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Phantom of the Opera (1943)

Approved | | Drama, Horror, Music | 27 August 1943 (USA)
2:12 | Trailer

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A disfigured violinist haunts the Paris Opera House.



(screenplay), (screenplay) | 2 more credits »
Won 2 Oscars. Another 2 nominations. See more awards »



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Cast overview, first billed only:
Susanna Foster ...
Edgar Barrier ...
Signor Ferretti
Jane Farrar ...
Barbara Everest ...
Fritz Leiber ...
Nicki Andre ...
Gladys Blake ...


Pit violinist Claudin hopelessly loves rising operatic soprano Christine Dubois (as do baritone Anatole and police inspector Raoul) and secretly aids her career. But Claudin loses both his touch and his job, murders a rascally music publisher in a fit of madness, and has his face etched with acid. Soon, mysterious crimes plague the Paris Opera House, blamed on a legendary "phantom" whom none can find in the mazes and catacombs. But both of Christine's lovers have plans to ferret him out. Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis


In flaming Technicolor! See more »


Approved | See all certifications »

Parents Guide:





Release Date:

27 August 1943 (USA)  »

Also Known As:

El fantasma de la ópera  »

Box Office


$1,500,000 (estimated)

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Recording)



Aspect Ratio:

1.37 : 1
See  »

Did You Know?


Universal Studios' Stage 28, originally built for the 1925 feature B&W film "Phantom of the Opera," was used, again, for the 1943 Universal Studios feature Technicolor film "Phantom of the Opera" starring Nelson Eddy, Susanna Foster and Claude Rains. The interior Paris Opera theatre has been used for the 1966 Alfred Hitchcock feature "Torn Curtain," the Ross Hunter 1967 feature film musical "Thoroughly Modern Millie," and the Universal CBS TV series "Murder, She Wrote. See more »


When Christine takes the mask off from Phantom's face, we see that his scar reaches the low area of his right cheek, even the right eyelid is slightly fallen. But before that during the entire film, we never see a single mark of the scar on the uncovered area of the Phantom's face, not even the fallen eyelid through the mask. See more »


Amiot: [Upon hearing about a thief in the opera house] Call the police at once! This must be stopped!
Vereheres: Monsieur, I'm afraid the police can't stop that. It's he.
Amiot: Who?
[VEREHERES begins to make gestures at his nose and chin]
Amiot: Oh, please. Don't start that nonsense again, Vercheres. At your age, you ought to know that there aren't any ghosts.
Vereheres: Monsieur, you are skeptical, but I don't like ghosts. I'm a busy man.
Lecours: What's that?
Amiot: Oh, our brilliant stage manager insists there's a malicious ghost prowling about the ...
See more »


Featured in 100 Years of Horror: Phantoms (1996) See more »


MARTHA (Act III, opera excerpt)
Written by Friedrich von Flotow
Lyrics translated by William von Wymetal
Sung by Nelson Eddy, Jane Farrar (dubbed by Sally Sweetland), Susanna Foster & company
See more »

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User Reviews

Horror may be muted...but the music is glorious...
14 April 2001 | by (U.S.A.) – See all my reviews

Before writing a film article on Claude Rains for CLASSIC IMAGES (December 2000), I took another look at 'Phantom' to appraise his performance. He's one of those rare actors who can make you feel sympathy when he plays the ill-treated violinist so that you understand why he turns into 'The Phantom'. His performance is just one asset of this handsome technicolor adaptation of the famous story. Why carp about the changes made for this version? It stands on its own as an entertaining melodrama studded with operatic sequences that give it added dimension. Nelson Eddy has never been in better voice and Susanna Foster is certainly up to the demands of her singing role. The comic aspects of the story are a bit overdone and the only weakness of the film is giving Eddy and Edgar Barrier silly routines as they compete for the hand of Foster. Aside from that, this can still be enjoyed as a horror story set against the Paris Opera background. The sets are rich and detailed. Understandably, the film won Academy Awards for color cinematography and color art direction. Edward Ward's haunting score was also nominated and contributes greatly to the overall enjoyment of the film. The horror is muted in this version--but the rich musical highlights are a compensation. Absorbing entertainment.

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