Customer Reviews

Phantom of the Opera [VHS]

5 star:		(102)
4 star:		(32)
3 star:		(11)
2 star:		(2)
1 star:		(6)

 

 

Although marred by static direction and stilted acting, the 1925 silent film THE PHANTOM OF THE OPERA is known primarily for the memorable contribution by Lon Chaney as an actor and makeup artist. His moving portrayal of the disfigured escaped convict who haunts Paris Opera House is perhaps the sole reason to watch this film. And his talent as a makeup artist helped create one of the most indelible images in film history: the skull-like head of the phantom that conveys sadness, anger, and horror at the same time. This Region-1-only 2-disc DVD set from The Milestone Company includes two versions of this classic film: the 1925 version that was premiered in New York, and the 1929 re-edited silent version that is most often seen today. The DVD also contains excellent supplements that give us a good overview of the film's rather remarkable history.

The rarely seen 1925 New York premiere version included on this DVD is untinted, runs 107 minutes, and was transferred from the only surviving 16mm reduction print. Its video quality is understandably poor; sharpness and clarity are never satisfactory, and blemishes abound. There are some notable differences between this version and the shorter, 93-min, 1929 re-edited version. In the 1925 version, actors are introduced via their own title cards. There is no "Carlotta's mother" character. Carlotta is played by Virginia Pearson in both the opera and the dramatic scenes. The chandelier sequence is edited more competently and thus played out a little more effectively. There are more scenes in Christine's dressing room, so adequate suspense is built up before she meets the phantom. There is also one crucial scene in a garden that explains why Christine is so enamored to the mysterious voice she hears. In my opinion, the 1925 version is the superior version; it seems more complete and satisfying narratively than the edited 1929 version.

The 1929 edited silent version included on this DVD was transferred from a restored, re-tinted print made by the renowned film restoration company Photoplay Productions. This is the best-looking version of PHANTOM to date. It also looks much sharper and cleaner than the 1997 Image DVD. Both DVDs offer the speed-corrected 1929 version, but the '97 Image DVD opens with a shot of a man holding a lantern walking past the camera, while the Milestone DVD, curiously, omits this so-called "lantern man" shot and opens at the opera house. On both DVDs, the "Bal Masque" scene is shown in two-strip Technicolor, with the color on the Milestone disc looking a little more realistic. Also, in order to duplicate the original film as much as possible, some of the color scenes on the Milestone disc were actually digitally colored (such as the phantom's red cape at the roof of the opera house), because there is no existing color footage for them. On the '97 Image DVD, no digital coloring was used.

There was a "talkie" version of PHANTOM made in 1929, but unfortunately the print of that version was lost. The dialogs and sound effects recorded for that version, however, survived. To give the viewer a taste of the sound version, the Milestone DVD offers something interesting to accompany the 1929 silent version: a soundtrack composed of fragments of existing recordings of the sound version pieced together to fit the silent version as much as possible. The result is still far from being a "talkie" track. It has plenty of sound effects and spoken dialogs, but it has almost no synchronized talking. Inter-titles are still present (because this is still the silent version). There is, however, one opera sequence where the singing of actress Mary Fabian (who did her own singing) is perfectly synchronized with the picture, which is a wonder to watch. The DVD also includes audio-only supplements of recorded dialogs, which give us further glimpses of the talkie version -- and of its rather incompetent voice acting.

Also accompanying the 1929 version is a superb audio commentary by PHANTOM expert Scott MacQueen. He provides a wealth of information about the production history, the backgrounds of the cast and crew, the various versions of the film, the use of color, and the use of sound. He deplores the incompetence of director Rupert Julian, and emphasizes that the true auteurs of the film were Chaney and set designer Ben Carré. He points out that contemporary reviews indicate that the 1925 version contains Technicolor sequences in not only the Bal Masque scene, but also the opera sequences and the auditorium scenes (the extensive use of color must have been quite a spectacle for a silent film back then). He recounts in great details (while speaking at a pretty fast pace) how the various versions of PHANTOM survived over the years -- the existing 1925 version originated from the so-called "Show-at-home" 16mm versions which Universal made for private collectors in the 1930s, while the surviving 1929 version was obtained by a Jim Card at Universal in the 1950s, and the Technicolor sequences was obtained from a 1930 dye transfer copy by restorationist David Shepherd.

To add even more value to an already superb package, the Milestone DVD also includes still-frame reconstructions of the Los Angeles and San Francisco premiere versions of PHANTOM. These were the very first public showings of the film. The Los Angeles version ended not with a chase scene as in later versions, but with the phantom dying alone at his piano.

For starters, I agree with all the positive things said about this 2-disc set.

Unfortunately, there a couple of things about the discs that just spoiled the whole experience for me and may do so with you.

First, there is a "motion blur" or "ghosting" artifact that runs throughout the 1929/30 restoration. It looks similar to what a transfer from PAL video format to NTSC video format looks like only more exaggerated (images appear to be overlapped or double--sometimes triple--exposed). During the unmasking, Chaney's face is unnecessarily blurred, even when using freeze frame and stepping through the scene frame by frame.

Milestone has acknowledged the "ghosting", attributing it to adjusting the frame rate of the film during transfer from video master to video master. Incidentally, the original video master was in PAL format and was converted to NTSC for US, but Milestone claims PAL to NTSC was not the cause. Since they performed the additional restoration/picture cleaning on the overly "ghosted" transfer, it became a trade-off as to whether to present the cleaned up version or the "unghosted" version. Why such extensive restoration was done to a video master with excessive motion blur is beyond me.

For some folks, this will be a minor thing. For others, it will be very distracting and cast a dark cloud over what looks like to be the cleanest `print' of this movie in existence. I will be keeping the other Image DVD edition with the David Shepherd restoration.

Secondly, for the special features, the pause, fast forward, and reverse functions have been disabled. This can be a bit of a nuisance. For example, there is a 21 minute "restored version" of the films' original premiere utilizing stills and expository text. This I was excited about. However, unless you are a speed reader, you won't be able to read everything in one viewing. You can't pause it, or "rewind" to read what you missed. It is like trying to enjoy a book (both text and pictures) with someone else turning the pages for you. If you miss something, you have to start over from page one and go through again.

Again, some of you won't care about the motion blur one iota. Others will feel as I do: This disc should've been a contender but instead, it feels like a missed opportunity.

Warning to all purist. The DVD of the PHANTOM OF THE OPERA is not the triumph of preservation its advertised as being. First and most important to home theatre owners, the transfer is simply not in focus! Unlike in the movie theatre you cant ask the projetionist to refocus the image.. you are stuck with it. Secondly: if the "preservationists" found the best pre-print material in the 1929 synchronized re-edit as described on the liner notes, why in heavens name don't they present it as originally shown? Pretending that it is the silent version by replacing the soundtrack may be the loophole by which the film could be categorized as public domain but it is inherently dishonest to present it as an example of "film preservation". The original silent cut, the synch sound release and the present (refocused) remaster would be much more apreciated service to posterity. Look to other silent film transfers for guidence in image quality limits.If the box indicates that the contents are a "SPECIAL COLLECTOR'S EDITION" and advertises "PRIME..35mm QUALITY" one wishes it lived up to its promise. (DVD version)

I just finished watching one of three versions available on "The Phantom of the Opera" Blu-ray starring Lon Chaney and since then I have checked out the other two versions. First I watched the 20 fps (frames per second) version because I love Gabriel Thibaudeau's score. I was blown away by how sharp the picture looked. I definitely picked up on details I had not noticed before. When the Phantom is in the water, for instance, you can see just how wet the coat is when he climbs back out and details on his face as well. There is also no motion blur as there was on the Milestone release. The one quibble I do have is that there are a few instances in which the movie freezes for a second and then continues running. One place this happens is when Christine jumps up from the couch in the Phantom's cellar. There is a momentary freeze and then also when she wakes up in the morning. It wasn't in Image's DVD release but this appears to be a different print. I have read another writer's review about this problem and he made note of it too. He says the producer of the Blu-ray, David Shepard, is aware of a few of the issues and there apparently will be a second pressing of this Blu-ray with the issues corrected. That is good news. The Alloy Orchestra version, the 24 fps version, did not have the freeze moments. The image details makes this Blu-ray well worth owning. Also, you choose the three versions based on the score. I know that is odd but you choose the Thibaudeau listing on the menu for the 29 version, at 20 fps, and then you choose the Alloy Orchestra Score for the 24 fps 1929 version and you can choose the Gaylord Carter score instead if you wish as it pops up and gives you the choice. The Jon Mirsalis commentary is on the Thibaudeau version and is interesting. Finally, you can choose the 1925 Phantom version by choosing the Frederick Hodges score. Although this is a bit different way to choose, I did not find it complicated. The Bonus features include a Phantom Trailer and the Thibauddeau interview, which was interesting. Also included are reproduction program photos as well as the shooting script on screen. I understand Milestone will release a version next year which will include the Carla Laemle interview from their DVD release a few years ago and a few other items. In the meantime, I am fully happy I purchased this. The Phantom, believe me, has never looked better and again, there is no motion blur. This is a Sweet release. I highly recommend it if you love Chaney and/or the Phantom. One thing I should add is that you get the proper aspect ratio. If you have a widescreen TV it is displayed in a square fashion as the movie was originally presented. If you own the "Wizard of Oz" on Blu-ray, it is identical in the way it is presented. It is so cool to see the Phantom in HD! Purchase this one today. You will be glad you did.

This Phantom of the Opera shows its age, to be sure, but it has held up surprisingly well. While co-stars Mary Philbin and Norman Kerry hardly set the screen on fire (as commentator Jon Mirsalis notes), an evocative and then-gargantuan production design, as well as Chaney's commanding performance more than make up for the lack of chemistry between the supposed romantic duo. What is so fascinating about this film is that Chaney is really not all that present and yet his presence looms over the entire film in a menacing way. For the first half hour or so, he's only seen sparingly, and then only in shadow or silhouette, making the iconic unmasking of him in the bowels beneath the Paris Opera all the more dramatic. Director Rupert Julian (aided by an uncredited Edward Sedwick and even Chaney himself for reshoots Laemmle ordered both for the 1925 and rejiggered 1929-30 versions) keeps things moving fairly briskly, though truth be told the original 1925 version can be a somewhat slow slog at times, despite its more coherent and cohesive storyline. The special effects are really quite convincing considering the age of the film, and Chaney's makeup certainly still retains its horrific nature and certainly is still easily one of the most disturbing transformations in the annals of film, silent or otherwise.

The Phantom of the Opera is presented on Blu-ray with an AVC codec. The 24fps 1929 version is offered in 1080p in a 1.2:1 aspect ratio. The 20fps 1929 version is presented in 1080i in a 1.2:1 aspect ratio. (I have emails and phone calls into various sources to find out if the interlaced presentation of this version is one of the technical issues with the first pressing of the BD which David Shepard has mentioned publicly). The 1925 version of the film is presented in 480p standard definition in an aspect ratio of 1.37:1. The press releases accompanying this release are a tad confusing. While there's no question that the 24fps 1929 version was sourced from a 35mm negative, some press releases make it seem like the 20fps version was sourced from either the same negative (which doesn't seem technically possible, frankly, considering the different frame rates) or another one, but there is no question that the 20fps version comes from a different, and decidedly inferior source element, than the 24fps version.The good news is that the 24fps 1929 version is going to be a minor (perhaps even a major) revelation to those who have grown up with inferior 16mm transfers of this film. The transfer is surprisingly damage free. The two strip Technicolor Bal Masque sequence looks great,with the reds popping magnificently. Several other sequences have been hand colored to recreate the original Handschiegl Color Process. The 24fps version offers superior clarity and sharpness, within reasonable expectations. The 20fps 1929 version is a rather major step downward in quality, at least in terms of damage. This version has considerably more wear and tear, with many more scratches, flecks and specks dotting the image with fair regularity. It still has some nicely sharp moments and those who prefer 20fps for their silents will most likely not be too disappointed. The 1925 version, in standard def and sourced from a 16mm print, is obviously the worst looking of the bunch. The image is often quite fuzzy and some of the inserts, as in the letters which are seen in close-up,are quite poor.
Recommended on Bluray.

I must admit, having seen various incarnations of this classic on video, that I expected very little, vis-a-vis the DVD version. Boy, was I surprised! This is yet another triumph by Blackhawk Films. The image quality is superb, with color tintings that greatly enhance this seminal silent film. Lon Chaney is, of course, magnificent as the demented and malformed Phantom who haunts the Paris Opera House. His most well-known role (deservedly so, how DID he create that extra-ordinary make-up?) is a timeless one, as a man longing for love, but who can never obtain it. This version features a beautiful symphonic score by Gabriel Thibaudoux, and as far as silent films go, a very impressive one. A newly mastered version at the correct running speed of 20 frames per second, from the original 35 mm print. Trivial? Not if one wants to view this classic as it was meant to be seen. This version also features an essay by Michael Blake, Chaney expert, on the inside of the case. An altogether superior version, highly recommended by a Chaney fan of over 30 years.

There's a couple reviews on here that slam Image Entertainment for its DVD presentation of this Lon Chaney classic, particularly a harsh review entitled "I hate this Image DVD." I believe the reviewers who gave it a thumbs down must actually be the producers of inferior DVD/VHSeditions because the special collector's version I now own is spectacuar. Allow me to rebut the negative criticisms.1. I like the tints. Ths IS the way the movie was originally exhibited and it certainly enhances the film.2. The Thibaudoux score doesn't stop at all like some reviewers would make you believe. It is continuous throughtout the film and most deinitely increases the suspense. It's a wonderful composition and works great with the movie.3. One reviewer complained that the black bars on each side of the screen makes him feel like he's watching the movie through a saloon door. Not the case for me. After the first minute, I didn't even realize the bars were there. Just like when I watch a widescreen movie, the black bars in this case don't bother me at all. At least I know I'm seeing the complete image.4. The action flows smoothly and DOES NOT "ooze" aross the screen like molasses in January. I think they person who said that ought to stick with Keystone Kops flicks if that's what he or she is looking for.Overall, I enjoyed this DVD presentation of Phantom tremendously and highly recommend it. The Image version is, by far, the best on the market.

The PHANTOM OF THE OPERA with Lon Chaney that most everyone knows is not the original version of the film. It is a 1929 reissue with several changes made to accomodate the addition of sound. Ironic that one of the most famous silent films of all time should be known from a sound version that lost its voice. New footage was shot, characters were changed and most important of all whole scenes were rearranged or eliminated altogether. This makes the storyline much harder to follow and interrupts the flow of the film when compared with the original which sticks much closer to Gaston Leroux's novella except for the rousing chase scene added at the end by the studio (shades of FATAL ATTRACTION!). Now thanks to Milestone/Image with this handsome 2 DVD set you can have both versions and make the comparison for yourself. As the 1929 film is discussed in much greater detail in several other reviews, I shall focus on the original 1925 version.

The biggest problem with it is that it hasn't been restored. Yet. There are reports that a restoration of it is underway along with Chaney's other famous Universal horror, THE HUNCHBACK OF NOTRE DAME. The problem is that both of these films exist only in 16mm reductions made for the home market back in the 1920's. While the quality will never be that of the 1929 version which exists in 35mm, it is possible as in the case of MERRY-GO-ROUND (which was also directed by Rupert Julian and discussed by me in a review of that film) to significantly improve the picture quality. I shall look forward to that day as I much prefer the 1925 version not only for a clearer storyline and better motivated characters (Raoul and Christine have more depth and Inspector Ledoux of the Secret Police actually makes sense) but for its more expressive title cards and overall pace. While longer than the 1929 reissue it seems shorter due to the way it unfolds drawing the viewer in more. It is a true silent film rather than one reedited for sound.

Until the restored version of the original appears this one will have to do and rates 4 stars instead of 5. Here's a tip to maximize your viewing experience. Decrease the brightness mode on your TV along with the contrast as this reduces the overall stark quality by softening the image. In closing special thanks should be given to Jon C. Mirsalis for creating a fine score to accompany the 1925 version. While not as sumptuous as the Carl Davis score for the other, it does set the mood perfectly.

The IMAGE entertainment restoration of the 1929 "Phantom of the Opera" starring Lon Chaney is a bit hit. The two-disk set is definately the definitive choice to own by all serious collectors. The clarity is better than any version I've seen to date, and for the first time, the correct running speed has been instituted here. The tradeoff however, is that the motion is somewhat choppy from too few frames. The characters move in proper real-time, and for the first time, you can see naturalistic movement in such scenes as the opening ballet sequence.

True fans need look no further than this two-disk Masterpiece Collection set from IMAGE. This is definately the one to own! The film is tinted and comes in a selection of three seperate sound tracks to choose from: a terrific new orchestrated score, the original sound score from the 30s, and a voice-over commentary track, which is insightful.

The second disk contains the original 1925 film, which few people have ever seen today. The quality is poor, but there are many scenes that are different from the version that we're all familiar with. It's worth watching.

But you cannot beat the restoration of the 1929 version on disk one of this set. It isn't quite the job that KINO put into Fritz Lang's "Metropolis" last year, but is terrific nonetheless. Thank you IMAGE. Great DVD!

Lon Chaney made over 150 films!! 99.9% of which were silent ones. Chaney was born to deaf parents, which proved to be a great contributing factor to his acting genious of the silent screen! Father of Lon Chaney Jr. (1941 Wolfman fame). He died in 1930!

The "Man of a Thousand Faces" a nick name he received because of his unbelievable ability to be the master of disguise (both facial and body contortion wise).

This "Phantom of the Opera" (1925/this is the 1929 re-released 35mm version) DVD has recaptured the unique splendor of Gaston Leroux's famous novel of the same name and the genius of the Greatest Make-up and Acting genius of the Silent Screen, Lon Chaney.

Perfectly digitally remastered the Full Screen presentation is excellent with the original 2/color Technicolor "Bal Masque" scene and Technicolor hues to enhance this visual silent classic. (Hue examples; Blue - Outside Sequences, Yellow - Inside the Opera House, Green - Opera House Cellar, Orange - Phantoms Catacombs, Red - The fire sequences).

A new Sychronized digital stereophonic orchestral score (by Gabriel Thibaudoux), to include operatic voice sequences, enhances the entertainment value of this great story.

Summary: The masked Phantom (Lon Chaney), Erik horribly disfigured lives in the Catacombs beneath the Opera House in 19th Century Paris. He falls in love with a young operatic understudy Christine (Mary Philbin a real life ballerina). Kidnaps and holds her hostage in his Catacomb lair. Cristene's boyfriend Raoul (Norman Kerry) pursue the Phantom into the dark world below. The Phantoms famous "Bal Masque" and the "Unmasking" scenes high-light this Classic Silent Film.

This is considered by Hollywood to be the first great horror film and best of the silent era.

Extras: includes many stills with the construction of the Paris Opera House on Universal's backlot (today it stills stands as Stage 28. Imagine that!)

The life of Lon Chaney can be enjoyed by the 1957 screen bio film "Man of a Thousand Faces" starring James Cagney as Lon. (see my review)

This is the best of Lon Chaney and a the taste of his and Hollywoods genius during the Silent years of Hollywood. Enjoy!