Product Details

• Amazon Sales Rank: #99562 in DVD
• Released on: 2001-01-16
• Rating: Unrated
• Aspect ratio: 2.35:1
• Formats: AC-3, Color, DVD, Special Edition, Subtitled, Widescreen, NTSC
• Original language: Cantonese
• Subtitled in: English
• Number of discs: 2
• Running time: 102 minutes

Customer Reviews

No more eyestrain!
For years the various home video incarnations of Ronny Yu's sumptious follow-up to his popular 'Bride with White Hair' have been notorious for their miniscule subtitles, so Tai Seng has done fans of Hong Kong cinema a major service with this remastered release. Indeed, they've put together one of the most impressive and respectful packages any Hong Kong film has received in this country, including commentary tracks by Yu and cinematographer Peter Pau ('Crouching Tiger, Hidden Dragon'), a "making of" featurette, trailers for Yu's previous films, and an isolated music score.

Both the original synch-sound Mandarin soundtrack and the Cantonese dub sound great (lead Leslie Cheung's real voice is heard on both). The visual transfer, howeer, is not quite as impressive as I was expecting, as the image sometimes seems a bit fuzzy and drab, lacking the clarity one associates with DVD. Still, it looks better than most U.S. homevideo releases of Hong Kong movies (I'm particularly thinking of Columbia's recent 'Once Upon A Time in China' disk), and some of the "drabness" may be due to deliberate choices on the parts of Yu and Pau, with them favoring a softer image that doesn't work as well on disk as on the big screen.

But what about the movie itself? Although engrossing, it didn't bowl me over like 'The Bride with White Hair' did. The story is partially inspired by Gaston Leroux's 'Phantom of the Opera' (it's a remake of 'Song at Midnight,' a classic 1930's Chinese that was in itself a semi-remake of the silent 'Phantom' with Lon Chaney). Leslie Cheung's character is clearly meant to be the most sympathetic (and least murderous) Phantom in any version of this story, but he also comes across as cold and narcissistic, needlessly cruel to the woman (the luminous Chien-lien Wu of "Eat Drink Man Woman') who was supposedly his One Great Love. Cheung is a great actor and an accomplished singer, but I find his vocals a bit treacly, and the music isn't nearly as stirring as the score for 'Bride with White Hair.'

Still, I much prefer this to the Andrew Lloyd Weber musical or to any of the various sound versions of Gaston Leroux's original novel. If nothing else, director Yu and cinematographer Pau are amazing visual stylists (it's almost insulting that, after doing this, the only U.S. gig they could get was 'Bride of Chucky').

Ghost of love
What if Romeo and Juliet hadn't died? What if, instead, Juliet lost her mind and became a beggar, and Romeo became a scarred recluse, hiding in a decrepit opera house?

That's the whole idea behind "The Phantom Lover," a heartrendingly tragic story that is equal parts "Romeo and Juliet" and "Phantom of the Opera." It's crammed with lush sets, sweeping direction, and some truly brilliant acting and operatic vocals -- particularly from Leslie Cheung and Jacqueline Wu.

A troupe of actors arrive at a derelict opera house, and Wei Qing (Lei Huang) starts diddling around with singing scores there -- and suddenly a cloaked figure appears to give him lessons, even helping him when his voice falters onstage. Wei soon learns the story of the operahouse: it was built by a young opera singer, Song Danping (Leslie Cheung) who swept audiences away with his operatic adaptation of "Romeo and Juliet" -- which rankled the local officials.

Even more rankling to them was the love affair that bloomed between Danping, and the upper-class Wan-Yin (Jacqueline Wu). But her father forced her to marry a young man from a wealthy family, despise his cruelty to women. The resulting scandal destroyed their lives -- Danping was supposedly killed when the opera house was burned, and Wan-Yin went mad and was disowned by her family.

Of course, the Phantom Lover is Danping himself. Wei and his troupe determinedly revive Danping's old operas, to the delight of the townspeople. But Wei also becomes wrapped up in the miserable life of Wan-Yin, and forces the reclusive Phantom to emerge from the shadows, to deal with the demons of his ruined life...

It's never entirely clear why Danping allows his one true love to languish in poverty-stricken loneliness, but that's really the only plot hole in this movie. It occasionally slips over the line into melodrama, but most of the time it's saved from that great acting, and an obvious love of the beauty of music and tragic stories -- though this one has a happier ending for some.

The scenes are filled with starlit windows, dark shootings, sweeping operas with lush scenery, brightly coloured clothing, moonlit reunions, and gothic ruins filled with tattered luxury. It's a very sensual movie, and the fact that much of it is filmed in sepia tones doesn't really diminish that -- instead, it makes the powerful, passionate love of the past seem even more intense.

Ronny Yu's direction is full of sweeping shots and sensual lushness, and he emphasizes the beauty of the opera house and Wan-Yi, even when they're both in ruins. But Yu also peppers it with shocking moments, such as when Wan-Yin is savagely beaten and slandered in the streets by her old fiancee, and everyone except Wei is too terrified to move.

The main lovers are the most vibrant characters: Leung is magnificent as the Phantom Lover -- intense, compelling, and sometimes kinda frightening, although the character himself is rather self-absorbed. And Wu is even better as the pitiful, childlike Wan-Yi, who is perpetually locked in the last happy days on her life. Huang is also quite good as a young man who gains strength and confidence, but he's rather overshadowed by Leung and Wu.

"The Phantom Lover" is an intense, tragically romantic movie, with some great acting and magnificent direction. An excellent spin on the typical "Phantom of the Opera" storyline.

Grand melodrama on an epic scale - a masterpiece!

THE PHANTOM LOVER
[Ye Ban Ge Sheng]

(Hong Kong/Singapore - 1995 - color and sepia)

Aspect ratio: 2.39:1 (Panavision)
Theatrical soundtrack: DTS

Teen idol Leslie Cheung Kwok-wing toplines Ronny Yu Yan-tai's superb Gothic melodrama, playing a famed actor in 1920's China whose affair with the daughter (Wu Chien-lien) of a scheming industrialist is opposed by their respective families, culminating in a terrible disaster which consumes the magnificent theater in which Cheung made his fortune. Ten years later, an impoverished theatrical troupe restores the now-derelict building, and the principal actor (Huang Lei, from Chen Kaige's LIFE ON A STRING [1991]) stumbles on the phantom-like Cheung, hiding amongst the ruins as a disfigured recluse. But the villainous factions which drove the ill-fated lovers apart are still active, and history begins to repeat itself, with potentially tragic consequences...

Arguably, THE PHANTOM LOVER ranks alongside John Woo's BULLET IN THE HEAD (1990) as one of the crowning achievements of Hong Kong cinema. With spectacular Gothic sets designed by the late Eddie Ma Poon-chiu and swooping camerawork by world-class cinematographer Peter Pau Tak-hei (whose expansive images demonstrate the full potential of the Panavision frame), this sublime masterpiece represents a sensational marriage of old-fashioned storytelling with cinematic technique. The fast-moving narrative is heightened constantly by director Yu's operatic filmmaking style, a style which he perfected two years earlier in his acclaimed fantasy THE BRIDE WITH WHITE HAIR (1993), providing a near-perfect combination of plot, characterization and technical virtuosity.

The script (by Roy Szeto Cheuk-hon, Raymond Wong Pak-ming and director Yu) is essentially a reworking of MIDNIGHT SONG (1937), an early effort by pioneering Chinese horrormeister Maxu Weibang, though Yu's film emphasizes atmosphere and melodrama over outright horror, and the film's central section - the heartbreaking disintegration of Cheung's relationship with Wu - is played to perfection by an attractive cast, and nicely underscored by Chris Babida's melancholy score. The only false note is sounded by Cheung's contribution to the soundtrack, a handful of feeble songs which struggle unsuccessfully to convey an appropriate sense of heartache and tragedy. Such blatant insincerity may help to explain his less-than-flattering appraisal of the film since its initial release.