Celebrating 100 years, it’s the original 1925 classic “The Phantom of the Opera”. It was at the dawn of motion picture cinema … at the height of the silent-film area … “The Phantom of the Opera” marked one of America’s first true landmark horror movies and featured one of the first iconic villain performances put to screen. After all these years, this film is almost universally regarded as the absolutely greatest and most influential film version of "The Phantom of the Opera". While most of the classic movie monsters in the vein of “Dracula” and “Frankenstein” achieved their iconic status through their 1930’s sound films, “The Phantom of the Opera” is that one rare exception in which the silent film is what launched its iconic status at the cinema. So, I felt the time was right to look back on this early classic and see how well it’s held up for 100 years to date.
Based on the 1910 French novel “Le Fantôme de l'Opéra” by Gaston Leroux, we follow the events of a lavish Opera house in the late 1890’s, in which a young, initially unknown Opera performer named Christine Daaé replaces the theaters leading celebrity Carlotta in a production of the stage show “Faust”. It’s soon revealed that the opera mangers were blackmailed by a mysterious under dweller, who gradually builds a reputation as the theater’s titular “Opera Ghost”. While operating in the shadows, he secretly teaches Christine Daaé to be an Opera singing sensation, gradually falls in love with his student, and does all in his power to make sure she stays in the spotlight. Things take a turn when Christine’s old flame Raoul enters the picture and asks for her hand in marriage. Feeling betrayed, the Phantom becomes more possessive of his prized pupal and aims to snatch her away to his gloomy dwelling, in which only he can appreciate her musical talents.
Before I get lost in all the details, I should note that this wasn’t the first movie to be adapted from the French novel. There was actually a silent version back in 1916, which has since been lost to time, with no surviving print. Also, there were several re-edited and modified versions of this 1925 classic. It’s kind of like the original “Star Wars”, in which there have been so many special editions that it’s more likely to see one of those as opposed to what was originally shown on the screen back in the day. The most commonly available version of the silent film “The Phantom of the Opera” is a 1950’s re-edit known as the “Eastman Print”, which features cleaned-up picture quality, different color tinting as opposed to Black and White, and an added cold opening with a man holding a lantern. The 2011 Blue-Ray release features both an original Black and White cut with choppy picture quality, and the enhanced, color tinted “Eastman Print”, which is personally my preferred version to watch the film.
Regardless of which version you watch, the film’s production was extraordinary for its time, and the Opera house setting felt like a character all its own. Back in the days of Silent Cinema, film was a visual medium first and for most, with the biggest draw for audiences being what was presented on the screen.
Thus, “The Phantom of the Opera” was largely presented in immersive wide shots, showing off all the detail of the sets and costumes. There’s a lot of personality to this setting, with decorations and sets that almost seem exaggerated even for a lavish theater. One of my favorite settings is a backstage room with a giant monster head framed as an entrance … which doesn’t have any practical significance, but it gives the setting some flavor. Also, great use of shadows and silhouettes. Obviously, the titular Phantom is characterized through use of shadows, but so are many of the ensemble performers, including this line-up of ballet dancers, who are presented as shadowy dancers in some frames, and it looks awesome.
Of course, beyond the impressive sets, the big attraction of this film is Lon Chaney in the role of The Phantom, who conveys a great deal of menace, passion and emotion into this performance without speaking a single line of dialogue.
It’s a great example of a “visual performance”, and he’s honestly quiet captivating in the role all these years later. I first saw this movie way back when I was just a High-School student studying in Drama class, and I remember Lon Chaney’s performance captivating me through his use of body movements, postures and speaking through his hands. His parents were both deaf, so he mastered the art of silent communication from a young age. Chaney already had a reputation as one of the decades great silent actors and already portrayed deformed creatures, earning him the nickname “The Man with a Thousand Faces”. Two years prior to the Phantom, he portrayed Quasimodo in 1923’s “The Hunchback of Notre Dame”, although the Phantom is still frequently sighted as his most iconic performance. After being built-up as a shadowy presence, the Phantom makes his first appearance wearing a stage mask and big hat, which is the design that carried over into most other adaptations of the story and the famous Andrew Lloyd Webber stage musical.
However, it doesn’t take long for the Phantoms true features to appear on screen.
Not to be overlooked is Mary Philbin as Christine Daaé, who’s able to stand out when acting alongside the larger-than-life Lon Chaney. She was able to convey all the required emotions of empathy and fear without going too far in her delivery.
In her short eight-year acting career, this was certainly a bright spot for her, and arguably her best known. She’d also stand out in the lead role of Dea in Universals 1928 silent horror picture “The Man Who Laughs”, which saw her once again acting alongside an iconic deformed character, one which happened to inspire the creation of Batman’s most famous adversary the Joker. After the 1920’s, Mary Philbin retired from acting and didn’t make too many public appearances … although her last public appearance was certainly worth noting. In 1989, she attended LA’s opening premiere of Andrew Lloyd Webber’s hit musical “The Phantom of the Opera” … we’ve come full circle. Other noteworthy cast members from the silent film include Norman Kerry as the boyfriend Raoul de Chagny, and Arthur Edmund Carewe as a mysterious observer named Ledoux, who’s secretly a policeman trying to find the Phantom.
The film also has its memorable moments, which are frequently replicated in other films and stage versions. The exciting drop of the chandelier kicks off the momentum early on, whereas most other films save it for the finale.
When the Phantom first takes Christine to his underground lair, it’s a lengthy sequence which shows off more impressive set designs, and one can easily view it as an inspiration to the famous musical number from the stage show. On a side note, if you thought Christine riding a horse was created for the musical, it actually originated right here in the silent film. Of course, the big scene is the masquerade ball, in which the Phantom makes his grand entrance dressed as the Red Death. The Phantoms original author Gaston Leroux was fan of Edgar Allan Poe’s written work, and while it's speculation on my part, I have no doubt the Masquerade ball was a direct nod to Edgar Allan Poes famous poem “The Mask of Red Death”. Most versions of the silent film feature this Masquerade sequence in full color, and it looks amazing. Even when we return to the tinted color palette in the following rooftop scene, the Phantoms cape is still red, which is an awesome specially added addition to the film.
As we segue into the film’s final act, the Phantom captures Christine, taken back to his secluded lair, with both Raoul and undercover cop Ledoux following close behind. They face a series of obstacles, including a heated furnace room, a flooded room, and a room stocked with gun powder, which is ready to be ignited.
We also get a unique moment of the Phantom sneaking up on a victim while underwater, highlighting him as a genuine sewer monster. An angry mob breaches the underground catacombs, forcing the Phantom to the surface with his captive. What follows is an exciting chase, with the Phantom driving a coach, and all set to riveting opera quire. Originally the film was going to end with the Phantom releasing Christine to Raoul, and dying of a broken heart shortly after, which would have been closer to the novel. However, audience demand at the time wanted something more exciting, and for the villain to receive a more satisfying comeuppance. I have to say, seeing the monstrous villain chased down by an angry mob with torches certainly feels like a prelude to the iconic finale of “Frankenstein”.
While I’m partial to other versions of “The Phantom of the Opera”, especially the classic Andrew Lloyd Webber stage musical, I’m still fond of this 1925 silent original, as it still holds my attention, and is significantly more re-watchable then most other classic silent movies I’ve seen. If anything, I absolutely respect its status as a motion picture classic. Even though I wouldn’t personally call this my absolute favorite incarnation of the classic character, it’s still well worth viewing. Even if you’re not a fan of old silent films, you might still be impressed by this movie … just as long as you view it as an accomplishment for its time. More than anything, weather you’re a fan of the Phantoms stage musical, or his early sound horror movies, or even his original novel, I’d encourage you check out this original silent movie classic … which is responsible for the characters iconic status over the past 100 years.
Thanks for
reading my review of the 1925 horror movie classic “The Phantom of the Opera”
… and continue to enjoy the movies you Love!
