Phantom of the Opera

When Universal decided to remake Lon Chaney's classic silent version of the opera, sound opened up a rather obvious vista for the film. We can make it as much about opera as the phantom haunting the Paris Opera.

A task rendered considerably easier by the presence of Nelson Eddy and Susanne Foster. Unlike his screen partner at MGM, Jeanette MacDonald, Nelson Eddy came from the opera to the cinema. He always viewed himself as a singer first, films were something he did to get publicity for his concert tours. But Eddy always loved the grand opera, it could easily been his career path. Consequently The Phantom of the Opera and the arias he sings here always had a special place in his affections. We see a lot of the real Nelson here.

Another one of his interests was sculpture. The bust of Susanna Foster that Claude Rains stole from Eddy's dressing room is something that Nelson Eddy actually did. Sculpting was a hobby of his and as you can see he was quite good at it. Might have made a living doing that as well.

Susanna Foster who had a lovely soprano voice gave up her career soon after this most acclaimed of her films. A pity too, it was a real loss to the screen.

This Phantom of the Opera has a bit of comedy in it as well. Baritone Nelson Eddy and Inspector of the Surete Edgar Barrier have an uneasy rivalry going for the affections of Foster. The scenes involving this are nicely staged by director Arthur Lubin, more known for doing Abbott and Costello comedies.

This may have been Edgar Barrier's best film role. He was a more than competent player, his career probably suffering because he was a bit too much like Warren William who was himself a poor man's John Barrymore. Barrier played equally well as villains or as a good guy as he is here. Another fine role for him even though he only has one scene is in Cyrano de Bergerac where he plays the very sly and all knowing and discerning Cardinal Richelieu.

Of course Phantom of the Opera is really made by the performance of Claude Rains as the mild mannered, inoffensive Eric Claudin, a violinist in the Paris Opera who is crushing out big time on Susanna Foster. We see him first being told after 20 years he's being given the sack by the company. What they describe sounds an awful lot like Carpel Tunnel Syndrome that he's developed which is affecting his playing the violin. Bad news for Susanna Foster also because he's been her secret benefactor in paying for voice lessons.

There isn't any middle aged man who doesn't identify with Rains. Tossed out of his job, the rent due, crushing out big time on a young girl, a lot of us have been there. Then when he thinks an unscrupulous music publisher is stealing a concerto he's written, he loses it completely and kills him. And when acid is thrown in his face disfiguring him, it's a short journey to madness.

Rains really makes us feel for Claudin. In that sense the film is not a horror picture in that we're dealing with monsters or unworldly creatures that Universal so specialized in. The man who becomes the Phantom is all too real, too human, and if we're pushed right, could be any one of us.

Can you do better than opera arias by Nelson Eddy and a classic performance by Claude Rains? I think not.

The splendor of Technicolor and the lavish opera sequences distinguish this version of the famous story. While this version bears little resemblance to the original, it does feature a first-rate performance by Claude Rains, in the title role. It certainly employs the best production values of any filmed version, and provides for high entertainment. Recommended.

I'm not sure if I'd call this a horror movie(it's certainly a drama).It is the result of good acting,filming,and glorious color!!!!!!!I've never seen a Universal horror movie in color other than this!The story isn't a real adaption of Gaston Leroux's novel.It has several changes made that make it different from the book.It's a must-see for movie lovers.Horror or otherwise.

Gaston Leroux's penny-dreadful novel was hardly the stuff of great literature, but it did manage to tap into the public consciousness with its gas-light-Gothic tale of a beautiful singer menaced by a horrific yet seductive serial killer lurking in the forgotten basement labyrinths of the Paris Opera. Lon Chaney's silent classic kept the basic elements of the novel intact--and proved one of the great box office hits of its day, a fact that prompted Universal Studios to contemplate a remake throughout most of the 1930s.

Although several proposals were considered (including one intended to feature Deanna Durbin, who despised the idea and derailed the project with a flat refusal), it wasn't until 1943 that a remake reached the screen. And when it did, it was an eye-popping Technicolor extravaganza, all talking, all singing, and dancing. The Phantom had gone musical.

In many respects this version of PHANTOM anticipates the popular Andrew Lloyd Webber stage musical, for whereas the Chaney version presented the Phantom as a truly sinister entity, this adaptation presents the character as one more sinned against than sinning--an idea that would color almost every later adaptation, and Webber's most particularly so. But it also shifts the focus of the story away from the title character, who is here really more of a supporting character than anything else. The focus is on Paris Opera star Christine Dae, played by Susanna Foster. In this version Christine is not only adored by the Phantom; she is also romantically pursued by two suitors who put aside their differences to protect her.

Directed by Universal workhorse Arthur Lubin, this version is truly eye-popping as only a 1940s Technicolor spectacular could be: the color is intensely brilliant, and Lubin makes the most of it by focusing most of his camera-time on the stage of the Paris Opera itself and splashing one operatic performance after another throughout the film. But in terms of actual story interest, the film is only so-so. Susanna Foster had a great singing voice, but she did not have a memorable screen presence, and while the supporting cast (which includes Nelson Eddy, Edgar Barrier, Leo Carrillo, and Jane Farrar) is solid enough they lack excitement. And the pace of the film often seems a bit slow, sometimes to the point of clunkiness.

The saving grace of the film--in addition to the aforementioned photography, which won an Oscar--is Claude Rains. A great artist, Rains did not make the mistake of copying Chaney, and although the script robs the Phantom of his most fearsome aspects, Rains fills the role with subtle menace that is wonderful to behold, completely transcending the film's slow pace, the lackluster script, and "sanitized for your protection" tone so typical of Universal Studios in the 1940s. Unless you're a die-hard Phantom fan you're likely to be unimpressed.

Gary F. Taylor, aka GFT, Amazon Reviewer

This 1943 version is a remake of the 1925 version from the same studio (Universal). Probably the most vivid and effective use of Technicolor I have seen. Lush photography, great crane shots and an impressive Paris Opera House! The operatic scenes are very well done--and they are important to the story line. Very entertaining, especially since there is no graphic violence or gore--except the Phantom's face. Nelson Eddy is in top voice. One of Hollywood's most versatile actors, Claude Rains is remarkable in the lead role. Just the year before he was the memorable Prefect of Police in "Casablanca." This production is mounted first class in every way.

The DVD release is a fantastic transfer from an original old Technicolor master.