The corrupt Lord Ambrose D'Arcy (Michael Gough) steals the life's work of the poor composer Professor L. Petrie. (Herbert Lom). In an attempt to stop the printing of music with D'Arcy's ... See full summary »
Edward de Souza
A comedy musical stage version of the Phantom of the Opera, filmed live on-stage during a performance in Florida. Young Christine Daae were on the beach when she heard her father speaking ... See full summary »
Darin De Paul,
At the Opera of Paris, a mysterious phantom threatens a famous lyric singer, Carlotta and thus forces her to give up her role (Marguerite in Faust) for unknown Christine Daae. Christine meets this phantom (a masked man) in the catacombs, where he lives. What's his goal ? What's his secret ? Written by
The Phantom's makeup was designed to resemble a skull. Lon Chaney attached a strip of fish skin (a thin, translucent material) to his nostrils with spirit gum, pulled it back until he got the tilt he wanted, then attached the other end of the fish skin under his bald cap. For some shots, a wire-and-rubber device was used, and according to cameraman Charles Van Enger it cut into Chaney's nose and caused a good deal of bleeding. Cheeks were built up using a combination of cotton and collodion. Ears were glued back and the rest was greasepaint shaded in the proper areas of the face. The sight was said to have caused some patrons at the premiere to faint. See more »
(1929 cut) When the Phantom's alarm goes off, the sound of the chimes does not always match the striking of the device's "arms." See more »
What do you offer for their lives? Your answer quick - they can survive but a few moments!
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None of the technical staff of this film receives screen credit. See more »
The pathos of Lon Chaney gave the Phantom its dimension...
Lon Chaney was the first of the long line of Phantoms and the one against whom all his successors had to be measured
The story, despite all its alternatives, is the familiar one of the musician avoiding the world because of his disfigurement and retreating to a hideout beneath the Opera House, from where he emerges to terrorize singers and audience alike
He kidnaps a young girl singer perhaps to teach her to become a great star; certainly because, in his grotesque and pathetic way, he loves her and carries her off to a boudoir he has prepared far underground
There was melodrama in plenty: in the first version, for example, two would-be rescuers found themselves trapped in an uncomfortable mirrored room the Phantom had prepared, where they first got a heat treatment and then were flooded
But, beyond all the heightened effects, it was the pathos of the Phantom underscoring his lonely menace which gave the character a dimension, and the isolation of the captor and his captive, imprisoned to a literal underworld, which gave the suspense of the whole film its power
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