Count de Chagnie has discovered Christine's singing talent on a market place and sent her to his friend Carriere, the director of the Parisian opera. However just when she arrives ... 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 <email@example.com>
On 21 May 1943, the finished film was rejected by the Hays Office because of a "number of unacceptable breast shots of Christine" in her dressing room. It has not been determined if the offending scenes were deleted or re-shot, but the film was released in Aug 1943 with Production Code Administration approval. See more »
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 »
[Claudin is talking to Christine as they descend into the catacombs beneath the Opera]
See? Didn't I tell you it was beautiful? You didn't know we had a lake all to ourselves, did you?
[Christine covers her face and sobs]
They've poisoned your mind against me. That's why you're afraid. Look at your lake, Christine. You'll love it here when you get used to the dark. And you'll love the dark, too. It's friendly and peaceful. It brings rest and relief from pain. It's right under the Opera. The music...
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It's perfectly true that this version isn't Lon Chaney and is watered-down Leroux, but it still has excellent performances and - this was during WW II remember - extraordinarily beautiful production values which resulted in Oscars for Color Cinematography and Art/Set Decoration. I've loved this film since I was a kid, even though back then I had to endure black-and-white telecasts because the local CBS affiliate was unable to obtain a color print that was up to their standards - years later I was lucky enough to see it - twice! in a theatre - as gorgeous as the color is on the DVD, it was even more breathtaking on the big screen. The extra features (the documentary "Phantom Unmasked", which includes a rare interview with the elusive Susannah Foster, and the audio commentary) have only increased my pleasure in watching this film over and over again.
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