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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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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:

A Million Thrills to Thrill Millions 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

The film is included on Roger Ebert's "Great Movies" list. See more »

Goofs

1929 cut: A shadow can be seen passing in front of the backlighting of the door to Christine's room in the Phantom's lair just as the unmasking scene ends. See more »

Quotes

The Phantom: [title card] She is singing to bring down the chandelier!
See more »

Crazy Credits

In 1925 (and for many years afterwards), credits used to appear at the beginning of movies. In "The Phantom of the Opera", the credits do appear at the beginning and are also repeated at the end, preceded by the following caption: "This is repeated at the request of picture patrons who desire to check the names of performers whose work has pleased them." See more »

Alternate Versions

Also available in a computer colorized version. See more »

Connections

Referenced in Phantom of the Megaplex (2000) See more »

Frequently Asked Questions

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User Reviews

Seeing this one with Mary was an unforgettable experience!
25 April 2003 | by gregcoutureSee all my reviews

My goodness...close to fifty years ago I saw this film in the company of its leading lady, Mary Philbin. She was a friend of an unforgettable lady our family had met when we moved from New England to southern California. Our mutual friend was constantly prodding Miss Philbin, who had become quite reclusive after retiring from the screen, to get out and enjoy life. (They took a trip to Europe one summer, for instance.) One evening she persuaded Mary, who was extremely reluctant, by the way, to accompany us to the silent movie theater on Fairfax Ave., not far from Hollywood Blvd. and the site of Grauman's Chinese Theater and other first-run movie palaces, to see a revival of "The Phantom of the Opera." That old theater, not in the least luxurious and quite small, was a virtual shrine for lovers of silent films. Management had obtained a print of this film in acceptable condition, though I don't recall that the Technicolor sequence had been preserved in that print and, on that evening anyway, there was no musical accompaniment.

Mary dreaded the experience of seeing one of her old films amid a mid-Fifties audience, which she feared would find the film a subject of comical curiosity rather than a piece of genuinely enthralling entertainment. We joined the rest of the audience that night in enjoying the experience of seeing the film, however, and Mary was relieved that she had consented to accompany us (though she insisted that we shield her from any possible recognition, not too easy to do, since she had hardly changed in appearance in the quarter-century since that classic's production.) I, for one, remember being amazed at the care and expense that had obviously been lavished on its production.

Not very long after that evening, we went to a neighborhood theater in Pacific Palisades, Calif., to see James Cagney in the 1957 Universal-International biographical film about Lon Chaney, Sr., "Man of a Thousand Faces," again with Mary Philbin in our company. The unmasking scene from "The Phantom of the Opera" was rather perfunctorily recreated, with an actress playing Mary who did not resemble her. As we exited the theater, Mary and our family friend, who had quite a few early Hollywood associations (She had once been married to Ernst Lubitsch, the legendary director, when they first came to Hollywood from their native Germany.), regaled me with reminiscences about Irving Thalberg (played in the film by a young Robert Evans), whom they had both known and for whom they had quite a high regard.

Mary remained a family friend over the years until her death more than thirty years later. She led a very quiet life, for many years occupying a house she had owned since the days of her stardom (only a few blocks north on Fairfax Ave. from that silent movie revival house!) I remember her with great fondness for her modesty and extraordinary sweetness.


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