With Andrew Lloyd Webber's stage version of THE PHANTOM OF THE OPERA making a killing in the late 80s at the box office in both the US and England, it was only a matter of time before the horror genre reclaimed one of it forefathers. Who better to tackle this than Robert Englund, king of 80s horror, and Menahem Golan, king of 80s horrible? The end result is an interesting concoction that mixes 80s slasher attitude with 19th century sentiment.

Director Dwight Little, hot off the success of HALLOWEEN 4, brings an unusual sense of prestige to a film. The film benefits from excellent cinematography, ornate costumes and beautiful Hungary locations. While it isn't going to convert any Webber fanatics (it may have conned a few),the film is one of the more extravagant horror films from the late 80s. The script by Gerry O'Hara offers a few deviations from the original Gaston Leroux source novel. There is no chandelier scene (apparently cut due to budget) and the film inserts completely wrongheaded wraparound segments set in modern day New York. I guess the producers figured a Victorian Era tale wouldn't hold attention spans, no matter how bloody.

And this is easily the goriest version of PHANTOM to date. Highlights include beheadings, skull crushing, skin removal and throat slashing. Unfortunately, it seems a bit of this feel victim to the MPAA. John Buechler's MMI handled the graphic gore while Kevin Yagher's team contributes the scarred Phantom make-up. This may not have been the best move because the end result is something so similar to the Freddy Krueger image (Yagher did the Freddy make-up for the last few NIGHTMARE films) that it comes off as almost a reproduction.

That is not to say that Englund is merely going through the horror icon motions. His portrayal of Phantom Erik Destler is very serious and unlike any previous incarnations. This Phantom keeps the wisecracks to a minimum and is completely unsympathetic. It is kind of hard to feel for him as he screams, "Christine!" when you've just watched him literally rip someone's heart out. Then again, Jill Schoelen isn't much of a muse either. While she does perfectly fine in contemporary set horror films, she seems a bit out of place in 1885 England with her raspy voice. The rest of the cast is comprised mostly of British actors. They are quite good especially Bill Nighy (recently seen in THE CONSTANT GARDENER) and Terence Harvey as the Scotland Yard Inspector trying to figure out the murders.

1989 certainly was a productive year for Englund. He saw his directorial debut, 976-EVIL, released in theaters in March. The fifth installment of the ELM STREET series hit theaters in August. And this version of PHANTOM debuted in November. As much as Englund tried to separate this turn from his Freddy image, the studio played it up (check out the poster above). The film opened on close to 1,500 screens but fared rather poorly. Despite the poor box office (just under $4 million total domestically),the film ended up being 21st Century's highest theatrical grosser. Actually, it is their only theatrical grosser because this film tanked the company.

Gifted, but deranged and disfigured composer Erik Destler (superbly played with great gusto and passion by Robert Englund) takes sweet aspiring opera singer Christine Day (a winning performance by the always spunky and appealing Jill Schoelen) under his wing and grooms her to become a major star. Moreover, Destler murders several folks in Christine's honor. Director Dwight H. Little, working from a shrewd and compelling script by Duke Sandefur, brings real style, flair and elegance to the often-told tale: the evocation of London in the past is very rich and flavorsome, the production values are stunningly opulent (Destler's subterranean sewer lair is simply amazing!),the music is exquisitely beautiful, the murder set pieces are handled with suitably gruesome panache, and the fiery climax is truly exciting. Little and Sandefur earn bonus points for making a few bold changes to the narrative. For example, Destler in this movie isn't your standard pitiable simpering lovesick fool; instead he's a decidedly unsympathetic lethal and vicious killer who made a pact with the Devil in order to achieve immortality as an artist and now has to bump folks off for their skin. The wrap-around scenes set in modern-day New York are another nice touch; they help make the point that love and music are forever. Englund portrays the juicy role of Destler with deliciously lusty aplomb. Schoelen is likewise excellent as Christine. There are additional praiseworthy contributions by Alex Hyde-White as Christine's dashing suitor Richard Dutton, Bill Nighy as slimy worrywart opera house co-owner Martin Barton, Terence Harvey as the hard-nosed Inspector Hawkins, Stephanie Lawrence as snooty diva La Carlotta, Nathan Lewis as Hawkins' bumbling partner Davies, Molly Shannon as Christine's supportive friend Meg, and Peter Chapham as mean opera critic Harrison. Both Misha Segal's robust, shuddery score and the glossy cinematography by Peter Lyons Collister and Elemer Ragaly are up to par. A worthy and satisfying fright film.

The man who gave us several cinematic incarnations of Freddy Kruger, Robert Englund did this version of The Phantom Of The Opera. But Englund was obviously looking for another long running series from this character.

The Phantom here is a supernatural character unlike versions where Lon Chaney, Claude Rains, and Herbert Lom made him a most pitiable if frightening figure. And quite mortal.

Not here however. Englund's phantom has made a Faustian pact with the devil. Old Scratch might have first dibs on his soul for the afterlife, but he's not going to have a good time of it. Englund wanted musical genius and he wanted to be loved for his music. The devil made him hideous with the worst case of eczema ever. He would most certainly not be loved for his appearance.

Written he has and he wants Jill Schoelen to sing his music with acclaim and then make her his own in those familiar catacombs, these catacombs in London as opposed to Paris.

The story is told in flashback as an unconscious Schoelen dreams of a past incarnation and her encounter with Englund a century before in a different life. But Englund is most persistent.

I think hoped for another series character like Freddy Kruger, but it was not to be. This film is all right but not a patch on the previous Phantom Of The Opera films.