Customer Reviews

Phantom of the Opera [VHS]

5 star:		(35)
4 star:		(27)
3 star:		(16)
2 star:		(4)
1 star:		(5)

 

 

This 1943 version of THE PHANTOM OF THE OPERA is simply stunning. As other viewers have noted, this version is more colourful musical than bloodcurdling horror (and more in tune with Andrew Lloyd Webber's musical than the Lon Chaney silent).

Claude Rains plays the Phantom. In this version the Phantom is a violinist in the opera's orchestra, trying to get his own music published. Because of arthritis in one of his hands, he gets fired from the orchestra and left virtually destitute. A case of jumping to the wrong conclusion leads him to be severely scarred by acid, and he retreats to the cool and dark of the sewers for refuge.

Susanna Foster plays Christine DuBois, a young singer in the opera chorus, who graduates to the lead roles when the resident diva is murdered by the Phantom. Nelson Eddy plays Anatole, the resident lead baritone who is in love with Christine.

The Technicolor photography is lush and vibrant, superbly reproduced for this DVD. Susanna Foster (and her amazing voice which roams several octaves) is perfectly showcased in the well-executed opera scenes. Also starring Edgar Barrier, J. Edward Bromberg and Jane Farrar.

Followed by THE CLIMAX (which featured Susanna Foster being menaced by Boris Karloff).

I saw the 1943 version of "The Phantom of the Opera" before I read the book and (last) saw the 1925 version. I have to admit that it was not like the book at all, but the Lon Chaney version was a little. Claude Rains was very convincing as the tormented and lovesick Phantom, and was always more interesting than Lon Chaney. But Claude Rains was not given very much screen time, except near the beginning and end of the film. The sets were fabulous. Nelson Eddy and Edgar Barrier were almost constantly trying to win over Christine, and even though these scenes were funny, I've noticed that they can very easily become distractions that seem designed only to de-emphasize Claude Rains, which only hurts the film. Susanna Foster and Nelson Eddy sang a lot, and while these numbers were very nice and a joy to listen to, they were the only time Nelson Eddy really got a chance to shine, which is unfortunate. However, Susanna Foster fared well throughout the entire film. I would not recommend this film to anyone who doesn't like opera, or to anyone who wants to see a lot of the Phantom.

Gaston Lerouxs 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 Chaneys 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 wasnt 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 sinningan idea that would color almost every later adaptation, and Webbers 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, here 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 in the way that 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 films slow pace, the lackluster script, and "sanitized for your protection" tone so typical of Universal Studios in the 1940s.

Like most "Universal Horror" DVD packages, this one is superior. The centerpiece of the bonus material is a very nice documentary, "The Opera Ghost: A Phantom Unmasked," which details the origins of the novel and the numerous film adaptations of itand which is actually quite a bit more interesting than the 1943 film itself. There is also a nice, if somewhat perfunctory, audio commentary track by historian Scott McQueen, trailers, stills, and the like. But when everything is said and done, its the film that countsand unless youre a diehard Phantom fan youre likely to be unimpressed.

Years ago I taped "The Phantom of the Opera" off an old TV Channel. Not to long before I bought my new copy I hauled out the old tape and watched the film. All the colors had shifted and the copy looked like it was old and tired out.
I bought the new print when I saw it was available and had been cleaned up and beautifully restored. I got goose bumps when I saw this new copy.All the life was back and restored. Susanna Foster looked beautiful as the Opera Saprano and Nelson Eddy was in Fine Voice. Not to mention the gorgeous sets in vivid color. I've always said there is nothing like Technicolor. No other process even comes close. The Music is beautiful.Claude Rains makes a fine Phantom. The Screenplay is very good also. Warner Bros. is doing a fine job restoring these old films. I had to give this one 5 stars. I know this is a Horror Flick but it's a beautifully done Horror Flick.

What a quaint idea to cast an actual opera singer, Nelson Eddy, as the baritone. His whole film career at MGM never allowed him to display his talent so beautifully. Claude Raines was very effective as the Phantom, and Susanna Foster, in her first film role was a beautiful and talented Christine. The opera scenes were well staged, and for a 1943 film at Universal, it was quite lavish. The underground lair of the Phantom was chilling--I do believe I read that part of the set was where the Lon Chaney version was filmed. A bit of trivia--this is the only film in which Mr. Eddy did not win the leading lady at the end. Hopefully this convinced him to never dye his blond hair black again and grow a mustache:)

This is a very sweet romantic little film. It bears very little resemblance to the book, but none the less it is a must see for a serious phan. I found Claude Rains very sympathetic and a rather cuddley phantom. The "Raouls" provided some very amusing comic relief, although I personally think that two Raouls is too much! The phantom's make-up is not very impressive, but it's a rather tame film when compared with some other versions. The music is done nicely and the acting is, for the most part, quite good. I reccomend this film.

I had to buy this movie, because I am a Phantom completionist. I am a sap and sucker for saying that, but hey, I have a few Phantom Phan-friends who have more than I do. This is part of the Universal Monsters collection, hailed as something of true splendor, and also... who can go wrong with Claude Rains? Honestly, that man is a true god to Classic Hollywood.

Anyway, to the review. I really like this movie, I do. But it could have been better, but the movie's plot, set-design, and actors save it from being a bad buy.

Erik Claudin is a old violin genius. He knows good music like the back of his hand, and has a pretty decent life. You think... for he is using all the money that he could be using for rent to pay for Christine Daaé's tutilage. He is striken with the poor girl, take it granted he is old enough to be her father. (In a deleted scene, she was.) But he refuses to let himself be known to her.

He has written a concerto, a musical masterpice. And when bringing it to the publishers, in hopes of getting money and having true success, he falsely blames them of stealing it and goes into a mad rapage. The man who makes copies at the printing building, gets killed by his hand and his assistant throws "photo acid" on him, burning his skin. Back then, photo acid would perhaps damage your skin, but nowadays it's more non-toxic, but could really damage your eyes. He becomes scarred and falls down a sewer, leaving behind his old "wanted" life...

Meanwhile, Christine Daaé is being seduced by two people. Her on-stage star Antole, and her "captain" of the police, Raoul. I guess you can say--from the book and the musical--the part of Raoul is divided up between both of the characters evenly. Both wish for her hand... but she plays off them as if she has no desire for them.

The opera managers are being menaced by a Phantom, who leaves them threatening notes warning them to "get rid" of Carlotta. They also take note that their Erik Claudin is missing, but have no idea to put two and two together and find out it's really him.

The first half of the movie is rather boring, only when he becomes the Phantom and starts giving threats, making himself visible, does it show real "Phantom" quality. The key elements of the movie is: The Fly-Space/Catwalk Chase, The Final Opera--The Phantom's Outsmarting and Kidnapping of Christine Daaé, and the ending--where she chooses her carrer over the two Raoul's.

Without the deleted "scene" or sub-plot of Erik Claudin being her father, you would be utterly confused on why the "Melody of the Bells" song means so much to her. Nevertheless, the Phantom was always a "Father Figure" to her, so it's not that important. The sets are a real treat, for the Opera House was reused from the 1925 version of Phantom starring Lon Chaney, and when watching it in it's remastered form (the 1925' version) you can tell! And that set still exists on the Universal Backlot.

All in all, it's a pretty delightful movie to watch. Claude Rains is a superb Phantom and the supporting cast are amazing. Though Christine is a little too stupid. I still don't understand why it would be ranked among the Universal Monsters Classics. Clearly the Lon Chaney is more of a monster film that this one.

I SAW THE PHANTOM OF THE OPERA AT THE AGE OF SEVEN [A LONG TIME AGO I MAY ADD]AND IT SCARED THE PANTS OFF ME, BUT TO DAY I SEE IT AS THE BEST PHANTOM FILM FOR COLOUR AND SINGING,AND YOU REALY DO FEEL YHAT YOU ARE IN A LUSH OPERA HOUSE. NOW THAT IT IS ON DVD IT IS EVEN MORE SO WORTH HAVING IN YOUR COLLECTION, I DONT THINK ANDREW LOYD WEBBERS WILL BE LUSH AND PLUSH AS 1943 PHANTOM.

The 1943 version of Phantom of the Opera has always had, for me, an endearing quality of good-hearted wholesomeness, even with face-destroying acid, deranged obsession, and love so strong it corrupts. On the other hand, the obvious wholesomeness -- Nelson Eddy's game attempt at light romantic comedy and Susanna Foster's peaches-and-cream singing and acting -- are quickly cloying. However, for the sheer comforting pleasure of this great old story of a murderous, misunderstood madman at the Paris Opera, I prefer this version, as weak as it sometimes is, to the grand guignol of Lon Chaney's silent movie or the florid pomposity of Lloyd-Webber's turgid musical. Why? Because it is satisfying fun without uber-drama or much meaning. Does anyone not know the story? Probably not, so we'll pass that by.

What other pleasures does this movie hold besides a great romantic and melodramatic story and the most threatening chandelier in Paris? There's that lush Technicolor look that shows off with rich color the sets, the costumes and the complexions of the actors. Claude Raines as Enrique Claudin gives a touchingly mad performance as a humble violinist who wrote a great concerto and who fell hopelessly in love with Christine Dubois (Susanna Foster), a beautiful young soprano for whom he beggared himself secretly paying for her vocal lessons. Eddy, as Anatole Garron, the star baritone at the Opera, and Edgar Barrier as Raoul D'Aubert, a senior officer with the Surete, are amusing as the Mutt and Jeff competitors for Susanna Foster's favors. The ornate and gilded stage set of the interior of the Opera gives movie "quality" a new meaning. And the dark, dank, damp catacombs beneath the Opera, reached by slimy stone steps and lit only by guttering candles in hand-held lanterns, are just part of the shivers in store for those foolish enough to follow the Phantom to his lair. There is also the deep, black lake of despair and the music, drifting down from another world. Or, as Claudin describes it to Christine, "You'll love it here when you get used to the dark. And you'll love the dark, too. It's friendly and peaceful. It brings rest and relief from pain. It's right under the Opera. The music comes down and the darkness distills it, cleanses it of the suffering that made it. Then it's all beauty. And life here is like a resurrection." Raines was such a fine actor he could make Claudin a tragically sympathetic character. I'm sure Christine would have been persuaded if she'd only stopped screaming.

The DVD transfer is first-rate, lush and full of color. There are several extras including a commentary track.

Classic portrait of a violinist, whose face has been totally disfigured and who scares to spectators and workers of Paris Opera. One of the most eminent movies of the forties, with a spectacular photography of a team directed by Alexander Golitzen, 14 times nominated and triple winner of the Academy Award.

It's useless to remark the memorable performance of Claude Rains (Mr. Smith goes to Washington, Notorious, Casablanca), one of the most extraordinary French actors ever born.