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Versi rock Opera Phantom Of The Opera dengan unsur Faust. Produser rekaman Swan mencuri baik musik dan gadis (Phoenix) dari komposer Leach. Cacat Leach berencana membalas dendam pada Swan dan istana rock, The Paradise, dan menjadi Phantom. Leach tanda-tanda kontrak dengan Swan untuk menyelesaikan opera rock berdasarkan kehidupan Faust untuk Phoenix. Ganda dilintasi Swan yang menyewa logam berat penyanyi Beef, Leach menuntut membalas dendam.

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Phantom of the Paradise

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Fledgling singer-songwriter Winslow Leach finds himself double-crossed by the nefarious music producer Swan, who steals both his music and the girl Winslow wants to sing it, Phoenix, for the grand opening of his rock palace, the Paradise. After Swan has Winslow sent to prison for trespassing, Winslow endures a freak accident that leaves him disfigured, after which he seeks revenge on both Swan and the Paradise.

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Phantom of the Paradise

A disfigured composer sells his soul for the woman he loves so that she will perform his music. However, an evil record tycoon betrays him and steals his music to open his rock palace, The P... Read all A disfigured composer sells his soul for the woman he loves so that she will perform his music. However, an evil record tycoon betrays him and steals his music to open his rock palace, The Paradise. A disfigured composer sells his soul for the woman he loves so that she will perform his music. However, an evil record tycoon betrays him and steals his music to open his rock palace, The Paradise.

• Brian De Palma
• Louisa Rose
• Paul Williams
• William Finley
• Jessica Harper
• 187 User reviews
• 130 Critic reviews
• 67 Metascore
• See more at IMDbPro
• 3 wins & 5 nominations total

• The Juicy Fruits …

• The Juicy Fruits
• (as Harold Oblong)

• Swan's Entourage

• Louisa Rose (uncredited)
• All cast & crew
• Production, box office & more at IMDbPro

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• Trivia According to William Finley , the record press in which his character Winslow Leach was disfigured was in a real pressing plant (it was an injection-molding press at an Ideal Toy Company plant). He was worried about whether the machine would be safe, and the crew assured him it was. The press was fitted with foam pads (which resemble the casting molds in the press) and there were chocks put in the center to stop it from closing completely. Unfortunately, the machine was powerful enough to crush the chocks that it gradually kept closing. It was Finley's speed and timing that saved him from being seriously hurt, as he got his head out just in time. His scream in the scene was, in fact, not acting.
• Goofs Brian De Palma can be seen at around 1:02:58. He's right there plain as night, in the darkness just over Phoenix's left shoulder, sitting in a director's chair with his right arm raised, along with another crew member over Phoenix's right shoulder, then he vanishes when the spot picks her up.

The Phantom : [to Beef] Never sing my music again. Not here, not anywhere. Do you understand? Never again. My music is for Phoenix. Only she can sing it. Anyone else who tries, dies!

• Crazy credits The closing credits feature a series of montages of the cast members, identifying each by name, starting with the musical trio (Oblong, Hahn, Comanor) and concluding with William Finley as Winslow/The Phantom. These montages are made up of shots ostensibly from the movie, and most of them are, but there are also numerous outtakes.
• Alternate versions In the pre-release (or press) prints of the movie, the scene where Winslow was disfigured by the record press was longer; His disfigured face was briefly seen steaming with smoke from the press, and Winslow then killed the cop that surprised him (and shot him in the leg, which explained why Winslow walked with a limp for most of the film; however, he was able to run with the greatest of ease towards the end). The scene was removed from subsequent versions, as it was best decided that Winslow's disfigured visage be revealed at the end of the film.
• Connections Featured in Terror in the Aisles (1984)
• Soundtracks Goodbye, Eddie, Goodbye Written by Paul Williams Performed by Jeffrey Comanor , Archie Hahn and Peter Elbling as The Juicy Fruits, lead vocal Archie Hahn

User reviews 187

• Dec 5, 2002
• How long is Phantom of the Paradise? Powered by Alexa
• November 1, 1974 (United States)
• United States
• Majestic Theatre - 1925 Elm Street, Dallas, Texas, USA
• Harbor Productions
• Pressman-Williams Enterprises
• See more company credits at IMDbPro
• $1,300,000 (estimated)

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• Runtime 1 hour 31 minutes

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Phantom of the Paradise

Brian De Palma's loose '70s take on The Phantom of the Opera , starring the great Paul Williams whose music earned the film an Academy Award nomination.

Fledgling singer-songwriter Winslow Leach finds himself double-crossed by the nefarious music producer Swan, who steals both his music and the girl Winslow wants to sing it, Phoenix, for the grand opening of his rock palace, the Paradise. After Swan has Winslow sent to prison for trespassing, Winslow endures a freak accident that leaves him disfigured, after which he seeks revenge on both Swan and the Paradise.

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Phantom of the Paradise | Ratings & Reviews

Rotten tomatoes® rating, audience score rating.

"The glittering sets (combine) the wonderfully garish and the deeply squalid..."

"Phantom of the Paradise is an elaborate disaster, full of the kind of facetious humour you might find on bumper stickers and cocktail coasters."

"How could anyone not love a film this daring, this odd, and this memorable?"

"The terrifically convoluted plot (narrated by an uncredited Rod Serling) is wall-to-wall exposition..."

"Despite the dread MOR dirges given to Harper's crooning ingenue, (it is) arguably De Palma's finest film."

"In a film already chock full of weird, Graham dials it up to eleven with a captivating and bizarre performance. That’s a compliment."

"De Palma understands the intensity of ‘70s rock as the successor to opera’s shuddering arias, and the fervent charge of music electrifies the visuals..."

"A better rock'n'roll parody than The Rocky Horror Picture Show, and one of director Brian De Palma's more original efforts..."

"With the added ingredient of Paul Williams' haunting melodies, full of imagery even grander than what ends up on the screen, this film leaves your mind spinning."

"Unusually ridiculous..."

Phantom of the Paradise | Details

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Phantom of the Paradise

1974, Musical/Comedy, 1h 32m

What to know

Critics Consensus

Brian De Palma's subversive streak is on full display in Phantom of the Paradise , an ebullient rock opera that rhapsodizes creativity when it isn't seething with disdain for the music industry. Read critic reviews

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Phantom of the paradise   photos.

After record producer Swan (Paul Williams) steals the music of songwriter Winslow Leach (William Finley) and gives it to one of his bands, Leach sneaks into Swan's offices. Catching Leach, Swan frames him for dealing drugs, which lands him in prison. After Leach breaks out and again attempts to sabotage Swan's empire, an accident crushes his face. Leach then dons a costume and becomes the Phantom, intent on ruining Swan while saving singer Phoenix (Jessica Harper) from a terrible fate.

Genre: Musical, Comedy

Original Language: English

Director: Brian De Palma

Producer: Edward R. Pressman

Writer: Brian De Palma

Release Date (Theaters): Oct 31, 1974  original

Release Date (Streaming): Mar 1, 2013

Runtime: 1h 32m

Production Co: Harbor Productions

Sound Mix: Stereo

Cast & Crew

Paul Williams

William Finley

Winslow, The Phantom

Jessica Harper

George Memmoli

Gerrit Graham

Jeffrey Comanor

The Juicy Fruits, The Beach Bums, The Undeads

Archie Hahn

Peter Elbling

Henry Calvert

Nightwatchman

Ken Carpenter

Leslie Brewer

Linda Larimer

Roseanne Romine

Nydia Amagas

Sara Ballantine

Kristi Bird

Cathy Buttner

Brian De Palma

Edward R. Pressman

Gustave M. Berne

Executive Producer

Screenwriter

Original Music

Larry Pizer

Cinematographer

Paul Hirsch

Film Editing

Geno Havens

Peggy Taylor

Production Design

Rosanna Norton

Costume Design

Critic Reviews for Phantom of the Paradise

Audience reviews for phantom of the paradise.

A cult classic that deserves to be a phenomonon amongst modern audiences! Must see!

Faust + Phantom of the Opera means that I'm already on board for whatever the film is going to be. Its perhaps a little too bonkers on occasion, but still rather hilarious. Williams and Finley give two wonderful comedic performances.

"What's the best horror-comedy rock musical of the 1970s?" It's not a question that comes up very often, and the answer seems so obvious that it seems even less likely to come up. But just before everyone starts rushing towards The Rocky Horror Picture Show (good as that may be), it's worth taking a gander at its close cousin, Phantom of the Paradise. Brian De Palma's early effort may be ramshackle, uneven and rough around the edges (as was Rocky Horror), but it's also bounding with enthusiasm and in places is really rather good. There are of course many similarities between this film and Rocky Horror. Both were made and released around the same time, even sharing a double bill on American college campuses in late-1975. Both are essentially collections of horror, sci-fi or other B-movie references, bundled together into an outlandish plot with even more outlandish characters. Neither of the films take themselves very seriously, and both have seen their tongue-in-cheek nature rewarded by large cult followings. Perhaps the relative recognition of Rocky Horror lies more in the continued success of the stage show than any real cinematic merit. De Palma's films, and especially his thrillers, have always been unashamed in their references to other films or directors. Dressed to Kill and Body Double drop in Hitchcock motifs like there's no tomorrow, while the train station scene in The Untouchables is a very conscious homage to the Odessa Steps sequence in Battleship Potemkin. Occasionally these references have been so overt that he has been accused of having no real style of his own, but with an early effort like this, when he was still learning his craft, this can be easily forgiven. Phantom of the Paradise, as the title suggests, is primarily a reworking of The Phantom of the Opera. The touchstones of Gaston LeRoux's novel are plain to see: the central character (played by De Palma regular William Finley) is a composer whose work is stolen by a jealous impresario (Paul Williams), and in trying to recover what is rightfully his, the composer is horribly disfigured. The Phantom, as he now is, becomes infatuated with the young lady who performs his music (Jessica Harper), and struggles to balance these new-found feelings of love with a murky desire for vengeance and redemption. In the later stages of the film, De Palma draws on the archetypes of Faust and The Portrait of Dorian Gray to flesh out the enigmatic character of Swan. The character is interesting in that he exhibits aspects of both Faustus and Mephistopheles: he sold his soul to the devil in exchange for eternal youth (hence Dorian Gray), but he also acts in a diabolical fashion towards all who sign his contracts. There are also fleeting references to Frankenstein and The Cabinet of Dr. Caligari in the stage show, and a very witty restaging of the shower scene from Psycho: the Phantom corners Beef in the shower, cuts through the shower curtain... and then shoves a toilet plunger over his mouth to prevent him from talking. What distinguishes Phantom of the Paradise from Rocky Horror is the purpose to which these horror references are put. In Rocky Horror, the B-movie dialogue and horror imagery was largely a celebration of scary movies of the past, and by extension the pleasure and entertainment that comes from being scared. The plot eventually became secondary to "giving oneself over to absolute pleasure", with the film's unique identity coming from the extent of its madness rather than a conscious attempt to retune these conventions into something more modern. Phantom of the Paradise, on the other hand, takes all these horror conventions on board and gives them a 1970s sensibility. It recognises the moral lessons and warnings in these stories, and re-moulds them into some kind of analysis of the music industry in general and rock music in particular. Some of De Palma's re-mouldings are witty or make a crazy kind of sense: if Dorian Gray had been pouring out his narcissism today, he would have made a video recording of himself rather than gone to the trouble of painting a portrait. While the original Phantom's mask was rather modest, this Phantom's mask is as ostentatious as the costumes of the rock stars performing his music. The film is a fairly scathing depiction of the music industry, with the executives and management coming under fire from all sides. Swan is clearly inspired by Phil Spector, the enigmatic producer who created the 'wall of sound' recording technique and produced some of the biggest hits of the 1960s. The film takes the concept of 'selling one's soul' to another level, characterising the industry as the embodiment of evil, pilfering other's creativity to keep the gravy train rolling. Considering that Pink Floyd's Wish You Were Here was released not long after, one can't help wondering what would have happened had the two collaborated. Phantom of the Paradise also sheds light on the excesses of 1970s music, both on and off the stage. Swan spends much of his screen time in the company of beautiful women, many of whom he has promised fame in exchange for satisfying him. Phoenix becomes a victim of this dark world after covering for Beef; Swan gets her drunk and seduces her, promising her the world if only she will give him her voice. The excess is also present in the sets used for the rock shows: the elaborate costumes and incorporation of theatre recall the kind of unconscious pomposity that would be sent up so brilliantly in This Is Spinal Tap. The music of De Palma's film is both a big strength and a telling weakness. In recreating or capturing a period in time or particular genre, Paul Williams' score is very good indeed. The opening number, 'Goodbye, Eddie, Goodbye', is a very convincing recreation of 1950s greaseball pop, while 'Upholstery' has the same tinny, irritating quality that the Beach Boys had. But with the possible exception of 'Old Souls', sung mournfully by Harper, the songs are not as memorable as those in Rocky Horror or even its sequel Shock Treatment. Because the songs are there for context rather than for breathing life into the characters, they can feel like well-written wallpaper as opposed to anything more personal. The real unmitigated strength of Phantom of the Paradise lies in its technical aspects. De Palma's penchant for camera trickery, and split-screen in particular, has often compromised his films by causing us to lose focus, but on this occasion the creative decisions pay off. We see via split screen the Phantom put a bomb inside the boot of a prop car, and then watch it ticking down as the number goes on, blowing up the stage and the various reactions thereafter. Hitchcock famously said that the key to creating tension was giving the audience information that the characters don't have. The split-screen works because we know what we are looking for, whereas in the pig-blood scene in Carrie we do not. There are other impressive technical features too. One of the Phantom's first scenes, as he walks through the Paradise planning his vengeance, is shot on a combination of crane and dolly. We see the corridors of the Paradise from the Phantom's POV, and look up with him as his vision round 360 degress rises up the spiral staircase, leading to the box from which he will observe the carnage. Later on we have further impressive shots of him fleeing down a corridor, the intensity and speed of which recall Ripley's later scenes in Alien. The film has any number of moments which are purely and simply weird. Beef's entrance, coming out of a coffin standing up on the runway of an airport, ranks among the strangest in cinema. His entire character is a compelling bundle of eccentricity, from his diva-like complaints about the score to his shocking demise (pun intended). The final scene sees all the horror references come together in a car-crash of make-up, madness, fake blood and scantily-clad backing singers. The film eventually runs out of steam, collapsing into a horror-ridden heap in place of a proper ending. Phantom of the Paradise is an interesting if heavily flawed oddity which finds Brian De Palma rummaging around for the kind of film he was truly brilliant at making. The perfomers give their all, with Paul Williams excelling as Swan and 'the Queen of Cult Films' Jessica Harper setting herself up nicely for her subsequent brilliance in Suspiria. While Rocky Horror is funnier and has much better songs, it scores over Rocky Horror as a piece of narrative, if only because its references are so clear that you always know roughly where it's going. But in the end both are lovably bonkers and will reward the attention of any film fan.

A fantastic Campy movie with some AMAZING MUSCI! Even If you dont see the movie, I really suggest you check out its soundtrack. Beautiful, BEAUTIFUL songs. I found this movie through an awesome video blogger, The Phantom Reviewer. If you love Phantom of the Opera based films. CHECK HIM OUT. He is absolutely hilarious. Anyway, the movie is actually very amusing and sad at some points, apart from being a Phantom based movie, there are also elements of the Picture of Dorin Grey, which added some intest to the flim. I had a good time watching and I think others will too.

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Un jeune compositeur se fait voler sa musique, jeter en prison et défigurer par un producteur malhonnête en mal de reconnaissance. Il décide de se venger.

• De :  Brian De Palma
• Avec :  William Finley , Paul Williams , Jessica Harper
• Pays :  États-Unis d'Amérique

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