Mark Ryan as Mott Nancy Fontana as the singing voice of Christine Production The script was originally written by Gerry O'Hara for Cannon films, and was set to be directed by John Hough. O'Hara's version of the screenplay did not feature any present-day segments, and was set entirely in 1881 England. However, after Cannon filed for bankruptcy, the film was passed on to the 21st Century Film Corporation. 21st Century planned to follow up the film with a sequel called The Phantom of the Opera 2: Terror in Manhattan, in which the Phantom lives in the sewers of present-day Manhattan. Television writer Duke Sandefur was hired to add bookend segments set in present-day Manhattan to O'Hara's script, so that the film would tie into its proposed sequel. Ultimately, the sequel was not made, but the bookend segments remain in the film. The original music, written for the film by Misha Segal (also known for the soundtrack to The New Adventures of Pippi Longstocking), won a 1989 Brit for best soundtrack. Segal also commissioned the Budapest Symphony Orchestra for the theme. Of particular interest to fans of the original novel is Segal's rendition of the Phantom's opera composition 'Don Juan Triumphant', with the Phantom on the organ and Christine singing. Release Box office The Phantom of the Opera opened theatrically on November 3, 1989 in 1,468 venues, ranking sixth at the domestic box office, with $2,050,000 in its first weekend. The film closed three weeks later, having grossed $3,953,745. Critical reception The film received negative reviews from critics. Caryn James of The New York Times wrote, "This 'Phantom' is not lively enough to be kitschy, or original enough in its badness to be funny." Variety called the film "competent but flatly directed," adding that "Englund is his usual broad self. Yet gorehounds expecting a 'Freddy of the Opera' are bound to be disappointed, for the stabbings, stranglings and decapitations he executes lack suspense, surprise or innovation." Dave Kehr of the Chicago Tribune called it "a stern, lugubrious affair, almost completely devoid of the humor and invention that have made the 'Nightmare' films consistently watchable." Kim Newman of The Monthly Film Bulletin wrote that it "occasionally has a pleasant Hammer Films/Gothic feel," but that "Englund is buried under thick make-up even when trying to pass for normal and is unable to do much with the role." The film holds a 38% 'Rotten'