Although it bombed on its initial theatrical release (except in Winnipeg for some reason), I’ve since come to the conclusion that there’s a hell of a lot more to Phantom of the Paradise than its reputation as a goofy one off De Palma cult weirdie would allow.Īlthough he’s generally known today for his thrillers, his sprawling, big-budget reboots, and his sleazy, cartoonish Hitchcock homages, De Palma first made a name for himself in the late ‘60s with social satires like Greetings and Hi Mom! in which he took on the media and the counterculture. A performance or design detail that slipped past me in all those other viewings. But every time I go back to the film (and I go back to it maybe a little more often than I should) I catch some new little nuance or reference I never caught before. You wouldn’t think you’d need to know anything more about it.
Īt first splash, that seems to sum the whole thing up as neat and tidy as a Leonard Maltin capsule review. Brian De Palma’s rock opera within a rock opera (possibly the world’s first) is a bright, loud, brash, fast and funny live-action comic book, a vicious little satire of the music business, and a head-on collision between Phantom of the Opera, Faust, and early ‘70s glam.
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