ANDREW Lloyd Webber's sweeping Gothic musical, based on Gaston Leroux's novel, is the largest grossing stage production in the world.

Since its debut in October 1986 at Her Majesty's theatre in London, The Phantom of the Opera has played to more than 80 million people around the globe.

Lloyd Webber and director Joel Schumacher have been actively engaged in translating the musical to film for more than 15 years.

While their dedication is admirable, the results are, like the masked leading man, seriously flawed.

Christine Daae (Emmy Rossum) is a chorus girl at the Opera Populaire in 1870s Paris, where her talents are secretly nurtured by a disfigured musical genius called the Phantom (Gerard Butler) who haunts the catacombs of the theatre.

This mysterious 'Angel of Music' intends to make his beautiful protege a star and when the opera's temperamental diva La Carlotta (Minnie Driver) storms out during rehearsal, Christine is thrust into the spotlight.

She dazzles Paris with her flawless, crystal voice and the Phantom is delighted by his young charge. However, he soon has a rival for Christine's affections in Vicomte Raoul de Chagny (Patrick Wilson), her childhood friend who is also the theatre's wealthy patron.

Christine's obvious attraction to Raoul fuels the Phantom's fierce jealousy, and the shadowy figure sets in motion a terrifying plan to punish all those who stand against him.

Andrew Lloyd Webber's The Phantom of the Opera remains faithful to the stage version; so much so that the film often lacks cinematic brio.

Schumacher opens the film in terrific style with a black and white section set in 1919 Paris, which gradually melts into a full colour flashback to the bustling 1870s.

Set design, costumes and make-up are all lustrous. Sadly, the neat directorial flourishes end here.

The camerawork is often too static and it is obvious that much of the film has been shot on soundstages.

Many of the performances are excellent. Newcomer Rossum, who originally trained at the New York Metropolitan Opera, is spellbinding. As her voice soars, we feel Christine's every trembling emotion.

Wilson brings a definite swagger to his role, which has been greatly expanded from the stage version.

Richardson is suitably imposing as ballet mistress Madame Giry and Driver is an absolute scream, ramping up her comic performance to deliciously exaggerated new heights.

Butler fails to command the screen however. His gravelly vocals lend a rock'n'roll sensibility to the Phantom but the chemistry with Christine isn't electrifying.

The black and white segments which punctuate the action become increasingly distracting and prevent any dramatic fluidity.

The song and dance set pieces are rousing - shame there are too many bum notes elsewhere.

Rating: 6/10