THE PHANTOM OF THE OPERA
US, 1925, 101 minutes, Black and white.
Lon Chaney, Mary Philbin, Norman Kerry.
Directed by Rupert Julian.
The Phantom of the Opera is the 1925 classic version of Gaston Leroux's famous 1911 novel 'The Phantom of the opera.' Carl Laemmle, on a trip to Europe, met Leroux, read the book and decided that it would be a star vehicle for Lon Chaney, who had appeared for him in The Hunchback of Notre Dame (as well as being able to use some of the sets).
Lavish sets were constructed at Universal Studios, especially for the interior, the foyer, the staircase, as well as the underground and lake of the opera. Lon Chaney, the man of a thousand faces, brings skill in disguise as well as pathos to the Phantom. Considering the limitations of 1925, the black and white photography, the angles, the editing make for quite a moving film.
However, there were difficulties in production, the director, Rupert Julien, being sacked and Edward Sedgwick being employed to film the final crowd and lynching sequences. Apparently, some comedy sequences were added but then omitted. The film is not strong on continuity, but nevertheless combines to make quite a version, very near to the original, of Leroux's work. There were remakes and adaptations in 1963 with Claude Rains, Hammer's film in the '60s with Herbert Lom, a different version with Maximilian Schell and Jane Seymour in the 80s. However, of course, The Phantom of the Opera has become famous with Andrew Lloyd Webber's musical - which returns to the original novel.
1. The classic story, interest and appeal? The Lon Chaney classic? The traditions of versions of the story?
2. The work of Gaston Leroux, the fidelity of the screenplay to the original? The emphasis on horror, sensation? The overtones of the beauty and the beast legend?
3. 1924-25 production: sets, black and white photography, camera angles, editing? The acting style, theatrical and operatic? The captions?
4. The Paris Opera sets: foyer, auditorium, the catacombs, the lake? The Phantom's room, the torture chambers? The Notre Dame facade, the streets? The atmosphere of Paris in the 19th century?
5. Period: decor, costumes, the opera interludes, the masquerade ball?
6. Lon Chaney in his make-up: the screenplay preparing for the appearance of the Phantom? Talk about him, the shadows? In box 5? The suggestions of violence? The myth about the Phantom? His letters and notes? The letter? The gradual revelation of Erik? His voice for Christine? Carlotta and his antagonism, towards her? The mastery of Christine, luring her? The crashing of the chandelier?
7. The mask, the luring of Christine, his mad manner, the journey on the horse, the lake and the boat, the coffin in his room, playing the organ, composing the opera 'Don Juan'? Christine and the unmasking. his reaction? His commands? His letting Christine go but warning her against infidelity to him? At the masquerade, the costume of death, his parting of the crowd? on the roof and listening to Raoul and Christine? Christine and his capturing her, taunting her? Raoul and the police inspector? In the torture chambers, the heat the water? The dilemma: for Christine with the scorpion and the grasshopper? The coach, the escape, Christine's falling? The Phantom with the crowd pursuing him? The brutality of the crowd? The sudden ending of the film? Any sympathy for the Phantom? As victim? As mad? Christine's being repelled by him? Any sympathy on her part?
8. Christine as the understudy, the influence of the Phantom, her singing, her voice, his mastering her, going with him, the puzzle, the unmasking, the return, the relief to be with Raoul, at the masquerade, on the roof, back with the Phantom, the dangers, the cockroach and the scorpion, falling from the coach, the rescue?
9. Carlotta, the opera, her mother's interventions, the singing and the effect of the chandelier?
10. Raoul and his brother, the love for Christine, the mystery of the Phantom, the voices, the masquerade, the pursuit of the Phantom in the chambers, the heat, the water, the pursuit of the Phantom and Christine? His brother and his concern?
11. The mysterious figure with the fez, his connection with the Phantom, his being the secret security, with Raoul, in the torture chambers?
12. The owners of the opera and the selling, the new owners and the threats, their risks, the Phantom with the lights, the fall of the chandelier?
13. The atmosphere of the opera, an operatic horror story? Paris? The brutality of the ending and the lynching? The reasons for the film being a classic?
