Paul Williams
Phantom Of The Paradise

The soundtrack of a musical comedy is obviously too tied to its visual representation to be discussed separately.

Just to provide some context for the soundtrack I am about to describe, I'd like to give a brief description of the plot: Winslow, the protagonist, is a small-time artist who presents his music at an audition for a musical. Swan, on the other hand, is the crafty record producer who steals his music after the audition, also having him unjustly imprisoned. Winslow, in escaping from prison, becomes irreparably disfigured and returns to Swan's theater, spreading terror with a mask on his face, thus becoming the phantom of the stage. This musical comedy presents itself as an ironic retelling of Gaston Leroux's novel "The Phantom of the Opera.”

No, it's not a tragedy despite the plot; Paul Williams' music manages to bring smiles with an ironic vision of the music from the '60s and '70s.

At Swan's theater, the Beach Bums also perform, jolly boys hopping around in swimwear, who with children’s choir-like backing vocals parody the Beach Boys with the piece "Upholstery.” A piece that the Beach Boys would surely have liked. Not to mention The Undead, a group whose name already promises well: these, on the other hand, would have pleased Kiss. Heavily made-up and vicious, with blades at the tips of their guitars, with which they decapitate overzealous fans. They present "Somebody Super like you,” a beautiful piece in '70s progressive rock style. The greatest hilarity is brought by Beef, the emblem of Glam singers, full of glitter and stars, who with high-pitched screams and questionable steps sings "Life at Last,” accompanied by the excellent Undead.

Jessica Harper, whom I later discovered to be already a singer and songwriter, first performs "Special to me,” a nice piece in pop/country style, and then the sweet "Old Souls,” (recently reinterpreted by Faith and the Muse) which is the expression of the most dramatic part of the film, imbued with great poetry (besides being truly a beautiful song).

Poor Winslow sings his "Faust” first, accompanying himself with just the piano at the audition, and then "Phantom's Theme,” another poignant and beautiful piece.

Parody or not, each in its genre, they are all beautiful pieces, without exception, and it's hard to find an album without any dull moments. Paul Williams with this soundtrack moves from satirical to tragic, demonstrating the ability to switch between very different genres with ease. I recommend this soundtrack to everyone and to watch the film "Phantom of Paradise,” poorly translated into Italian as “Il Fantasma del Palcoscenico” by De Palma.

A record to listen to, yes, but also and above all to watch.