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Phantom of the Opera (1943)

 -  Drama | Horror | Music  -  27 August 1943 (USA)
6.6
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Ratings: 6.6/10 from 3,498 users  
Reviews: 70 user | 41 critic

This is the story of a disfigured violinist who haunts the Paris Opera House

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(screenplay), (screenplay), 3 more credits »
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Title: Phantom of the Opera (1943)

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Won 2 Oscars. Another 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
Anatole Garron
Susanna Foster ...
...
Edgar Barrier ...
Leo Carrillo ...
Signor Ferretti
Jane Farrar ...
J. Edward Bromberg ...
Amiot
Fritz Feld ...
Lecours
Frank Puglia ...
Villeneuve
Steven Geray ...
Vercheres
Barbara Everest ...
Aunt
...
Gerard
Fritz Leiber ...
Nicki Andre ...
Lorenzi
Gladys Blake ...
Jeanne
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Storyline

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

Taglines:

A cast of thousands! See more »


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

27 August 1943 (USA)  »

Also Known As:

Het spook van de opera  »

Box Office

Budget:

$1,500,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Color:

(Technicolor)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The auditorium and stage of the Paris Opera House seen here was the same set built for the 1925 version. It still stands at Universal Studios today, and has been used for countless other productions, including Thoroughly Modern Millie (1967) and The Sting (1973). It is the oldest remaining film set in the world. See more »

Goofs

When Anatole is pursuing the Phantom over the catwalk, the ladder wobbles in long shots but is very stable when the actors are in close-up. See more »

Quotes

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 »

Connections

Referenced in An American Filmman in Finland (1946) See more »

Soundtracks

LE PRINCE MASQUE DU CAUCASUS
(uncredited)
(Russian Opera sequence)
Adapted by Edward Ward (from Pyotr Ilyich Tchaikovsky's "4th Symphony")
Lyrics by George Waggner, translated by William von Wymetal
Sung by Nelson Eddy, Nicki Andre & 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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