STRANGE CINEMA - Phantom of the Paradise
Spoilers abound.
Strange Cinema is a poptechmotive series where we will take a brief look at movies that are in some way odd or unusual, films may that not reside within the mainstream consciousness. These may be obscure or overlooked films, sometimes dark, sometimes whimsical, either way this series is meant to shine a light on something you might not have known about before. In this first installment of Strange Cinema we will take a look at a movie that is certainly strange. It is a hard-to-categorize satirical and literary rock opera written and directed by Brian De Palma. His movies include Carrie (one of my favorite horror movies ever), Scarface, Sisters, The Fury, The Untouchables, and Carlito's Way to name a few. I discovered this movie's existence after experiencing Dario Argento's brilliant horror masterpiece Suspiria and was taken with the lovely Jessica Harper. She played the main protagonist in that colorful and violent acid trip of a horror film about a young dancer who finds herself menaced by witchcraft at a secluded dance school. After seeing her in that movie I wondered what else she might have done. It was then that I discovered "The Evictors" (1979), a film about a young couple that had just acquired a house, ignorant of it's violent past. And finally, I discovered she was in a movie called "Phantom of the Paradise". I was intrigued because Jessica Harper was singing in this film. Learning also that it was written and directed by Brian DePalma (whom I respected) and featured music by Paul Williams (whom I saw constantly on television growing up but never really knew what he was famous for) solidified my resolve to seek out this elusive motion picture.
The Phantom of the Paradise was released in 1974. This was several years before Jessica Harper appeared in Suspiria. As a matter of fact, the credits do make a special point to say "introducing Jessica Harper". Brian De Palma was not that well know at this time. He had gained respect after he directed "Sisters" (1973) a thriller almost in an "American giallo" style. Giallo is an Italian film genre that, generally speaking, describes violent, often gory, mystery movies. This film also starred William Finley (the Phantom). Phantom of the Paradise was not commercially successful upon release, some call it a bonafide flop. In 1975 a movie came out that inevitably invites comparisons and was undeniably much more successful. The film, Rocky Horror Picture Show seems similar enough being that they are both musicals that feature comic and horror sensibilities. Rocky certainly overshadows the Phantom in terms of cult status and name recognition. Having not seen Rocky Horror (although I have tried to watch it a few times) I cannot directly compare these two movies. Rocky seems to be more of a sexually charged, taboo exploring movie where the main drive in Phantom is love and revenge. Whatever the reason, Rocky Horror Picture Show remains the celebrated cult classic while the Phantom of the Paradise is relegated to dark corners of obscurity. Though that seems to be changing as more and more people become aware of the film and it's cult cache is gaining momentum. Speaking of Rocky Horror in 1981 Jessica Harper went on to star in the film's sequel (did you know there was one?) called Shock Treatment. Jessica played "Janet" the same character Susan Sarandon commanded in the original. Although Phantom of the Paradise is considered a musical, people do not break out in song and dance to express their emotions within the movie's universe. Instead, all the singing that takes place is framed within the context of singers performing either on stage or in auditions. This greatly reduces the sometimes cringeworthy cheesiness intrinsic to most musicals like Rocky Horror Picture Show.
Strange Cinema is a poptechmotive series where we will take a brief look at movies that are in some way odd or unusual, films may that not reside within the mainstream consciousness. These may be obscure or overlooked films, sometimes dark, sometimes whimsical, either way this series is meant to shine a light on something you might not have known about before. In this first installment of Strange Cinema we will take a look at a movie that is certainly strange. It is a hard-to-categorize satirical and literary rock opera written and directed by Brian De Palma. His movies include Carrie (one of my favorite horror movies ever), Scarface, Sisters, The Fury, The Untouchables, and Carlito's Way to name a few. I discovered this movie's existence after experiencing Dario Argento's brilliant horror masterpiece Suspiria and was taken with the lovely Jessica Harper. She played the main protagonist in that colorful and violent acid trip of a horror film about a young dancer who finds herself menaced by witchcraft at a secluded dance school. After seeing her in that movie I wondered what else she might have done. It was then that I discovered "The Evictors" (1979), a film about a young couple that had just acquired a house, ignorant of it's violent past. And finally, I discovered she was in a movie called "Phantom of the Paradise". I was intrigued because Jessica Harper was singing in this film. Learning also that it was written and directed by Brian DePalma (whom I respected) and featured music by Paul Williams (whom I saw constantly on television growing up but never really knew what he was famous for) solidified my resolve to seek out this elusive motion picture.
The Phantom of the Paradise was released in 1974. This was several years before Jessica Harper appeared in Suspiria. As a matter of fact, the credits do make a special point to say "introducing Jessica Harper". Brian De Palma was not that well know at this time. He had gained respect after he directed "Sisters" (1973) a thriller almost in an "American giallo" style. Giallo is an Italian film genre that, generally speaking, describes violent, often gory, mystery movies. This film also starred William Finley (the Phantom). Phantom of the Paradise was not commercially successful upon release, some call it a bonafide flop. In 1975 a movie came out that inevitably invites comparisons and was undeniably much more successful. The film, Rocky Horror Picture Show seems similar enough being that they are both musicals that feature comic and horror sensibilities. Rocky certainly overshadows the Phantom in terms of cult status and name recognition. Having not seen Rocky Horror (although I have tried to watch it a few times) I cannot directly compare these two movies. Rocky seems to be more of a sexually charged, taboo exploring movie where the main drive in Phantom is love and revenge. Whatever the reason, Rocky Horror Picture Show remains the celebrated cult classic while the Phantom of the Paradise is relegated to dark corners of obscurity. Though that seems to be changing as more and more people become aware of the film and it's cult cache is gaining momentum. Speaking of Rocky Horror in 1981 Jessica Harper went on to star in the film's sequel (did you know there was one?) called Shock Treatment. Jessica played "Janet" the same character Susan Sarandon commanded in the original. Although Phantom of the Paradise is considered a musical, people do not break out in song and dance to express their emotions within the movie's universe. Instead, all the singing that takes place is framed within the context of singers performing either on stage or in auditions. This greatly reduces the sometimes cringeworthy cheesiness intrinsic to most musicals like Rocky Horror Picture Show.
Phantom of the Paradise opens with a brief, uncredited voice over intro by none other than Rod Serling, then a performance by a band called the Juicy Fruits. This band will undergo several changes in appearance and style as the movie goes on. These reboots may represent the fickleness of fans as the band chases the latest trend in order to stay relevant. Beyond the music, the personas of the band's members evolve from sticky sweet doo-wop nostalgia ("The Juicy Fruits") to mellow California surf rock ("The Beach Bums") to dark occult rock ("the Undeads"). In this performance in the opening scene they are singing "Goodbye Eddie" a Franki Valli-esque tune which tells the story of a singer who kills himself so his final album will be sucessful postmortum all to save the life of his sister who needs money for an operation. The Juicy Fruits consist of Archie Hahn, Jeffrey Comanor, and Harold Oblong.
"And now the tragic story
Eddie's sister, Mary Louise, needed an operation
To get the money he would have to become an overnight sensation
Eddie believed the American people
Had wonderful, lovegiving hearts
His well publicized end he considered would send
His memorial album to the top of the charts... and it did
When a young singer dies to our shock and surprise
In a plane crash or flashy sports car
He becomes quite well known
And the kindness he's shown has made more than one post mortem star
Well you did it Eddie and though it's hard to applaud suicide
You gave all you could give so your sister could live
All America's choked up inside"
"And now the tragic story
Eddie's sister, Mary Louise, needed an operation
To get the money he would have to become an overnight sensation
Eddie believed the American people
Had wonderful, lovegiving hearts
His well publicized end he considered would send
His memorial album to the top of the charts... and it did
When a young singer dies to our shock and surprise
In a plane crash or flashy sports car
He becomes quite well known
And the kindness he's shown has made more than one post mortem star
Well you did it Eddie and though it's hard to applaud suicide
You gave all you could give so your sister could live
All America's choked up inside"
Speaking of the Juicy Fruits, Brian De Palma originally envisioned an established, well known band to portray the Juicy Fruits. Sha Na Na was one of the bands considered. Sha Na Na is a fifties inspired group that played at Woodstock! They found their height of fame in the late seventies on their own television variety show. The show, all but forgotten now, ran from 1977 to 1982 and was very popular for a time. The band honed their craft performing in the historic music venue, the Fillmore in San Francisco. Sha Na Na would often open for more well known bands like The Kinks and Bruce Springsteen. Ironically the Phantom of the Paradise was originally conceived as "Phantom of the Fillmore" and the film would have taken place at this real life venue. Although the Fillmore was used as the filming location for the theater, De Palma ultimately could not secure permission to use the famous theater's name. It is said that Paul Williams preferred to work with a hand picked band, so Sha Na Na would not be the Juicy Fruits. Sha Na Na did however become part of movie history another way as they portrayed "Johnny Casino and the Gamblers" in the school dance scene of Grease and contributed heavily to that film's soundtrack.
William Finley plays Winslow Leach a singer-songwriter waiting for his break. I must admit I initially found William Finley to be an odd protagonist, he certainly does not look like your stereotypical leading man. He was good friends with Brian DePalma and worked with him on several other movies including Sisters, The Fury, and the Black Dahlia as recently as 2006. The character of Winslow Leach was named after director Brian De Palma's freind and collegue, Wilford Leach. This role was, in fact, written for Finley and apparently there was pressure on De Palma to cast someone more marketable. Here we see Winslow Leach perform his song "Faust" just after the Juicy Fruits performance. This song is a piano driven ballad and a standout in the movie. While this emotional performance goes mostly ignored, Swan (Paul Williams) is watching from the balcony and takes note, immediately stopping his conversation with his right hand man Philbin (played by George Mimolli). Swan, is a shamelessly confident record producer and visionary behind the Juicy Fruits. We will find Swan to be our villain, with a contract with the Devil that gives him eternal youth and success. Swan wants Winslow's music to open his new music venue the titular "Paradise". But he doesn't want Winslow to perform, he just wants his music.
Unfortunately William Finley died in 2012, but the Phantom has remained Finley's trademark role and secures his place in movie history.
"I was not myself last night
Couldn't set things right with apologies or flowers
Out of place as a cryin' clown who could only frown
And the play went on for hours
And as I lived my role, I swore, I'd sell my soul for one love
Who would stand by me and give me back the gift of laughter
One love who would stand by me and after making love we'd
Dream a bit of style
We'd dream a bunch of friends
Dream each others smile
And dream it never ends"
Unfortunately William Finley died in 2012, but the Phantom has remained Finley's trademark role and secures his place in movie history.
"I was not myself last night
Couldn't set things right with apologies or flowers
Out of place as a cryin' clown who could only frown
And the play went on for hours
And as I lived my role, I swore, I'd sell my soul for one love
Who would stand by me and give me back the gift of laughter
One love who would stand by me and after making love we'd
Dream a bit of style
We'd dream a bunch of friends
Dream each others smile
And dream it never ends"
The devilish "Swan" is portrayed by Paul Williams, the small statured actor,songwriter, and singer responsible for several hit songs in the 70's including Three Dog Night's "An Old Fashioned Love Song" and the Carpenters' "We've Only Just Begun" and "Rainy Days and Mondays", as well "Evergreen" (made famous by Barbara Striesand and for which he won an Oscar!), and of course Williams wrote the classic "Rainbow Connection" from The Muppet Movie. He also, amusingly, wrote the lyrics to the opening theme for The Love Boat. In the 70's and early 80's Paul Williams was on Television all the time! He would frequent The Tonight Show with Johnny Carson, he would appear as a singer, a comedian, as well as dramatic guest actor. Paul Williams along with his success, found his way to drugs and alcohol. He pretty famously guest hosted The Mike Douglas show noticeably high. As the eighties progressed he suddenly disappeared. In 2011 Steven Kessler made a documentary "Still Alive" all about Paul Williams' rise and fall then ascension to a sobriety that he has maintained to this day.
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Paul William's Swan is the man in control, manipulating all the other characters within his orbit. With an unnerving quiet confidence Paul Williams makes a great villain. I don't know why but even his voice, often calm and measured suits his role. Swan's character, despite being the villain, also delivers humor. There is a scene where Swan offers Winslow Leach breakfast and opens a suitcase full of pills. We learn later how Swan attained his power. The whole thing is detailed in a video the Phantom discovers where Swan aims to kill himself. Swan says "Saturday, November 19, 1953. Today, I have decided to kill myself. Being the greatest showman of my time, I'm recording live for the Swan Archives. Why? It's simple, I'm getting old. Oh, I can't bare it. To see this beautiful face ravaged by the forces of time. If I can't be young forever, I'd rather end it all - now!" The devil intervenes in the form of his own reflection offering him eternal youth and success.
Winslow Leach comes to Swan's mansion looking for answers after a suspicious amount of time had passed without hearing from Swan about his music. To his surprise there is a swarm of lovely young ladies gathered for an audition and singing his song "Faust". In this sea of untalented singers he meets a young singer who sounds better then the rest. Her name is Phoenix. Having written the song, he is able to help Phoenix find her voice. This immediately impresses Phoenix and on some level they connect.
After their pleasant meeting, Phoenix and Winslow both have a terrible time at Swan's mansion. Winslow get's thrown out while trying to assert his rights to the music. He is then framed for drug possession and sent so Sing Sing (a prison in New York). Phoenix finds her audition was not about her singing but about sex, and leaves in humiliation and frustration. This scene above where Winslow learns his fate and turns to face the camera and shouts "But I'm innocent! Swan stole my music and FRAMED ME!" is an example of the films campier moments. He is sentenced to life imprisonment and effectively pushed aside by Swan where he can do whatever he wants with Winslow's music. At Sing Sing he endures a strange behavior-modification program sponsored by Swan's company that for some reason involves replacing his teeth with chrome!? Until, while working in the prison factory Winslow hears his song being butchered on the radio by the Juicy Fruits. He also learns about Swans opening the Paradise Theater and debuting the Faust music there. This is too much for him and causes him to lose it completely. He escapes the maximum security prison. There are moments of overacting mostly by Winslow Leach and Gerrit Graham As Beef. The movie knows it's a movie and some sequences are surreal in nature. As a fan of Brian DePalma it's difficult to say that not all the stylistic camp works for me there are moments in the film that are dated, cheesy, and even ugly. These moments are contrasted by more common sequences of cleverness, lush color, and charm.
As mentioned before it was Jessica Harper that brought this movie to my attention. Her character Pheonix is driven, and will do anything to be a star. While certainly not a villian, she is not the pure innocent you might expect her to be. We don't know where she got her cool (if not pretentious) moniker Phoenix. But Swan seemed to think it is star ready and tells her that "we wont have to change it". Jessica sings several times in the film. She has a uniquely low voice. Linda Ronstadt, obviously known for her singing, was considered for the role of Phoenix as well. In one of Jessica Harper's more memorable scenes, Phoenix gets a second audition and actually gets to sing. "Special to Me" is an upbeat song with a definite seventies feel. She nails the audition and ends the song with an infamous, awkward, but endearing dance off the stage. Some call this her "chicken dance". When asked about it, she just laughs "that's how I dance".
"Well you told me one time that you'd be somebody
That you weren't workin' just to survive
But you're workin' so hard that you don't even know you're alive
Workin' so hard to be somebody special not working just to survive
Well you're special to me babe but what I don't see babe is
Where you go once you arrive
Where we go once we arrive
Damn all evil that takes possession until your pipe dreams become obsessions
They scare me baby and we should have nothing to fear
I'm no child but I can't help wonder it seems like some kind of spell you're under"
"Well you told me one time that you'd be somebody
That you weren't workin' just to survive
But you're workin' so hard that you don't even know you're alive
Workin' so hard to be somebody special not working just to survive
Well you're special to me babe but what I don't see babe is
Where you go once you arrive
Where we go once we arrive
Damn all evil that takes possession until your pipe dreams become obsessions
They scare me baby and we should have nothing to fear
I'm no child but I can't help wonder it seems like some kind of spell you're under"
There is style to spare in this movie. As I mentioned before there are parts in this production where the campometer is a little too high for my tastes. But overall the movie is a colorful, artistic, creation at times reminiscent of Suspiria. The vivid modern-gothic aesthetic owes itself to creative lighting as well as thoughtfully chosen filming locations such as the Fillmore Theater. Brian De Palma is know for his unique direction style, utilizing long tracking shots, split screens and other tricks to convey manic or tension. Of note are the continuous shots used when Winslow was rampaging in Death Records offices and the split screens in the climax hinting at techniques to be used during the climax of of Carrie in 1976. There is a bird theme throughout this film. Birds are seen in the Death Records logo, Swan, Phoenix, Beef even has one costume that looks like a Rooster, right down to the design of the Phantom's avian mask. William Finley came up with the bird motif of the Phantom costume in collaboration with costume designer Rosanna Norton. The name of the record company was originally to be called Swan Song Records but that was changed to Death Records with the bird logo to avoid a possible legal scuffle with the band Led Zeppelin who launched a record company of the same name in 1974. In fact there are several places in the movie where the new bird logo needed to be superimposed over the old Swan Song logo after the decision was made to change it.
William Finley's transformation into the Phantom occurs after Winlow's escape from Sing Sing. Enraged that he was used then discarded he goes to the Death Records office to destroy the machine that is pressing his music onto records. In this act, he accidentally disfigures himself when the press clamps down on his face. This scene was longer with extended images of gore in the original cut. DePalma cut the extra blood feeling it was out of sync with the rest of the films tone. The scene was filmed in an actual working toy factory, Pressman Toys (know for board games). Edward Pressman was a producer for the movie. Apparently there was an accident during filming where a board meant to keep the press from actually hurting William Finley snapped. The press was moving too slowly to be a real danger but the moment must have been rather scary. After Winslow's disfiguring accident he descends upon the paradise theater in a point of view shot we see him enter the theater unnoticed. He quickly finds the components of his phantom costume in the theater costume room. Once cloaked in his disguise his mission can begin to ruin the paradises opening, stop the use of his music, and of course to keep an eye on Phoenix.
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The Phantoms first foray into revenge is a failed attempt to kill the Juicy Fruits by blowing up a prop they ride onto stage during a rehearsal. This alerts Swan, and sensing foul play he checks the security cameras and sees the masked figure in the theater. It does not take long for Swan to confront the Phantom and begin to manipulate him. Swan does not seem intimidated by the Phantom. Swan gives the Phantom a voice box enabling him to speak. This voice box along with the cape and black outfit has caused many to wonder if this inspired George Lucas' (who was friends with DePalma) design of Darth Vader. This character design was also said to influence several other entities including Marilyn Manson's chrome teeth and Daft Punk's masks. Swan and the Phantom strike a deal where Winslow will finish the Faust cantata for Swan provided Phoenix is the only one who can sing it. Phoenix has obviously become an obsession to the Phantom who seems at peace with joining forces with Swan if it will further Phoenix's career. Swan produces a giant contract and the conversation about the contract's meaning and wordy clauses is quite amusing. The contract entwines them so that essentially if one of them dies they both will die. The sound room where this scene takes place is a real recording studio, used on several albums, and that still exists today.
Beef is unleashed upon the world. Here Swan introduces Beef to a group of reporters (top photo). Swan, dismissing his pledge to the Phantom to only allow Pheonix to sing his music, auditions several people in manic, speed-dating style auditions. In this clever scene Swan is sitting in a gold record shaped desk and before him are several performers in different styles singing the same song. Beef is in the mix and sings in an over-the-top and oddly feminine-yet-macho style that Swan is sure will be the next big thing! So Phoenix gets downgraded from star to a backup singer for Beef. In one of the best scenes of the film the Juicy Fruits, now The Undeads open for Beef in a performance that epitomizes rock opera (bottom photo). The scene, referred to as "Beef's Construction", features The Undeads now in KISS style makeup (before KISS was widely known) singing the great "Somebody Super Like You". They take body parts from audience members with charmingly low-budget stage effects and unite all the peaces to create Beef who emerges from the coffin after a Frankenstein-esque rebirth. Beef performs Winslow's song despite being warned by the Phantom "Never sing my music again. Not here, not anywhere. Do you understand? Never again. My music is for Phoenix. Only she can sing it. Anyone else who tries, dies!" This took place in a memorable scene where Beef is singing Winslow's music in the shower. The scene unfolds like a rehash of the famous Psycho shower scene where Beef is attacked not with a knife, but a with a plunger, plunged into his face and over his mouth stopping him mid-song. Despite this warning, he goes onstage anyway and the Phantom electrocutes him on stage to the delight of the crowd, undoubtedly thinking its all part of the show.
"We need a man that is simple perfection
There's nothing that's harder to find
Someone to lead us protect us and feed us
And help us to make up our minds
We need a man that's sophisticated
Quiet and strong and well educated
Where to go what to do
Could it be somebody super like you
We need a man that can stand as a symbol
And symbols have got to be tall
Someone with taste and the tiniest waist
With his help would not life be a ball
If we had fun he would not restrain us
If we got caught he would just explain us
Where to go what to do
Could it be somebody super like you"
"We need a man that is simple perfection
There's nothing that's harder to find
Someone to lead us protect us and feed us
And help us to make up our minds
We need a man that's sophisticated
Quiet and strong and well educated
Where to go what to do
Could it be somebody super like you
We need a man that can stand as a symbol
And symbols have got to be tall
Someone with taste and the tiniest waist
With his help would not life be a ball
If we had fun he would not restrain us
If we got caught he would just explain us
Where to go what to do
Could it be somebody super like you"
The casting of The Phantom of The Paradise apparently took several forms before becoming the cast we know, almost leaving William Finley completely out. As mentioned before Brian DePalma wrote the Phantom with William Finley in mind but the studio wanted a more recognizable actor in the lead role. Paul Williams who was already working on the music was suggested, but opted out because he didn't think he was physically right for the role. He also feared that Phantom might be looked upon as a negative commentary of the music industry. Williams did not want to risk ostracization. Beyond that, Gerrit Graham was originally considered for the villain role of Swan. Peter Boyle was considered for Beef but had began filming on Young Frankenstein. It was Peter Boyle's lack of availability that secured Williams' place as the Phantom. With Gerrit Graham stepping in to play Beef and Paul Williams becoming Swan, this left the Phantom role open for William Finley to make his signature role. Apparently throughout all this, John Voight was briefly considered for the role of Swan as well. Paul Williams' dark yet upbeat song "The Hell Of It" plays over the end credits which features clips of all the characters with the actors names. This style of turning the credits into an "event" recalling clips from the movie we've just seen became popular in the 70s ans 80s. It is particularly enjoyable here paired with Paul Williams music and rescues us from a bleak final scene (we'll get to that). Paradise may have been the first movie to do this. "The Hell of It" was one of William's more successful songs from the movie and he did the variety and talk show circuit performing it in among other places The Brady Variety Hour.
"Roll on thunder shine on lightnin' the days are long and the nights are frightnin'
Nothing matters anyway and that's the hell of it
Winter comes and the winds blow colder well some grew wiser you just grew older
And you never listened anyway and that's the hell of it
Good for nothin' bad in bed nobody likes you and you're better off dead goodbye
We've all come to say goodbye goodbye
Born defeated died in vain
Super destruction you were hooked on pain and tho' your music lingers on
All of us are glad you're gone
If I could live my life half as worthlessly as you
I'm convinced that I'd wind up burning too"
"Roll on thunder shine on lightnin' the days are long and the nights are frightnin'
Nothing matters anyway and that's the hell of it
Winter comes and the winds blow colder well some grew wiser you just grew older
And you never listened anyway and that's the hell of it
Good for nothin' bad in bed nobody likes you and you're better off dead goodbye
We've all come to say goodbye goodbye
Born defeated died in vain
Super destruction you were hooked on pain and tho' your music lingers on
All of us are glad you're gone
If I could live my life half as worthlessly as you
I'm convinced that I'd wind up burning too"
In the films climax, Swan's plan is to have Phoenix publicly executed onstage as they are married at the Paradise. The Phantom finds out and sets out to stop him. Swan has a sniper situated in the balcony of the theater which the Phantom dispatches. He then swoops down and removes his mask showing his true face of evil. The Phantom kills Swan thus killing himself as the contract he signed had bound together their fates. Swan is carried off by the fans in what may be one of the first examples of crowd surfing, certainly a rare postmortem one. Here we see makeup effects on Swan who has an aged, almost burned look and the Phantom who was deformed by the record press. This reveal gives the film some needed horror and although not the best makeup on film, may frighten impressionable viewers. You can see the Death records bird logo seared onto Winslow's face. Swan's aging is inspired by the classic story by Oscar Wilde "The Picture of Dorian Grey" (In fact early versions of the script had Swan named Dorian). Along with the obvious nod to "Phantom of the Opera" by Gaston Leroux there are literary allusions to "Faust" by Wolfgang Goethe (in the devil dealings) and Mary Shelly's "Frankenstein" (in Beefs construction) as well as "The Cask of Amontillado" by Edgar Allan Poe (in Swan bricking up the Phantom to keep him from rescuing Phoenix) The Phantom, now mortally wounded crawls along the floor amidst the chaos. Phoenix sees him, and recognizes him as Winslow. He didn't die he became a grotesque monster. In the tragic conclusion phoenix embraces the Phantom as he breathes his last breath.
Here are just some examples of the brilliant Phantom poster art. There is an even larger cache of fan-based art that the movie inspired.
Phantom of the Paradise was originally released on Halloween in 1974. It was an astounding flop at the box office everywhere except Winnipeg, Canada where it was (and still is) beloved. Looking back at the film today it can safely be regarded as a cult classic. While not a perfect movie, it is a unique and stylish film that continues to win fans (Phans in certain circles). In 2013 Guillermo Del Toro was invited to conceive the "couch gag" (opening sequence) for that years Halloween episode it contained this nugget where all the "phantoms" are performing together. They are directed of course by De Palma's Phantom from his great keyboard. While not as well know as Rocky Horror Picture Show, The Phantom of the Paradise's cult status, as evidenced by its inclusion here as a Simpsons reference, is forever solidified.