In the early 1920’s, the cinema was just starting to find its feet as an art form. Many of the techniques we take for granted today were pioneered during this time. Also taken for granted today is the fact that film is an artistic medium that is dominated by the United States. This was very far from the case in the early days of cinema. Many of the silent classics of the era came from Europe (Germany in particular) and there was no reason to suppose it couldn’t stay that way - especially in the Horror genre. While German directors were producing Horror films that would go on to become classics of the silent era, American directors and producers struggled with the genre - producing wonderful Comedies and Westerns, but little in the way of Horror movies. This changed once Carl Laemmle put into production arguably the first great American Horror film: 1925’s THE PHANTOM OF THE OPERA.
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The movie begins at the opening of the new season at the Paris Opera House, where Christine Daae (Mary Philbin) is set to sing the lead female role in “Faust” Her suitor, the Vicomte Raoul de Chagny (Norman Kerry) eagerly goes to hear her sing, and proposes to her during a pause in her performance. She refuses; saying that she does not want to give up her career. It is revealed soon after that Christine has been tutored by a mysterious voice that calls to her - coaching her on her singing. The mysterious voice belongs to Erik; a disturbed man who lives in the bowels of the opera house. He has beguiled Christine so that he can lure her into his world and possess her; and he will exact horrible retribution on anyone who stands between him and Christine.
THE PHANTOM OF THE OPERA was one of the seminal movies in cinematic history. It was the film that proved that an American studio could produce an artistic chiller with the best of Europe. Overcoming a very troubled production which saw at least three directors come and go, THE PHANTOM OF THE OPERA is an awe-inspiring combination of grand spectacle and quiet expressionism. The elegant opera house set is a staggering achievement even by today’s standards and the caverns below the opera house are gloomy caverns full of arch and shadow - a juxtaposition that perfectly reinforces the ‘beauty and the beast’ thrust of the story. Mary Philbin was certainly a beauty, but this film is all about the beast - and who better to bring him to life than the legendary Lon Chaney.
Lon Chaney was certainly famous in his day, having memorably brought many misshapen, misunderstood people to life on film over his career (including an amazing Quasimodo in THE HUNCHBACK OF NOTRE DAME), but it was his portrayal of Erik, the deformed, homicidal maniac that haunts the opera house which made him a legend. The Phantom’s skull-like visage was designed and applied by Chaney himself. It is striking image that caused some moviegoers to faint at the sight during the wonderful moment when Christine tears off the Phantom’s mask. The key to this moment, however, is the way Chaney sells it. Up to this point, the Phantom has been a soothing, comforting presence - almost like a guardian angel. Once the mask comes off, though, he is exposed not only in his physical ugliness, but in ugliness at his core. He is exposed as a possessive, rage-fueled fiend who is, indeed, everything the people in the opera house above fear and loathe. It is a cinematic moment for the ages.
For lovers of silent films, THE PHANTOM OF THE OPERA is the complete package. It is shadow and spectacle, quietness and energy, beautiful and frightful. It is a movie that helped the American film studios begin their domination of the cinematic world. It is a story that has been remade again and again through the years, but none of the remakes were ever able to capture the magic that the 1925 silent can still invoke to this very day.
Parental Guide: Only the smallest of kids should stay away. Good for most ages.
THE PHANTOM OF THE OPERA fun facts -
Lon Chaney is said to have directed many of the Phantom‘s scenes himself - including the famous unmasking scene.
Portions of the Paris Opera House set still stand in stage 28 on the Universal lot. It is the oldest set still in use (though rarely) in Hollywood. It is purported to be haunted by the ghost of Lon Chaney.
Christine’s shock at seeing the unmasked phantom was genuine. Mary Philbin was not allowed to see the phantom make-up until the moment was shot.
The Phantom’s bed was later re-used as Gloria Swanson’s bed in “Sunset Blvd.”
Erik - “Feast your eyes! Glut your soul on my accursed ugliness!”
Erik (dressed as the Red Death) - “Beneath your dancing feet are the tombs of tortured men! Thus does The Red Death rebuke your merriment!”
Erik - “The callers have departed…”