The Opera Gost: a Phantom Unmasked is a wonderful documentary about the history/evolution of Gaston Leroux's creation from printed page to film. Detailed histories of the 1925 masterpiece as well as a seemingly lost 1930 sound version, the 1943 remake and Hammer's 1962 film comprise the backbone of this documentary. We get an inside look through Universal's vault as well as stage information and as a splendid bonus first hand knowledge from surviving stars such as Susana Foster, Carla Laemmle, and Turhan Bey. I was pleased with the way the information was presented and the scholarship that had been dedicated to this labour of love from David Skaal and Scott MacQueen. Generous film clips and still photographs are used throughout(with only the tedious property of Universal having to be proclaimed every moment on every clip as a minor distraction). I learned a lot I did not know about how one of the most beloved horror icons of the 20th century came about and transformed from a character in a book in 1910 to the mega-star of Broadway. Very satisfying stuff. The archival footage of the 1930 version is worth a look alone as it has some clips I thought, as the other reviewer noted, that I would never have an opportunity to see. This documentary can be seen with Universal's release on DVD of the 1943 version. My only real gripe is that that version was included in the Universal Monster Classic Collection rather than the much superior 1925 film.
8 Reviews
David Jeffers for SIFFblog.com
rdjeffers11 May 2006
Warning: Spoilers
The Phantom of the Opera (1925)
Tuesday May 9, 7:00pm The Historic Everett Theater
Following their great success with The Hunchback of Notre Dame in 1923, Universal Pictures and producer Carl Laemmle sought a suitable follow-up for the biggest horror star of the silent era, Lon Chaney. That project was The Phantom of the Opera. Based on the Gaston Leroux novel about a hideous madman living in the Paris catacombs who becomes infatuated with a beautiful singer, the story was promising. The production however was something of a disaster and the film has become a seminal favorite largely due to the captivating performance of its star.
The stately Paris Opera house surges with patrons flooding its doors and grand staircase in the opening scenes of The Phantom of the Opera. A host of delicate white tutus move in graceful unison on the stage. Meanwhile, in the executive offices, new owners take possession and are jokingly told of a supposed Phantom that haunts the building. At the mention of this specter the films mood changes to a more sinister tone. The shadows of frightened dancers glide across the screen like a flock of swans fleeing a wolf, while stagehands recount tales of a dark and unseen figure. The gaping mouth of a stage prop reveals the shadow of a fleeting presence in one particularly effective shot. As the opera begins, Christine Daae (Mary Philbin) sings the role of Marguerite in GounodÄôs Faust when the star Carlotta falls strangely ill after receiving a threatening letter. From their box, ChristineÄôs lover Raoul de Changny (Norman Kerry) listens as his brother speaks of a mysterious benefactor with strange powers over Christine. Raoul dismisses him and hurries to the dressing room with talk of marriage, only to have Christine reply "I can never leave the Opera." He leaves and Christine is visited by the hypnotic voice of her unseen master. Later, a second letter arrives but this time Carlotta ignores the threats and sings with catastrophic results. A shadowy figure proclaims, "Behold! She is singing to bring down the chandelier!" In the subsequent mayhem Christine disappears, taken by the masked Phantom deep beneath the city and across a black lake to his hiding place. He reveals his true name is Erik and pleads with her to stay but she is horrified when she removes his mask to discover his hideous secret. "Feast your eyes, glut your soul, on my accursed ugliness!" She vows to be his eternal slave in exchange for her freedom and returns to the surface. The promise is soon broken and in a chilling two-color Technicolor sequence, Erik appears at the Bal Masque in red robes and skull mask as the Red Death where he overhears the lovers plot their escape. Christine secretly plans to leave with Raoul after one last performance, but vanishes from the stage when the house lights suddenly go dark. With Ledoux (Arther Edmund Carewe) of the secret police assisting, Raoul sets out to rescue Christine. They narrowly avoid being roasted alive and drowning before she saves them but Christine is then spirited away in a carriage by the Phantom as an angry, torch bearing mob follow close behind.
Much was made of the frightening makeup used by Chaney to give his character the appearance of a skull. No images of his likeness were published before the films release in order to heighten the suspense and dramatic effect when the Phantom is finally unmasked in a scene that remains among the most frightening of the horror genre. Universal's choice of Rupert Julian to direct the film was the first of many unfortunate decisions. Julian alienated the crew and fought constantly with the star who, in the end refused to work with him. After disappointing previews the screenplay underwent massive rewrites and was booked for a month long run at San FranciscoÄôs Curran Theater. Several characters, comic elements and the subplot of a rival for ChristineÄôs affections had been added. When the film was released in its final form most of these changes were scrapped and a new ending was added, likely devised by Chaney himself. The film was re-edited again with new scenes, titles and an added Vitaphone soundtrack for a 1929 release. This is the version, which survives today. The enduring success of this film despite a host of problems serves as a testament to the skill of Lon Chaney and his terrifying performance.
Tuesday May 9, 7:00pm The Historic Everett Theater
Following their great success with The Hunchback of Notre Dame in 1923, Universal Pictures and producer Carl Laemmle sought a suitable follow-up for the biggest horror star of the silent era, Lon Chaney. That project was The Phantom of the Opera. Based on the Gaston Leroux novel about a hideous madman living in the Paris catacombs who becomes infatuated with a beautiful singer, the story was promising. The production however was something of a disaster and the film has become a seminal favorite largely due to the captivating performance of its star.
The stately Paris Opera house surges with patrons flooding its doors and grand staircase in the opening scenes of The Phantom of the Opera. A host of delicate white tutus move in graceful unison on the stage. Meanwhile, in the executive offices, new owners take possession and are jokingly told of a supposed Phantom that haunts the building. At the mention of this specter the films mood changes to a more sinister tone. The shadows of frightened dancers glide across the screen like a flock of swans fleeing a wolf, while stagehands recount tales of a dark and unseen figure. The gaping mouth of a stage prop reveals the shadow of a fleeting presence in one particularly effective shot. As the opera begins, Christine Daae (Mary Philbin) sings the role of Marguerite in GounodÄôs Faust when the star Carlotta falls strangely ill after receiving a threatening letter. From their box, ChristineÄôs lover Raoul de Changny (Norman Kerry) listens as his brother speaks of a mysterious benefactor with strange powers over Christine. Raoul dismisses him and hurries to the dressing room with talk of marriage, only to have Christine reply "I can never leave the Opera." He leaves and Christine is visited by the hypnotic voice of her unseen master. Later, a second letter arrives but this time Carlotta ignores the threats and sings with catastrophic results. A shadowy figure proclaims, "Behold! She is singing to bring down the chandelier!" In the subsequent mayhem Christine disappears, taken by the masked Phantom deep beneath the city and across a black lake to his hiding place. He reveals his true name is Erik and pleads with her to stay but she is horrified when she removes his mask to discover his hideous secret. "Feast your eyes, glut your soul, on my accursed ugliness!" She vows to be his eternal slave in exchange for her freedom and returns to the surface. The promise is soon broken and in a chilling two-color Technicolor sequence, Erik appears at the Bal Masque in red robes and skull mask as the Red Death where he overhears the lovers plot their escape. Christine secretly plans to leave with Raoul after one last performance, but vanishes from the stage when the house lights suddenly go dark. With Ledoux (Arther Edmund Carewe) of the secret police assisting, Raoul sets out to rescue Christine. They narrowly avoid being roasted alive and drowning before she saves them but Christine is then spirited away in a carriage by the Phantom as an angry, torch bearing mob follow close behind.
Much was made of the frightening makeup used by Chaney to give his character the appearance of a skull. No images of his likeness were published before the films release in order to heighten the suspense and dramatic effect when the Phantom is finally unmasked in a scene that remains among the most frightening of the horror genre. Universal's choice of Rupert Julian to direct the film was the first of many unfortunate decisions. Julian alienated the crew and fought constantly with the star who, in the end refused to work with him. After disappointing previews the screenplay underwent massive rewrites and was booked for a month long run at San FranciscoÄôs Curran Theater. Several characters, comic elements and the subplot of a rival for ChristineÄôs affections had been added. When the film was released in its final form most of these changes were scrapped and a new ending was added, likely devised by Chaney himself. The film was re-edited again with new scenes, titles and an added Vitaphone soundtrack for a 1929 release. This is the version, which survives today. The enduring success of this film despite a host of problems serves as a testament to the skill of Lon Chaney and his terrifying performance.
Excellent featurette documentary on the 'Phantom of the Opera' ('43) DVD...
Doylenf19 March 2008
This is an impressive, detailed behind-the-scenes story on the various screen versions of PHANTOM OF THE OPERA, described by narrator Scott MacQueen as "a darkly romantic icon of the gaslight era." The documentary is a look at the earlier versions of the Gaston Leroux story written in 1910 and made even more famous by the 1925 version starring Lon Chaney and Mary Philbin. MacQueen's commentary guides the viewer through the other projects--the 1930 sound version with which Universal hoped to make another big profit after the success of the silent film. Bits of the sound version can be heard here for the first time.
SUSANNA FOSTER and TURHAN BEY both talk about their roles in the 1943 film in which they appeared with NELSON EDDY and CLAUDE RAINS. Jessica Rains, the actor's daughter, recounts some amusing bits of trivia about her father. Film historian RUDY BEHLMER adds some other interesting tidbits about the making of the various versions.
Although other actors were considered first for the role of The Phantom, CLAUDE RAINS was between contracts at Warner Bros. and was thus available to take the role, only insisting that the make-up for the disfigured genius not be too severe.
Interesting to note that the 1925 set was refurbished for the 1943 version and used regularly since then, a set that Universal has recycled many times over the years and is still standing.
Well researched and very interesting, it's a valuable addition to the DVD of 1943's PHANTOM OF THE OPERA, covering a wealth of material and a short history of the Universal studio as the maker of horror films featuring stars like Bela Lugosi, Lon Chaney, Jr., Basil Rathbone and others.
SUSANNA FOSTER and TURHAN BEY both talk about their roles in the 1943 film in which they appeared with NELSON EDDY and CLAUDE RAINS. Jessica Rains, the actor's daughter, recounts some amusing bits of trivia about her father. Film historian RUDY BEHLMER adds some other interesting tidbits about the making of the various versions.
Although other actors were considered first for the role of The Phantom, CLAUDE RAINS was between contracts at Warner Bros. and was thus available to take the role, only insisting that the make-up for the disfigured genius not be too severe.
Interesting to note that the 1925 set was refurbished for the 1943 version and used regularly since then, a set that Universal has recycled many times over the years and is still standing.
Well researched and very interesting, it's a valuable addition to the DVD of 1943's PHANTOM OF THE OPERA, covering a wealth of material and a short history of the Universal studio as the maker of horror films featuring stars like Bela Lugosi, Lon Chaney, Jr., Basil Rathbone and others.
PRECIOUS footage!
JohnnyOldSoul9 August 2002
This hugely interesting documentary includes footage I never thought I'd be able to see/hear...sections from the 1930 sound re-release of 1925 silent version of "The Phantom of the Opera." It has been reported numerous places that this version no longer exsists, and I am so happy to find out that at least some material survives. The audio sounds as if it was discovered on it's own and then matched to the silent footage, but this is still a major treat for "Phantom" fans. We can at last hear Mary Philbin and Norman Kerry's voices!
The sound recording is very scratchy and low in resolution, but this adds a spooky effect when married with the film footage. The booming voice of the man reading the Phantom's lines (which was not provided by Lon Chaney, it should be noticed) is truly frightening. We can at last hear the horrifying crash of the chandelier tumbling earthward as that chilling voice cries "She is singing to bring down the chandelier!"
I was so excited about this footage that it took me a while before I continued with the program, which was very informative and entertaining. Susanna Foster is as lovely and lively as ever, and everyone interview provides fascinating insight into the "Phantom" phenomenon.
This program was featured on the DVD release of the !943 Claude Raines "Phantom" which is now out of print, but is definately worth seeking out!
The sound recording is very scratchy and low in resolution, but this adds a spooky effect when married with the film footage. The booming voice of the man reading the Phantom's lines (which was not provided by Lon Chaney, it should be noticed) is truly frightening. We can at last hear the horrifying crash of the chandelier tumbling earthward as that chilling voice cries "She is singing to bring down the chandelier!"
I was so excited about this footage that it took me a while before I continued with the program, which was very informative and entertaining. Susanna Foster is as lovely and lively as ever, and everyone interview provides fascinating insight into the "Phantom" phenomenon.
This program was featured on the DVD release of the !943 Claude Raines "Phantom" which is now out of print, but is definately worth seeking out!
A case where the DVD extras are better than the feature film!
planktonrules19 July 2010
This 51 minute documentary was included on the DVD for the 1943 remake of "Phantom of the Opera". This remake was a very lavish but incredibly dull shadow of the great 1925 film. Thankfully, this documentary was better than the full-length film and makes watching the disk worth while--an odd case where the DVD extras are better than the accompanying feature film.
The documentary begins with Scott MacQueen narrating. You only briefly see him on camera--which is a good thing, as his hand movements were way over-exaggerated and distracting. Perhaps I noticed it more since I am relatively fluent in sign language, but really think most will find his gesticulations odd to say the least. Fortunately, the film gets a lot better--and is an interesting look at the various of "Phantom of the Opera" made up until that time. It consists of film clips and interviews and is quite good.
Note that the Andrew Lloyd Weber musical is only very, very briefly mentioned, as the filmed version had not yet debuted. However, given the play's popularity, I do think it strange that it was given such cursory mention--very. very cursory mention.
The documentary begins with Scott MacQueen narrating. You only briefly see him on camera--which is a good thing, as his hand movements were way over-exaggerated and distracting. Perhaps I noticed it more since I am relatively fluent in sign language, but really think most will find his gesticulations odd to say the least. Fortunately, the film gets a lot better--and is an interesting look at the various of "Phantom of the Opera" made up until that time. It consists of film clips and interviews and is quite good.
Note that the Andrew Lloyd Weber musical is only very, very briefly mentioned, as the filmed version had not yet debuted. However, given the play's popularity, I do think it strange that it was given such cursory mention--very. very cursory mention.
A nifty and illuminating documentary
Woodyanders21 October 2019
Warning: Spoilers
This 51-minute retrospective documentary covers a lot of interesting and informative ground on several film adaptations of Gaston Leroux's classic novel "The Phantom of the Opera." Scott McQueen makes for an extremely erudite and enthusiastic host. Susanna Foster relates a few engaging anecdotes about playing the female lead at age 17 in the 1943 musical version. Carla Laemmle likewise shares several charming stories about playing a ballerina in the 1925 Lon Chaney silent version. Claude Rains's daughter Jessica is also on hand to talk about her dad. Among the things covered in this documentary are that the book was first published in 1910, the 1925 version had to be reshot and recut, some especially intriguing stuff about the 1930 sound take on the popular story, Broderick Crawford was considered to play the phantom in the '43 version, and Cary Grant expressed interest in portraying the phantom in the Hammer version. Well worth a watch.
Better than the Film it comes with
Cineanalyst27 November 2018
A home video extra to Universal's 1943 remake "Phantom of the Opera," this documentary, at least, is better than that lackluster adaptation. Besides the '43 version, David J. Skal and Scott MacQueen's documentary covers the 1925 Lon Chaney film and the 1962 Hammer iteration in some detail. Not coincidentally, the Hammer movie is also available on home video from Universal, while it was probably unavoidable discussing, as was a mention of the Andrew Lloyd Webber stage musical--but just a mention, the 1925 version, which has since fallen into public domain. Plus, surely Universal doesn't care too much about throwing some free advertisement the way of small and specialty video distributors that continue to sell that old silent film. The program also shows clips for various other Universal films, including the Phantom reworking "The Climax" (1944) and other movies that reused the 1925 opera auditorium set or are somehow tangentially related and sold by Universal. Not mentioned are "Song at Midnight" (1937), "Phantom of the Paradise" (1974), the 1989 "The Phantom of the Opera," or the 1998 Dario Argento version, among others, but, of course, that's because Universal doesn't own the rights to them.
That said, there's some value here, especially rare clips from the 1930 sound reissue of the 1925 silent version. In between the fawning praise, which I think is mostly undeserving for the 1943 and 1962 versions, but I digress, there are some other interesting tidbits, although, personally, I was already aware of most of it from reading other material. For example, the script for the 1943 film originally had the Phantom as Christine's father, but the studio allegedly axed this for fear of an incestuous subtext. So, instead, they settled for a confusingly pathetic titular character. Unfortunately, no explanation is provided for where the idea of the Phantom's disfigurement from acid came from, which appears in both the 1943 and 1962 versions, as well as "Song at Midnight," but is not in the book.
Additionally, I like Chaney's performance in it and the 1925 film in general, but, c'mon, the silent cinema did not die with Chaney, as MacQueen claims. For one, there was that guy named Chaplin who was still making them at the time, and he was rather popular.
That said, there's some value here, especially rare clips from the 1930 sound reissue of the 1925 silent version. In between the fawning praise, which I think is mostly undeserving for the 1943 and 1962 versions, but I digress, there are some other interesting tidbits, although, personally, I was already aware of most of it from reading other material. For example, the script for the 1943 film originally had the Phantom as Christine's father, but the studio allegedly axed this for fear of an incestuous subtext. So, instead, they settled for a confusingly pathetic titular character. Unfortunately, no explanation is provided for where the idea of the Phantom's disfigurement from acid came from, which appears in both the 1943 and 1962 versions, as well as "Song at Midnight," but is not in the book.
Additionally, I like Chaney's performance in it and the 1925 film in general, but, c'mon, the silent cinema did not die with Chaney, as MacQueen claims. For one, there was that guy named Chaplin who was still making them at the time, and he was rather popular.
Good Documentary on The Phantom
Michael_Elliott20 October 2010
Opera Ghost, The: The Phantom Unmasked (2000)
*** (out of 4)
Nice documentary from Universal that was originally released on the DVD of the 1943 PHANTOM OF THE OPERA. Universal released many great documentaries on their monster films but this here is perhaps the weakest. I'm going to say this is probably because there's really not too much to talk about as it seems the 1943 PHANTOM has been overlooked by movie fans, although I personally think it's an underrated gem. The documentary starts off telling us the history of the 1925 version with Lon Chaney. We hear about how Universal got the rights to the story, Chaney's make up and the eventually fighting between star and director. We hear a few points on the 1930 version and then move to the 1943 version. We hear about Lon Chaney, Jr. originally wanting to play the role but apparently the studio never took this too serious. We hear about the decision to make it in color and the hiring of Claude Rains and his demands for the lack of make up. Finally, we jump to the Hammer remake, which was distributed by Universal. This documentary is entertaining but at the same time it comes off rather disappointing because it jumps around so much and yet we really don't learn too much about any of the three version. The 1925 version gives basic stuff and we don't get Chaney expert Michael Blake. The 1943 version gets some nice comments from Rains daughter but a lot of stuff is pretty much overlooked. Then, the Hammer version is pretty much skipped all together. Again, we're greeted with some good information but this is certainly the weakest documentary from Universal in regards to their classic monsters.
*** (out of 4)
Nice documentary from Universal that was originally released on the DVD of the 1943 PHANTOM OF THE OPERA. Universal released many great documentaries on their monster films but this here is perhaps the weakest. I'm going to say this is probably because there's really not too much to talk about as it seems the 1943 PHANTOM has been overlooked by movie fans, although I personally think it's an underrated gem. The documentary starts off telling us the history of the 1925 version with Lon Chaney. We hear about how Universal got the rights to the story, Chaney's make up and the eventually fighting between star and director. We hear a few points on the 1930 version and then move to the 1943 version. We hear about Lon Chaney, Jr. originally wanting to play the role but apparently the studio never took this too serious. We hear about the decision to make it in color and the hiring of Claude Rains and his demands for the lack of make up. Finally, we jump to the Hammer remake, which was distributed by Universal. This documentary is entertaining but at the same time it comes off rather disappointing because it jumps around so much and yet we really don't learn too much about any of the three version. The 1925 version gives basic stuff and we don't get Chaney expert Michael Blake. The 1943 version gets some nice comments from Rains daughter but a lot of stuff is pretty much overlooked. Then, the Hammer version is pretty much skipped all together. Again, we're greeted with some good information but this is certainly the weakest documentary from Universal in regards to their classic monsters.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
