The Phantom of the Paradise

1974's THE PHANTOM OF THE PARADISE is often compared to the following year's THE ROCKY HORROR PICTURE SHOW and it is easy to see why.  Writer/director Brian De Palma's colorful, garish, and wretchedly eccentric take on classic literature and glam culture is similar in its audacity and attempted seduction/involvement of its viewers.  ROCKY HORROR became a midnight sensation for many years, inviting audience members to participate with water guns and rice.  I'm not sure of PHANTOM had any of these type of soiries, at least on such a grand scale.

De Palma was beginning to flirt with/exploit the horror genre by this time.  The previous year's SISTERS was a creepily effective horror.  PHANTOM is just as interested in rocking out as it is trying to scare you.  It isn't really scary, by the way.  The lead character's altered mask elicits more amusement than dread. 

Paul Williams, who composed the film's music, plays superstar record producer Swan, a highly charismatic but backstabbing lech who falls in love with the music of one Winslow Leach (De Palma regular William Finley), a nebbish who has composed an ambitious rock opera.  Swan enlists his strong armed assistant Arnold (George Memmoli) to help him convince the poor guy that they will produce his music.  They will, all right, without crediting the writer, and having Swan's doo wop band The Juicy Fruits perform it at the opening of his new concert venue, The Paradise. 

Winslow, who wants aspiring singer Phoenix (Jessica Harper) to perform his tunes, tries to fight back, but only ends up getting framed and sent to Sing Sing.  When he escapes, he suffers a life altering accident.  Revenge is his.  Thus, the film's title.  But Swan still tries to make a deal.  Will it be one with the devil?

THE PHANTOM OF THE PARADISE works as a music industry satire, Gothic styled thriller, and dark comedy.  But what I believe has led to an enduring cult status is the insane energy De Palma creates.  The musical numbers are explosive, over the top, sometimes campy.  Everything is on overdrive here.  The director contributes has patented split screen at least once, but more frequently just drives the cameras around stages of gaudy musicians and hyper enthusiastic audiences.  This includes one who would be right at home in ROCKY HORROR -  "Beef" (De Palma regular Gerit Graham), an agressive (onstage) and prissy (offstage) glam rocker who is cast in the lead of the musical.   This will not sit with the Phantom of the Paradise, leading to a bathroom confrontation that pays a twisted homage to Hitchcock.  Things will only get worse, for just about everyone.

The music is fabulous.  Williams is so '70s it hurts.  His diminution, his rich voice, his smarm.  Perfect.  This is a wildly fun motion picture, well deserving of more respect.  And long running parties at your local repertory cinema.