It made stars of Michael Crawford (as the phantom) and Sarah Brightman (as Christine). “The Phantom of the Opera” went on to become the highest grossing theatrical production in history, earning more than $3 billion. This scenario, directed and co-written by Joel Schumacher (“Batman Forever,” “The Client”), more or less follows Lloyd Webber’s show, which was based on Gaston Leroux’s 19Interviews novel and opened in London in 1986. He’s somebody who is in the prime of his life, who wants a partner and some good sex. Whereas here there’s more physical attraction. “I think it also makes more sense than the stage version, because there it’s more abracadabra and she’s under his power. “Yeah, it’s sexed up,” Butler, 35, says of the finished film. He’s the kind of guy girls are always warned about but can’t seem to resist. But he is a bit bland, like an anchorman, while the phantom exudes a dangerous sexuality. It might seem like an easy choice for her, because the phantom is disfigured inside and out while Raoul is a rich dreamboat.
However, Christine is torn between the phantom and Raoul (Patrick Wilson), a childhood friend who has become the opera’s benefactor. Without revealing his face, he secretly tutors a young soprano, Christine (newcomer Emmy Rossum), and falls in love with her as she matures into a woman and a promising opera star.
Disfigured and treated as a circus freak when he was younger, the phantom is spirited away to Paris’ Opera Populaire, where he hides and becomes a kind of lethal music critic. That didn’t make the acting any easier: Butler has the title role in the film adaptation of Andrew Lloyd Webber’s “The Phantom of the Opera,” and the phantom compensates for his limited expressive capacity by singing his twisted heart out. Scottish actor Gerard Butler had to perform the most important film role of his career wearing a mask.
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