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
Several sequences were shot in various color processes for the general release prints. Technicolor was used for scenes from "Faust" and the Bal Masque scene, Prizmacolor sequences were shot for the "Soldier's Night" introduction and Handschiegel (a process that uses stamps to hand-color prints) for the Phantom's notes and red cape on the rooftop. Only the Technicolor Bal Masque sequence is known to survive (an IB print from the 1929 re-release). See more »
When the crowd grabs Erik alongside the Seine, they are in such a rage that some people accidentally fall into the river. But if you watch, you can see them deliberately run and jump into the water, rather than being pushed or jostled. Another one runs down the stairs and is about to jump just as the scene ends. See more »
In 1925 (and for many years afterwards), credits used to appear at the beginning of movies. In "The Phantom of the Opera", the credits do appear at the beginning and are also repeated at the end, preceded by the following caption: "This is repeated at the request of picture patrons who desire to check the names of performers whose work has pleased them." See more »
Lon Chaney, Sr. gives a legendary performance as well as making an everlasting horrifying spectacle of himself. The make-up and elaborate sets are truly to be held in awe, even by today's standards. The rare use of two-strip Technicolor brings dazzling effect to the incomparable masquerade ball scene. Sit back and enjoy the silent and definitive film version of a classic monster fable that sound, technology and time have yet to top. 8 Stars
25 of 35 people found this review helpful.
Was this review helpful to you?