Since its premiere in 1791, Mozart’s final opera The Magic Flute has charmed audiences, put generations of coloratura singers to the test with one of the most notoriously difficult arias in the canon, baffled those who tried to make too much sense of the plot and captivated those who enjoy delving deeply into conspiracy theories thanks to the presence of multiple arcane Masonic symbols throughout the work. In 1975, Ingmar Bergman directed a stunning Swedish-language adaptation, and in 2006, Kenneth Branagh gave an eerie English-language adaptation set during World War I. Florian Sigl, who directed and co-wrote this new international production, has some ambitious ideas but delivers an unsatisfactory product. The story unfolds at a Mozart-inspired music boarding school in the Rocky Mountains. The pupils will be performing Mozart’s The Magic Flute. Also, there’s a magical doorway at school that leads to a real-life version of the magic flute tale. Christoph Kanter did a wonderful job with the production design, especially the school’s interior and some of the mystical surroundings, which complement the song (which has a touch of Michael Jackson) quite well. Producer Roland Emmerich, who is known for his effects-heavy blockbusters, clearly had an impact on some of the most spectacular vistas in the magical setting.

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In an effort to broaden the audience for Mozart’s opera, the original German libretto has been translated into English, and some of the singers’ styles are more pop than classical. Nevertheless, Sabine Devieilhe, a renowned diva who has already sung the same part with the Royal Opera of London, sings the Queen of the Night aria. Her beautiful robe seems to rise with her astounding high notes as she sings her exhilarating aria, and the effect is amazing. Morris Robinson, a professional opera singer in his own right, defends Sarastro, who the queen accuses of kidnapping the princess, with deep, resonant bass notes. The comedic relief character Papageno, played by Iwan Rheon, is a lovelorn young man. Tim Walker, a student, discovers the entrance, and he is portrayed by Jack Wolfe, who has a mischievous grin. Tim is six weeks late for the start of the semester because he had to take care of his dying father (Greg Wise) and in exchange, Greg gave Tim a very old copy of The Magic Flute that he had while he was a student at Mozart International School.

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It is imperative that Tim return the book to him. And he says that Tim’s life will be transformed by the university. Tim meets Sophie (Niamh McCormack) on the Hogwarts Express, um, a train to the school’s distant site in the mountains, but they don’t spend much time together because the male and female students are segregated. Maybe as a homage to his Oscar-winning performance as Mozart’s enemy, Salieri, in “Amadeus,” F. Murray Abraham plays the harsh teacher who lectures Tim about deportment and determinism. Tim ignores his shy roommate and the school bully Anton (Amir Wilson), the son of a famous opera singer, as he races to catch up to the pupils who have been there since the beginning of the semester. Lightweight, but it might find an audience among those who haven’t watched thousands of films set in a high school. Tim and the audience focus mostly on what’s beyond the hidden doorway that opens when he puts away the book his dad gave him. Prince Tamino, the protagonist of “The Magic Flute,” is transformed upon entering the tunnel. As an enormous snake attacks him, he becomes friends with Papageno, the bird-catcher, and the Queen of the Night sends him on a mission to free her daughter Pamina from the clutches of the villainous Sarastro. But, after locating Pamina, Tamino discovers that the Queen was not totally forthright.

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Throughout the opera’s plot and music, the number three serves as a crucial Masonic symbol. A three-hour opening of the stairwell is scheduled for 3 AM. Tim is guided through the tunnel by three orbs of light, which provide him guidance in the form of three bits of advice. Prince Tamino is saved from a monster by three of the queen’s women. Two companions accompany him on his journeys, and three challenges await him along the way. There are three flats in the key the music is written in. Tim’s new roommate gives him the required orientation to the social order of the institution, although there are only three categories listed. The film isn’t as good as the song, which will never lose its enchantment, but it’s still a fun way to hear it again. It’s now showing in cinemas.