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Gaston Leroux (novel)
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The greatest horror film of modern cinema! more
A mad, disfigured composer seeks love with a lovely young opera singer. full summary | add synopsis
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Carla Laemmle Book Signing At Larry Edmunds Book Store, Hollywood October 30
(From CinemaRetro. 27 October 2009, 7:04 AM, PDT)
Lon Chaney’s The Phantom Of The Opera Halloween Screening
(From Alternative Film Guide. 22 October 2009, 11:26 PM, PDT)
The pathos of Lon Chaney gave the Phantom its dimension... more (100 total)
| Lon Chaney | ... | Erik, The Phantom | |
| Mary Philbin | ... | Christine Daae | |
| Norman Kerry | ... | Vicomte Raoul de Chagny | |
| Arthur Edmund Carewe | ... | Ledoux | |
| Gibson Gowland | ... | Simon Buquet | |
| John St. Polis | ... | Comte Philip de Chagny (as John Sainpolis) | |
| Snitz Edwards | ... | Florine Papillon | |
| Mary Fabian | ... | Carlotta (1929 re-edited version only) | |
| Virginia Pearson | ... | Carlotta / Carlotta's mother (1929 re-edited version) | |
| rest of cast listed alphabetically: | |||
| Olive Ann Alcorn | ... | La Sorelli (uncredited) | |
| Joseph Belmont | ... | Stage manager (uncredited) | |
| Alexander Bevani | ... | Mephistopheles (uncredited) | |
| Earl Gordon Bostwick | ... | Bit Part (uncredited) | |
| Edward Cecil | ... | Faust (uncredited) | |
| Ruth Clifford | ... | Ballerina (uncredited) | |
| Chester Conklin | ... | Orderly (uncredited) | |
| Roy Coulson | ... | The jester (uncredited) | |
| Bruce Covington | ... | M. Moncharmin (uncredited) | |
| Ward Crane | ... | Count Ruboff (uncredited) | |
| George Davis | ... | Guard at Christine's door (uncredited) | |
| Madame Fiorenza | ... | Mame Giry, keeper of the box (uncredited) | |
| Cesare Gravina | ... | Manager (uncredited) | |
| William Humphrey | ... | M. Debienne (uncredited) | |
| Carla Laemmle | ... | Prima ballerina (uncredited) | |
| Edward Martindel | ... | Comte Philip de Chagny (1929 re-edited version) (uncredited) | |
| Grace Marvin | ... | Martha (uncredited) | |
| John Miljan | ... | Valentin (uncredited) | |
| Rolfe Sedan | ... | Undetermined role (uncredited) | |
| Bernard Siegel | ... | Joseph Buquet (uncredited) | |
| William Tracy | ... | Ratcatcher, messenger from the shadows (uncredited) | |
| William Tyroler | ... | Director of opera orchestra (uncredited) | |
| Vola Vale | ... | Ballerina (uncredited) | |
| Anton Vaverka | ... | Prompter (uncredited) | |
| George B. Williams | ... | M. Ricard (uncredited) | |
| Edith Yorke | ... | Mama Valerius (uncredited) | |
Directed by | |||
| Rupert Julian | |||
| Lon Chaney | (uncredited) | ||
| Ernst Laemmle | (uncredited) | ||
| Edward Sedgwick | (uncredited) | ||
Writing credits | ||
| Gaston Leroux | (novel "Le Fantôme de l'Opera") | |
| Walter Anthony | titles (uncredited) | |
| Elliott J. Clawson | adaptation (uncredited) | |
| Bernard McConville | treatment (uncredited) | |
| Frank M. McCormack | uncredited | |
| Tom Reed | titles (uncredited) | |
| Raymond L. Schrock | adaptation (uncredited) | |
| Jasper Spearing | treatment (uncredited) | |
| Richard Wallace | additional comedy material (uncredited) | |
Produced by | |||
| Carl Laemmle | .... | producer (uncredited) | |
Original Music by | |||
| Roy Budd | (1993) | ||
| Carl Davis | (1996) | ||
| Gustav Hinrichs | |||
| Gabriel Thibaudeau | (1990) | ||
| Rick Wakeman | (1990) | ||
| Sam Perry | (1929 sound re-release) (uncredited) | ||
Cinematography by | |||
| Milton Bridenbecker | (uncredited) | ||
| Virgil Miller | (uncredited) | ||
| Charles Van Enger | (uncredited) | ||
Film Editing by | |||
| Edward Curtiss | (uncredited) | ||
| Maurice Pivar | (uncredited) | ||
| Gilmore Walker | (uncredited) | ||
Production Design by | |||
| Ben Carré | (uncredited) | ||
Art Direction by | |||
| Charles D. Hall | (uncredited) | ||
| Elmer Sheeley | (uncredited) | ||
Set Decoration by | |||
| Russell A. Gausman | (uncredited) | ||
Makeup Department | |||
| Lon Chaney | .... | makeup artist (uncredited) | |
Production Management | |||
| Raymond L. Schrock | .... | executive production manager (uncredited) | |
Second Unit Director or Assistant Director | |||
| Joe Pasternak | .... | assistant director (uncredtied) | |
Art Department | |||
| Ben Carré | .... | consulting artist (uncredited) | |
| Charles A. Logue | .... | scenic artist (uncredited) | |
Sound Department | |||
| Jack Foley | .... | foley artist: re-issue (uncredited) | |
| C. Roy Hunter | .... | recording supervisor: re-issue (uncredited) | |
Visual Effects by | |||
| Trey Freeman | .... | digital artist: digital restoration and color correction (restored version) | |
| Jerome Ash | .... | visual effects supervisor (uncredited) | |
Camera and Electrical Department | |||
| Edward T. Estabrook | .... | supervisor: color photography (uncredited) | |
| Roman Freulich | .... | still photographer (uncredited) | |
| Cliff Shirpser | .... | assistant camera (uncredited) | |
Editorial Department | |||
| Joseph Cherniavsky | .... | synchronization (1929 re-release) (uncredited) | |
Music Department | |||
| David Broekman | .... | composer: additional music (1929 re-release) (uncredited) | |
| William Schiller | .... | composer: additional music (1929 re-release) (uncredited) | |
Other crew | |||
| Carl Laemmle | .... | presenter | |
| Carl Laemmle | .... | president: Universal Pictures Corp. | |
| Ernest Belcher | .... | ballet master (uncredited) | |
| Lon Chaney | .... | mask maker: his own mask (uncredited) | |
| Edwards Davis | .... | adr voice (uncredited) | |
| Archie Hall | .... | technical director (uncredited) | |
| Fay Holderness | .... | adr voice (uncredited) | |
| Ernst Laemmle | .... | director: sound sequences (uncredited) | |
| Jack Lawton | .... | title designer: notes (uncredited) | |
| Robert Ross | .... | assistant: Mr. Julian (uncredited) | |
| Edward Sedgwick | .... | supplementary director (uncredited) | |
| Ralph Slosser | .... | set production assistant (uncredited) | |
| Phillips Smalley | .... | adr voice (uncredited) | |
| Miss Starkey | .... | secretary (uncredited) | |
| Meta Stern | .... | researcher (uncredited) | |
| William von Wymetal | .... | choreographer (uncredited) | |
| Aileen Webster | .... | script supervisor (uncredited) | |
| Max Winkler | .... | cue sheet compiler (uncredited) | |
Thanks | |||
| Kevin Phelan | .... | special thanks: FilmTel supervisor (1999 restoration) | |
93 min | UK:101 min (original release) | USA:92 min (1995 version) | USA:107 min (DVD version) | Canada:106 min (Ontario) | 95 min (1929 re-release)
Black and White | Color (2-strip Technicolor)
1.33 : 1 more
Ben Carré was called in to design the sets, and although he had worked at the Paris Opera House, he had already been living in California for some time doing sets. more
Continuity: When Christine first interprets the role of "Marguerite" in "Faust", we see her in the costume used for the ending of Act 5 of "Faust" (the finale of the opera). However, when Raoul comes around to her dressing room, after the opera has finished, we find Christine in the braided wig and outfit worn during "The Jewel Song" which is in Act 3 of the opera. more
Featured in "Muppet Babies: Muppetland (#4.1)" (1987) more
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| The Phantom of the Opera | The Phantom of the Opera | The Phantom of the Opera | Phantom of the Opera | The Phantom of the Opera |
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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