Watch the phantom of the opera 1925

In this silent film, a hideously deformed man haunts the sewers beneath the Paris Opera.

Film Details

Genre

Silent

Classic Hollywood

Horror

Thriller

Release Date

Nov 15, 1925

Premiere Information

New York premiere: 6 Sep 1925

Production Company

Universal Pictures

Country

United States

Screenplay Information

Based on the novel Le fantome de l'Opéra by Gaston Leroux (Paris, 1910).

Technical Specs

Duration

1h 34m

Sound

Silent

Color

Black and White

Theatrical Aspect Ratio

1.33 : 1

Film Length

8,464 (Si); 8,382 (Sd)ft (10 reels)

Synopsis

Christine Daae, an understudy at the Paris Opera, is guided to stardom by a mysterious and compelling voice that emanates from behind the walls of her dressing room. The voice eventually summons her to a meeting, and she discovers a sinister man whose face is covered by a mask. He demands that she give up her fiancé, Raoul, and devote herself to her music and her mentor. She agrees, and he allows her to sing again. Realizing that she is going back on her word, The Phantom kidnaps Christine, takes her to his underground chambers, and is revealed, when his mask is removed, to be hideous beyond description. Raoul and Ledoux (of the secret police) follow The Phantom, and he traps them in an infernal device. A mob follows, and The Phantom flees. Raoul and Ledoux escape, rescuing Christine. The mob forces The Phantom into the Seine, where he drowns, grotesquely defiant to the last.

Crew

Photo Collections

Videos

Film Details

Genre

Silent

Classic Hollywood

Horror

Thriller

Release Date

Nov 15, 1925

Premiere Information

New York premiere: 6 Sep 1925

Production Company

Universal Pictures

Country

United States

Screenplay Information

Based on the novel Le fantome de l'Opéra by Gaston Leroux (Paris, 1910).

Technical Specs

Duration

1h 34m

Sound

Silent

Color

Black and White

Theatrical Aspect Ratio

1.33 : 1

Film Length

8,464 (Si); 8,382 (Sd)ft (10 reels)

Articles

If you asked movie buffs to select the most memorable scene from the entire Lon Chaney filmography, most of them would probably pick the famous unmasking sequence from The Phantom of the Opera (1925). Despite the effectiveness of this scene, the movie was the most problematic of all the films Chaney made and the most uneven in terms of quality, despite its reputation as Chaney's most famous role.

It is not hard to see why Chaney was attracted to the title character of Gaston Leroux's novel. The dramatic demands of the role and the makeup required for the Phantom presented a physical challenge Chaney couldn't pass up. It also marked a turning point in his career. It would be his final film with Universal Studios. Chaney had just signed a new contract with MGM and already completed the studio's first feature, He Who Gets Slapped, which was an unqualified success.

Universal spared no expense in producing The Phantom of the Opera. They built the first steel and concrete stage in Hollywood which housed the entire interior set of the Opera House, the backstage area, and the grand staircase. (This stage, which still stands today on the Universal lot, is the only surviving set from any Chaney film.) The studio also hired over 250 dancers for elaborate dance numbers supervised by renown dance producer Ernest Belcher and shot the masked ball sequence, among other scenes, in the early two-color Technicolor process.

But the film was plagued by numerous difficulties from the beginning. Chaney clashed frequently with his director, Rupert Julien, whose claim to fame was finishing the directorial chores on Merry-Go-Round after Erich von Stroheim had been fired. The relationship between Chaney and Julien deteriorated to the point where the actor refused to talk to or take direction from Julien. Various scenes, including the sequence with the falling chandelier, had to be re-shot due to inadequate lighting. And after production was completed, a sneak preview for audiences convinced the studio to go back and add scenes with Chester Conklin for comic relief as well as a romantic subplot.

Edward Sedgwick, who had directed several Buster Keaton comedies for MGM, was brought in to complete these additional scenes but, after another unsuccessful public preview, the studio decided to discard the comedy bits, the romantic subplot, and some ballet sequences. A new set of title cards was created for continuity purposes since so many gaps existed in the film's storyline and the film was finally released theatrically.

Chaney's performance in The Phantom of the Opera was universally praised and so were the elaborate sets and costumes but many critics couldn't help noticing the uneven structure of the film. Nevertheless, the film has achieved cinematic immortality due to Chaney's innovative makeup which has influenced numerous makeup artists like Bob Kane (He designed the makeup for Tim Burton's Batman). Some of Chaney's gruesome effects in The Phantom of the Opera were created by using a combination of cotton and collodion for the raised and extended cheekbones, a strip of fishskin attached to the nose with spirit gum for the up-tilted nose effect, and dark eyeliner shading to give him that hollow-eyed look.

Director: Rupert Julian
Producer: Carl Laemmle
Screenplay: Elliott J. Clawson (Based on the novel by Gaston Leroux)
Cinematography: Milton Bridenbecker, Virgil Miller, Charles Van Enger
Art Direction: Ben Carre, Charles D. Hall
Cast: Lon Chaney (Erik/The Phantom), Mary Philbin (Christine Daae), Norman Kerry (Vicomte Raoul de Chagny), Arthur Edmund Carewe (Ledoux), Gibson Gowland (Simon Buquet).
BW & C-91m.

by Jeff Stafford

The Phantom of the Opera (1925)

If you asked movie buffs to select the most memorable scene from the entire Lon Chaney filmography, most of them would probably pick the famous unmasking sequence from The Phantom of the Opera (1925). Despite the effectiveness of this scene, the movie was the most problematic of all the films Chaney made and the most uneven in terms of quality, despite its reputation as Chaney's most famous role. It is not hard to see why Chaney was attracted to the title character of Gaston Leroux's novel. The dramatic demands of the role and the makeup required for the Phantom presented a physical challenge Chaney couldn't pass up. It also marked a turning point in his career. It would be his final film with Universal Studios. Chaney had just signed a new contract with MGM and already completed the studio's first feature, He Who Gets Slapped, which was an unqualified success. Universal spared no expense in producing The Phantom of the Opera. They built the first steel and concrete stage in Hollywood which housed the entire interior set of the Opera House, the backstage area, and the grand staircase. (This stage, which still stands today on the Universal lot, is the only surviving set from any Chaney film.) The studio also hired over 250 dancers for elaborate dance numbers supervised by renown dance producer Ernest Belcher and shot the masked ball sequence, among other scenes, in the early two-color Technicolor process. But the film was plagued by numerous difficulties from the beginning. Chaney clashed frequently with his director, Rupert Julien, whose claim to fame was finishing the directorial chores on Merry-Go-Round after Erich von Stroheim had been fired. The relationship between Chaney and Julien deteriorated to the point where the actor refused to talk to or take direction from Julien. Various scenes, including the sequence with the falling chandelier, had to be re-shot due to inadequate lighting. And after production was completed, a sneak preview for audiences convinced the studio to go back and add scenes with Chester Conklin for comic relief as well as a romantic subplot. Edward Sedgwick, who had directed several Buster Keaton comedies for MGM, was brought in to complete these additional scenes but, after another unsuccessful public preview, the studio decided to discard the comedy bits, the romantic subplot, and some ballet sequences. A new set of title cards was created for continuity purposes since so many gaps existed in the film's storyline and the film was finally released theatrically. Chaney's performance in The Phantom of the Opera was universally praised and so were the elaborate sets and costumes but many critics couldn't help noticing the uneven structure of the film. Nevertheless, the film has achieved cinematic immortality due to Chaney's innovative makeup which has influenced numerous makeup artists like Bob Kane (He designed the makeup for Tim Burton's Batman). Some of Chaney's gruesome effects in The Phantom of the Opera were created by using a combination of cotton and collodion for the raised and extended cheekbones, a strip of fishskin attached to the nose with spirit gum for the up-tilted nose effect, and dark eyeliner shading to give him that hollow-eyed look. Director: Rupert Julian Producer: Carl Laemmle Screenplay: Elliott J. Clawson (Based on the novel by Gaston Leroux) Cinematography: Milton Bridenbecker, Virgil Miller, Charles Van Enger Art Direction: Ben Carre, Charles D. Hall Cast: Lon Chaney (Erik/The Phantom), Mary Philbin (Christine Daae), Norman Kerry (Vicomte Raoul de Chagny), Arthur Edmund Carewe (Ledoux), Gibson Gowland (Simon Buquet). BW & C-91m. by Jeff Stafford

The Phantom of the Opera - Two versions of the Lon Chaney Classic

The Phantom Of The Opera (1925) is probably the most famous silent film. Star Lon Chaney's death's-head makeup for the Phantom is recognizable even today. Most cities have had revival showings, low-quality public domain tapes and DVD's are available in many bargain bins, and television stations program it more than any other silent movie. Andrew Lloyd Webber turned The Phantom Of The Opera into an internationally successful musical. However, when it was first screened, the studio considered it a disaster, it was re-edited and re-shot many times, and the most often seen version is a silent reconstruction of a sound release.

Gaston Leroux's 1911 novel was sought by both Universal Studios and star Lon Chaney. Chaney had just finished making Universal's biggest hit to date, The Hunchback Of Notre Dame (1923), and the idea of another film about a misshapen man desperately in love with an unattainable beauty seemed a surefire commercial success. Universal got the rights to the novel and hired Chaney to play the role and devise his own makeup. Using wires to pull up his nostrils and collodion to create jutting cheekbones, Chaney went to the limits of his art, turning his face into a living skull that is still startling.

However, from there, everything began to go wrong. First, Universal hired Rupert Julian to direct. Julian had replaced Erich Von Stroheim on Merry-Go-Round (1923) and saw himself as Von Stroheim's equal. Julian had all the attitude of the infamous director, but none of the talent and was despised by Chaney and the film crew. Second, young Mary Philbin was called to portray the object of the Phantom's desire. Only under the best directors did Philbin provide a worthwhile performance. Under Julian, she overacted with a pantomime that was thought ridiculously broad even in its day. Finally, the movie's original ending was judged completely ineffective during its initial release. The film was pulled, Julian was replaced, the story was substantially re-written and new scenes were shot. Except for a new ending, this version did not work either, so the movie was again re-edited after lengthy brainstorming meetings. Finally opening at New York's Strand Theatre in 1925, this hastily stitched-together creation became a huge success and made a fortune for Universal Pictures.

However, this is still not the version with which present-day fans of the film are most familiar. In 1929, The Phantom Of The Opera was re-released, again substantially re-edited and with newly shot talking scenes. In 1950, when James Card of the George Eastman film archive went to Universal to gather original prints and negatives, all that was left was a silent copy of the European version of the talkie release. Card reconstructed a print from what was left, put the silent intertitles back in, and this version is the one that has been most often seen since.

Now Milestone Film & Video has gone into the cellars one more time to unearth The Phantom Of The Opera for a definitive two-DVD set. Disc one contains Kevin Brownlow's further restoration of the 1929 edit with a great orchestral score by Carl Davis. In addition, Milestone provides a synced version of the 1929 soundtrack and a commentary track by film historian Scott McQueen. Disc two contains the very different 1925 edit that unfortunately exists only as a 16mm print Universal distributed for home viewing in the 1930's. Despite the soft and scratchy image, this Phantom is still watchable and will be a surprise to anyone familiar with the usual version of this movie. Chaney enthusiast Dr. Jon Mirsalis accompanies the film on the piano.

The extras on this two-disc set are astounding. There are recreations via stills of the earlier, pre-general release versions, trailers for both the 1925 and 1929 movies, press kits, interviews and more and more. The only quibble with the entire set is some motion blur in the 1929 version caused by the PAL to NTSC video transfer that appears only when characters or objects are moving quickly. Otherwise the image of the 1929 version is razor-sharp and does include the two-color Technicolor sequence of the masked ball.

Milestone has done a fabulous job with this presentation providing not only two copies of the film, but also all the materials needed to study its convoluted history. More DVD editions of movies should be released with this level of scholarship and attention to detail.

For more information about The Phantom of the Opera, visit Image Entertainment. To order The Phantom of the Opera, go to TCM Shopping.

by Brian Cady

The Phantom of the Opera - Two versions of the Lon Chaney Classic

The Phantom Of The Opera (1925) is probably the most famous silent film. Star Lon Chaney's death's-head makeup for the Phantom is recognizable even today. Most cities have had revival showings, low-quality public domain tapes and DVD's are available in many bargain bins, and television stations program it more than any other silent movie. Andrew Lloyd Webber turned The Phantom Of The Opera into an internationally successful musical. However, when it was first screened, the studio considered it a disaster, it was re-edited and re-shot many times, and the most often seen version is a silent reconstruction of a sound release. Gaston Leroux's 1911 novel was sought by both Universal Studios and star Lon Chaney. Chaney had just finished making Universal's biggest hit to date, The Hunchback Of Notre Dame (1923), and the idea of another film about a misshapen man desperately in love with an unattainable beauty seemed a surefire commercial success. Universal got the rights to the novel and hired Chaney to play the role and devise his own makeup. Using wires to pull up his nostrils and collodion to create jutting cheekbones, Chaney went to the limits of his art, turning his face into a living skull that is still startling. However, from there, everything began to go wrong. First, Universal hired Rupert Julian to direct. Julian had replaced Erich Von Stroheim on Merry-Go-Round (1923) and saw himself as Von Stroheim's equal. Julian had all the attitude of the infamous director, but none of the talent and was despised by Chaney and the film crew. Second, young Mary Philbin was called to portray the object of the Phantom's desire. Only under the best directors did Philbin provide a worthwhile performance. Under Julian, she overacted with a pantomime that was thought ridiculously broad even in its day. Finally, the movie's original ending was judged completely ineffective during its initial release. The film was pulled, Julian was replaced, the story was substantially re-written and new scenes were shot. Except for a new ending, this version did not work either, so the movie was again re-edited after lengthy brainstorming meetings. Finally opening at New York's Strand Theatre in 1925, this hastily stitched-together creation became a huge success and made a fortune for Universal Pictures. However, this is still not the version with which present-day fans of the film are most familiar. In 1929, The Phantom Of The Opera was re-released, again substantially re-edited and with newly shot talking scenes. In 1950, when James Card of the George Eastman film archive went to Universal to gather original prints and negatives, all that was left was a silent copy of the European version of the talkie release. Card reconstructed a print from what was left, put the silent intertitles back in, and this version is the one that has been most often seen since. Now Milestone Film & Video has gone into the cellars one more time to unearth The Phantom Of The Opera for a definitive two-DVD set. Disc one contains Kevin Brownlow's further restoration of the 1929 edit with a great orchestral score by Carl Davis. In addition, Milestone provides a synced version of the 1929 soundtrack and a commentary track by film historian Scott McQueen. Disc two contains the very different 1925 edit that unfortunately exists only as a 16mm print Universal distributed for home viewing in the 1930's. Despite the soft and scratchy image, this Phantom is still watchable and will be a surprise to anyone familiar with the usual version of this movie. Chaney enthusiast Dr. Jon Mirsalis accompanies the film on the piano. The extras on this two-disc set are astounding. There are recreations via stills of the earlier, pre-general release versions, trailers for both the 1925 and 1929 movies, press kits, interviews and more and more. The only quibble with the entire set is some motion blur in the 1929 version caused by the PAL to NTSC video transfer that appears only when characters or objects are moving quickly. Otherwise the image of the 1929 version is razor-sharp and does include the two-color Technicolor sequence of the masked ball. Milestone has done a fabulous job with this presentation providing not only two copies of the film, but also all the materials needed to study its convoluted history. More DVD editions of movies should be released with this level of scholarship and attention to detail. For more information about The Phantom of the Opera, visit Image Entertainment. To order The Phantom of the Opera, go to TCM Shopping. by Brian Cady

Quotes

Feast your eyes! Glut your soul on my accursed ugliness!

- Erik

You... You are the Phantom!

- Christine

If I am the Phantom, it is because man's hatred has made me so... If I shall be saved, it will be because your love redeems me.

- Erik

Trivia

Edward Sedgwick directed a few scenes after director Rupert Julian walked off the set after heated arguments with cast and crew.

Ben Carre was called in to design the sets, and although he had worked at the Paris Opera House, he had already been living in California for some time doing sets.

The Phantom of the Opera was re-released in sound in 1929 using Vitaphone/Western Electric sounds disks. 40% of the film was re-shot in synchronous sound and the rest had a music/sound track added or was dubbed over. The Kino edition (and all except for a few) are a silent version of the 1929 cut, a common practice at the time for theaters that did not have sound systems installed. In the sound edition, Lon Chaney was not available, and contractually, Universal was not allowed to have mouth synchronization of the Phantom. However, they wrote third-person lines to be dubbed over shots of the Phantom's shadow. The voice to these lines are unacredited, but is probably that of Universal regular, Phillips Smalley.

Chaney devised his own make-up.

The print restored by the Kino company is a 1929 re-release version that was re-edited, eliminating some scenes and inserting new material shot after the 1925 version was finished. These included a sound sequence with opera star Mary Fabian singing in the role of Carlotta. In the re-edited version, Virginia Pearson, who played Carlotta in the silent 1925 version, is credited and referred to as "Carlotta's Mother" instead.

Notes

The film was reissued on December 15, 1929, with talking sequences added featuring Mary Philbin and Norman Kerry. For the reissued version, scenes with John Sainpolis were deleted and others were inserted with Edward Martindel in the role of "Philippe de Chagny." The role played by John Miljan was completely removed from the reissue. Scenes from the original, in which part of the opera Faust is performed, were dubbed with arias from the work. FOr information on other versions of The Phantom of the Opera, please consult the entry for the 1943 Universal release Phantom of the Opera.

Miscellaneous Notes

Released in United States 1998

Released in United States April 1981

Released in United States Fall September 6, 1925

Released in United States January 1999

Re-released in United States August 23, 1991

Re-released in United States May 24, 1991

Shown at Film Forum Universal Horror Festival in New York City October 30 - November 12, 1998.

Shown at Nortel Palm Springs Film Festival January 7-18, 1999.

Selected in 1998 for inclusion in the Library of Congress' National Film Registry.

The re-release version will feature a 5-minute introduction by actor Christopher Lee, an original score by rock musician Rick Wakeman and restored color footage for the film's ballroom scene. Dick Randall and Steve Minasian are producers.

Released in United States 1998 (Shown at Film Forum Universal Horror Festival in New York City October 30 - November 12, 1998.)

Released in United States January 1999 (Shown at Nortel Palm Springs Film Festival January 7-18, 1999.)

Released in United States April 1981 (Shown at FILMEX: Los Angeles International Film Exposition ("Scared to Death": Horror Movie Marathon) April 2-23, 1981.)

Re-released in United States May 24, 1991 (Northampton, MA; for the 100th anniversary of the Northampton Academy of Music)

Re-released in United States August 23, 1991 (Boston)

Released in United States Fall September 6, 1925