are two different areas to dine in. The dining room is fancier than the cafe and a little more expensive. The dining room is open for lunch and dinner six days a week. The cafe is also open fc?r lunch and dinner. However, both the dining room and cafe are closed on F&trnaru 14-2- 1 . pan-sear- . ed Suridays.CsJ Get Jt OM - right Pick up your FREE fun bag full of different kinds of condoms and healthy sexuality information to Get It On - right! 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