The Phantom of the
Opera, dir. Rupert Julian(credited), 1925, Universal Pictures.
2012 was the year of the horror host. So what will 2013 be?
How about some of the films featured by said hosts? 2013’s horror countdown
will be a series of firsts, what better than the first Universal Monster?
This was the first attempt to translate Gaston Leroux’s 1909
novel to the silver screen. The production was troubled almost from the start,
but what made it to the screen was pure gold. We open with the Paris Opera
House being sold to two businessmen. Once the deal is completed, the previous
owners now feel free to inform the new buyers that there are a few things they
should know about the property, namely the Opera Ghost.
The new owners are quick to change their mind about the
so-called Phantom when he disappears before their eyes in the number five box.
The men are now rethinking their purchase. Meanwhile, up and coming opera
singer Christine Daae (Mary Philbin) is having a most curious conversation with
a voice that seems to be coming from within the walls of her dressing room. The
voice has been giving her singing lessons, it seems, which accounts for her
rising popularity. The voice also promises to appear before her as a thing of
the flesh and love her as a man.
Christine’s fiancĂ©, the Vicomte Raoul de Chagny (Norman
Kerry) is unaware of this, but as it is he is not happy with her career,
wishing she would devote less time to singing and more to him. While this is
going on, the new owners also have to contend with their current diva, Carlotta
(Mary Fabin) and her odious mother (Virginia Pearson), who has been the victim
of a several threatening letters. Each letter promises dire fates unless
Christine plays the lead in Faust. The
promises are delivered on opening night when the massive chandelier is cut by
unseen hands and crashes into the audience. Christine is then made the lead,
but her tenure is brief as the next day she finally meets her benefactor. The
meeting doesn’t go as planned for either party as Christine promptly faints.
The stranger, now identified as the Phantom (Lon Chaney Sr.), takes her back to
his lair located under the Paris Opera House.
When Christine awakes, she and the Phantom had a chat. It
seems the Phantom has plans for Christine, the chief of which is staring in his
personal opera, Don Juan Triumphant.
Christine, sadly, pulls off his mask and is horrified at what’s underneath.
From there things go south for nearly everyone.
How does the Phantom hold up? Fairly well I have to say. All
the leads are fantastic, with special attention to Chaney as the Phantom. He’s
pathetic, menacing, imposing, and sympathetic in equal measure. Despite the remakes over the years, I have to
say the original still does the story the best. I’d suggest staying with the
1925 version, although the different versions are also decent.
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