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 <email@example.com>
"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on September 13, 1943 with Nelson Eddy and Susanna Foster reprising their film roles. 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 »
[FERRETTI is telling CLAUDIN that if he can no longer pay for CHRISTINE's lessons, FERRETTI will have to stop teaching her]
I'm sorry, Claudin. Really sorry. If I had the time- But my expenses are great, and you must remember that many who can pay are waiting to study with me. Well, I'll let her come a few times, and, uh, then I will tell her she no longer needs me.
B-But that isn't true.
As a matter of fact, if you had the money, she might be launched on a career very soon. I assume that ...
[...] 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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