Originally a Cannon release, the film changed directors and shifted to Menahem Golan’s 21st Century Film Corporation when Cannon went bankrupt. During the transition, the screenplay gained the modern framework and the expectation of a sequel called A Phantom of the Opera 2: Terror in Manhattan, which feels a little too close to a real-life Hamlet 2 for comfort. Fortunately (or unfortunately?) the sequel never came to pass and all that we’re left with is this surprisingly competent adaptation of Gaston Leroux’s novel.
An American ballerina (Connelly), enrolls in a prestigious Hungarian ballet school. Meanwhile, Jason (Gary McCleery), a young man assisting his uncle (Charles Durning) in a quest for antique clocks, falls in love with the beautiful ballerina. As their relationship blossoms, the ballerina becomes inexplicably obsessed with Tchaikovsky’s Swan Lake. Strange happenings intervene and Jason becomes determined to unravel the mysterious powers behind it all.
For the last few months I’ve been writing and researching a topic near and dear to my heart. The year of 1989 looms large in my moviegoing history and I wanted to put this year into intense focus in a longer format. I began working on this book called, tentatively, …
The movie still has something worthwhile to say about alcoholism. It’s just buried a little bit deeper than you would have liked. Blake Edwards has attempted to delve into the unrepentant mind of the alcoholic through a haze of farce and bleak humor all while serving up a puerile and unlikable anti-hero.
Without getting into a much broader philosophical debate about placing films in their appropriate context, some movies are merely a reflection of contemporaneous pre-evolved attitudes and some movies are just plain gross — that’s Kinjite.