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.,
A comedy musical stage version of the Phantom of the Opera, filmed live on-stage during a performance in Florida. Young Christine Daae were on the beach when she heard her father speaking ... See full summary »
Darin De Paul,
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>
"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 »
When Christine takes the mask off from Phantom's face, we see that his scar reaches the low area of his right cheek, even the right eyelid is slightly fallen. But before that during the entire film, we never see a single mark of the scar on the uncovered area of the Phantom's face, not even the fallen eyelid through the mask. 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 »
A film best appreciated by music lovers, if not by horror fans and purists
First of all, let me state that I am a lover of classical music. I am not a fan of horror films. This particular version of the classic horror tale is very different in plot and in tone from its original literary source materialas well as the previous silent film version starring Lon Chaney in the title role. But nevertheless, the 1943 film succeeds beautifully as a romantic melodrama rather than as a horror film. For those who love classical music and performing arts, you're in luck with this one. Those looking for terror and chills, as well as a more faithful version of the literary work, look elsewhere.
Permit me to express my adoration for this film from the beginning. I was only three years old when I first saw this film, and I was still crazy about the Andrew Lloyd Webber stage musical I saw during that time (it was my first time seeing it, and since then I have seen it thrice on the professional stage, most recently two years ago at the age of 17). I immediately fell in love with this grand old Technicolor film the first time I saw it.
But I will be brief in presenting the following elements. The story here is vastly different from the original Gaston Leroux work, yet it works wonderfully well due to its originality and freshness. The Phantom is presented here as a tragic antihero rather than the melodramatic "living skeleton" Lon Chaney gave us in the 1925 silent version. We have splendid acting from all the performers in this film, most notably Claude Rains in the title role. We are given a sympathetic, tragic view of a lonely composer/violinist who fails to achieve his most admirable goal, despite Rains' limited performance time in the film. This particular role is what earned Rains the status of one of my all-time favorite actors since he impressed me at such an early age. However, it is Nelson Eddy and Susanna Foster who are the real stars of the film, expressing their rich and unique vocal talents within the film's glorious opera sequences, which are the among the film's many highlights. And the Oscar-winning production values and Technicolor cinematography are rich and opulent, fully expressing the wonders of a 19th Century Paris and its magnificent Opera House interiors. The humor between the rivaling Nelson Eddy and Edgar Barrier is pretty good, too.
And the music! Under composer Edward Ward's Oscar-nominated score and creativity the opera sequences are magnificently staged, yet here I will solely express my love for one thing: Edward Ward's "Lullaby of the Bells." "Lullaby of the Bells" is the Phantom's musical leitmotif throughout the film, and its effectiveness is expressed within the world of the film, arranged for violin, solo piano, piano and vocal (sung beautifully by Susanna Foster and Nelson Eddy), and, most impressively, for piano and orchestra. How wonderful to know that Rains himself learned how to play this lovely song on piano and on the violin, even though he never played a musical instrument before at the time! Unfortunately, like Rains' tragic misunderstanding with his admirable goal, the song is barely available on CD and sheet music for the song is almost nonexistent. The only CD that contains a modern symphonic rerecording of the song is "Piano in Hollywood: The Classic Movie Concertos." However, that particular recording is unimpressive and weak compared to the lush and dramatic power of the original as heard in the film's unforgettable finale, yet it does have its moments here and there on the CD. Nevertheless, since I am always impressed with the universality and effectiveness of the song, it remains my all-time favorite song unto this day.
I simply can't praise this film highly enough, so please watch it and judge it for yourself. But as I said before, this particular version will best appeal to those who love classical music and the performing arts, including great acting and drama. For those of you who expect a Gothic horror tale of a masked "living skeleton" who creates torture chambers within the Paris Opera House catacombs, an "Angel of Music" who hides behind a young soprano's dressing room mirror, and a Phantom who laughs melodramatically, then this film is not for you.
16 of 20 people found this review helpful.
Was this review helpful to you?