Count Alucard (read his name backwards) finds his way from Budapest to the swamps of the Deep South; his four nemeses are a medical doctor, a university professor, a jilted fiancé and the woman he loves.
Lon Chaney Jr.,
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>
In the scene where the three heroes escape the Phantom's crumbling lair (which involve the three characters running from a cave in) only Susanna Foster actually appeared in the scene, the two male stars were deemed too important to film such a risky scene and had stunt doubles. See more »
(at around 40mins) There is an prominent cymbal crash in the orchestral score which happens at about a second before the actor actually clashes his pair of cymbals. 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 »
Horror may be muted...but the music is glorious...
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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