On a different note...
Dario Argento offers us his own version of The Phantom of the Opera. He uses the Giallo subgenre to share his vision; a fitting choice for this story. The camera is highly dynamic, ominous, and crawls its way into the opera house like a stalker. In typical Giallo fashion, the antagonist’s camera uses a point of view perspective, revealing a pair of hands and no face for most of the running time.
Contrary to most movie renditions of Gaston Leroux’s famous novel, this isn’t a period piece. This is a loose adaptation that takes many interesting paths but a bunch of dead ends as well. It is at times self-indulgent, confusing, annoying even. This said, Argento knows how to use his hardware and makes every shot count visually. His work is very impressive.
Opera contains the type of gore that makes the audience cringe. Needles taped to eye lids, knife through the jaw; the antagonist wants their victims to suffer and wants us to watch it all, wondering what dangers the actors actually faced on set; how much is real, how much is improvised and how much is an illusion. At its best, Opera is visually stunning; at its worst it is literally boring.