O Fantasma da Ópera

The novel The Phantom of the Opera has been filmed at least ten times plus now. This entry by Hammer Studios is one of the better ones, bringing a liberal change in storytelling as well as some very atmospheric settings and camera work. Directed by Terence Fisher, this film, like Fisher's The Gorgon, is highly poetic. The phantom is a former music professor who has been pushed into his life of seclusion and physical deformity. He is a figure of sympathetic pity rather than horror. It is this point of view which makes this film very interesting as the phantom is not the monster but rather just a man who has been mistreated trying to cope and resurrect his life. Yep, he still lives in the sewers of Paris. The Hammer sets are wonderful all around, particularly the opera house and the winding underground sewers. Hammer also puts their stamp of luxuriant looking cinematography on. Herbert Lom plays the man behind the mask. Lom does a nice job in the film as do all the leads. Heather Sears is a striking heroine, and Edward Da Souza makes an affable leading man. The real star, apart from Fisher's direction, is Michael Gough. Boy, can this man play a mean individual. Gough's screen time is magic as he malevolently belittles everyone around him, steals things that are not his, and lewdly leers at anything in a skirt! The film also boasts some fine staged opera numbers and a beautiful soundtrack. Many scenes show Fisher's competence and ability to create lush moods whilst being able to provide good storytelling.

A fine Phantom edition.

I have many other "Phantom" movies but this is one of my favorites, even though the location and story has been changed. I thought Herbert Lom did a great job and the aria Christine sings is hauntingly beautiful. I would love to have a CD of the music. Does anyone know if it is available?

This was one of the best, but it really bothered me that it strayed so far from other versions. It takes place in Victorian London rather than Paris, and the Phantom has a totally different death scene at the end. What happened to the famous "Chandelier" scene? Christine Charles instead of Dae?? Anyway, a very good movie. I'd rate this about an 8 out of 10. Those sets in the underground certaintly look like the original sets from 1925!.

Though this version strays quite far from the book, it was still very good. Herbert Lom and Micheal Gough are excellent in this film, and the Dwarf was an odd, but fun twist. I didn't think that Miss Sears was right for Christine, but she did well none the less. All in all, pretty scary for the time and a good watch. I suggest it be watched, provided of course you can find it.

Each "Phantom of the Opera" deviates somewhat from the Leroux novel - with the original silent film with Lon Chaney perhaps being the exception. In the '40s Nelson Eddy version, the police chief and an operatic baritone are Christine's suitors instead of Raoul (though the baritone is named Raoul) and it's hinted that the Phantom is her father. His acid in the face was the result of a misunderstanding at the music publisher's.

In this particular "Phantom," from Hammer Studios, the Phantom (Herbert Lom) has an Igor-type assistant, and here Christine's suitor is the manager of the opera house (Edward de Souza). There is also a real villain, a plagiarist in the form of Lord d'Arcy (Michael Gough). Most notably, it has a production of "Joan of Arc" with music written by Edwin T. Astley that is actually very pretty and beautifully sung.

Everyone does a terrific job in this - Gough is hateful as the supposed composer of the opera; de Souza is a hunk and a good romantic interest for Christine; and Heather Sears as Christine is very sweet and, like all Christines, lacking the diva quality her rival has. In this film, the rival singer is a very minor role. The dubbing of the voices is wonderful.

Herbert Lom, normally a comic character in the "Pink Panther" series, is a great phantom, performed at a time when the Phantom didn't have to be better-looking than the ingénue. The Phantom is not a huge role in this film, but an effective and highly sympathetic one. He seems a little less nuts than some of them, though he's clearly not completely there.

The final scene of this film is very exciting, and the final picture very powerful and sad. This is a really excellent version with not much emphasis on the horror aspects of the Chaney film. It has good production values and is very well directed.