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
Sixties couples Michael and Donna and Paul and Erica become involved with the intense Count Yorga at a Los Angeles séance, the Count having latterly been involved with Erica's just-dead ... See full summary »
A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people there in increasing numbers and with increasing viciousness.
In Spain, Leon is born on Christmas day to a mute servant girl who was raped by a beggar. His mother dies giving birth and he is looked after by Don Alfredo. As a child Leon becomes a ... See full summary »
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 <firstname.lastname@example.org>
Despite his fearsome reputation Susanna Foster remembered 'Jack Pierce' as being a sweet caring man that took the time to teach her how to apply her makeup to best suit her features, despite the fact that he was not assigned to work with her. Any time that he saw her where she was not made up as he had suggested he would pretend to be mad and tell her off, saying "You are not doing what I said". See more »
The use of a stunt-double for Claude Rains at the climactic cave-in is very obvious! The double has a bigger physique than Rains, and curly hair. See more »
Mademoiselle, may I speak to you for a minute?
Why, of course.
You weren't on the stage tonight for the third act curtain call.
Everyone seems to notice. It's really quite flattering.
Why weren't you there?
[Christine is puzzled]
Forgive me, but I have been a part of the Opera for so long. Everybody, everything connected with it, I feel it is so much a part of my life.
[Christine pauses, then smiles]
Yes, well, Monsieur Villeneuve is waiting for you.
You weren't ill, were you?...
[...] See more »
Gaston Leroux's penny-dreadful novel was hardly the stuff of great literature, but it did manage to tap into the public consciousness with its gas-light-Gothic tale of a beautiful singer menaced by a horrific yet seductive serial killer lurking in the forgotten basement labyrinths of the Paris Opera. Lon Chaney's silent classic kept the basic elements of the novel intact--and proved one of the great box office hits of its day, a fact that prompted Universal Studios to contemplate a remake throughout most of the 1930s.
Although several proposals were considered (including one intended to feature Deanna Durbin, who despised the idea and derailed the project with a flat refusal), it wasn't until 1943 that a remake reached the screen. And when it did, it was an eye-popping Technicolor extravaganza, all talking, all singing, and dancing. The Phantom had gone musical.
In many respects this version of PHANTOM anticipates the popular Andrew Lloyd Webber stage musical, for whereas the Chaney version presented the Phantom as a truly sinister entity, this adaptation presents the character as one more sinned against than sinning--an idea that would color almost every later adaptation, and Webber's most particularly so. But it also shifts the focus of the story away from the title character, who is here really more of a supporting character than anything else. The focus is on Paris Opera star Christine Dae, played by Susanna Foster. In this version Christine is not only adored by the Phantom; she is also romantically pursued by two suitors who put aside their differences to protect her.
Directed by Universal workhorse Arthur Lubin, this version is truly eye-popping as only a 1940s Technicolor spectacular could be: the color is intensely brilliant, and Lubin makes the most of it by focusing most of his camera-time on the stage of the Paris Opera itself and splashing one operatic performance after another throughout the film. But in terms of actual story interest, the film is only so-so. Susanna Foster had a great singing voice, but she did not have a memorable screen presence, and while the supporting cast (which includes Nelson Eddy, Edgar Barrier, Leo Carrillo, and Jane Farrar) is solid enough they lack excitement. And the pace of the film often seems a bit slow, sometimes to the point of clunkiness.
The saving grace of the film--in addition to the aforementioned photography, which won an Oscar--is Claude Rains. A great artist, Rains did not make the mistake of copying Chaney, and although the script robs the Phantom of his most fearsome aspects, Rains fills the role with subtle menace that is wonderful to behold, completely transcending the film's slow pace, the lackluster script, and "sanitized for your protection" tone so typical of Universal Studios in the 1940s. Unless you're a die-hard Phantom fan you're likely to be unimpressed.
Gary F. Taylor, aka GFT, Amazon Reviewer
8 of 12 people found this review helpful.
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