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The Phantom of the Opera (1925)

Passed | | Horror | 15 November 1925 (USA)
A mad, disfigured composer seeks love with a lovely young opera singer.

Directors:

Rupert Julian, Lon Chaney (uncredited) | 2 more credits »

Writer:

Gaston Leroux (from the 1910 celebrated novel by)
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1 win & 1 nomination. See more awards »

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Cast

Complete credited cast:
Lon Chaney ... The Phantom
Mary Philbin ... Christine Daae
Norman Kerry ... Vicomte Raoul de Chagny
Arthur Edmund Carewe ... Ledoux
Gibson Gowland ... Simon Buquet
John St. Polis ... Comte Philip de Chagny (as John Sainpolis)
Snitz Edwards ... Florine Papillon
Mary Fabian ... Carlotta
Virginia Pearson ... Carlotta / Carlotta's Mother
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Storyline

At the Opera of Paris, a mysterious phantom threatens a famous lyric singer, Carlotta and thus forces her to give up her role (Marguerite in Faust) for unknown Christine Daae. Christine meets this phantom (a masked man) in the catacombs, where he lives. What's his goal ? What's his secret ? Written by Yepok

Plot Summary | Add Synopsis

Taglines:

The greatest horror film of modern cinema! See more »

Genres:

Horror

Certificate:

Passed | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook

Country:

USA

Release Date:

15 November 1925 (USA) See more »

Also Known As:

Phantom of the Opera See more »

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Box Office

Gross USA:

$720,861, 31 December 1926
See more on IMDbPro »

Company Credits

Production Co:

Universal Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

| (original) | (1995) | (DVD) | (Ontario) | (1929 re-release)

Sound Mix:

Mono (talking sequences, musical score and sound effects) (1929 re-release)| Silent

Color:

Black and White | Color (2-strip Technicolor) (some sequences)

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

Several sequences were shot in various color processes for the general release prints. Technicolor was used for scenes from "Faust" and the Bal Masque scene, Prizmacolor sequences were shot for the "Soldier's Night" introduction and Handschiegel (a process that uses stamps to hand-color prints) for the Phantom's notes and red cape on the rooftop. Only the Technicolor Bal Masque sequence is known to survive (an IB print from the 1929 re-release). See more »

Goofs

When the Phantom tells Christine, "you shall bring me love!" he raises his hands above his head. It then cuts to a different angle and his hands are below shoulder height. See more »

Quotes

The Phantom: [title card]
[after having drowned Raoul's brother]
The Phantom: The callers have departed.
See more »

Crazy Credits

None of the technical staff of this film receives screen credit. See more »

Alternate Versions

In 2012 it was determined that an "accidental 3-D" version of the film existed. From an examination of various prints of the film, it was discovered that most - if not all - of the original film was shot using two cameras placed side-by-side. This was most likely done to create simultaneous master and safety/domestic and foreign negatives of the film. However, when synched together and anaglyph color-tinted, the spatial distance between the two simultaneous film strips translates into an effective 3-D film. Under the working title of LA FANTOME 3D, a fund-raising effort is under way to locate and restore (create) a full "accidental 3-D" version of the film. See more »

Connections

Featured in Glorious Technicolor (1998) See more »

Frequently Asked Questions

See more »

User Reviews

 
The pathos of Lon Chaney gave the Phantom its dimension...
27 April 2005 | by Nazi_Fighter_DavidSee all my reviews

Lon Chaney was the first of the long line of Phantoms and the one against whom all his successors had to be measured…

The story, despite all its alternatives, is the familiar one of the musician avoiding the world because of his disfigurement and retreating to a hideout beneath the Opera House, from where he emerges to terrorize singers and audience alike…

He kidnaps a young girl singer – perhaps to teach her to become a great star; certainly because, in his grotesque and pathetic way, he loves her – and carries her off to a boudoir he has prepared far underground…

There was melodrama in plenty: in the first version, for example, two would-be rescuers found themselves trapped in an uncomfortable mirrored room the Phantom had prepared, where they first got a heat treatment and then were flooded…

But, beyond all the heightened effects, it was the pathos of the Phantom underscoring his lonely menace which gave the character a dimension, and the isolation of the captor and his captive, imprisoned to a literal underworld, which gave the suspense of the whole film its power…


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