One of the most eminent horror films ever made and perhaps even the most famous silent horror movie from that time. Lon Chaney starred in over 150 films (most of them silent ones) but he'll always be remembered best for his personification of Erik, the Phantom. And justified! Even though this role was played by many respectable actors afterwards (like Claude Rains, Herbert Lom and Robert Englund) Lon Chaney is and remains the one and only Phantom of the Opera. The film itself is depressing and dark, with terrific photography and settings. Deep down the catacombs of the Parisian Opera building, the phantom reigns in forgotten dungeons and underground lakes. After all these years of dwelling in the opera, he has fallen in love with the unsuccessful singer, Christine. He helps her career a little and threatens to kill the prominent singer Carlotta if she doesn't hand over the her role in Faust to Christine. The until then unknown singer is thankful and meets her `master' in the catacombs. Her appreciation soon turns into fear when she finds out her benefactor is the horribly scarred Phantom of the Opera. The biggest difference between this first version and the later remakes lies in the roots of the Phantom. Here, Erik is said to be an escaped madman whereas he merely only was a hurt romanticist in later versions. His deformed appearance isn't explained and neither is shown how he falls for the beautiful, shy Christine. At least 3 sequences in the 1925 Phantom of the Opera are legendary and still astonishing after almost 80 years. The masked bal, which the Phantoms attends as the `Red Death' is an outstanding horror sequence and truly atmospheric. The grimaces of Chaney seem to look right through the other partygoers and his search for Christine is relentless. Immediately after this scene, the crew moves to the roof of the Opera building and Chaney takes place on top of the Apollo statue. A breathtaking piece of early cinema that stands the test of time like no other. The climax of Phantom of the Opera is an extended series of chasings and battues, resulting in the dramatic (and gruesome) death of our protagonist. Rupert Julian's classic silent has got everything! An actor capable of carrying the toughest role ever written, beautiful scenery, real-life drama, sentiment and romance. And last but not least an unbearable tension Throughout the entire film, you're looking at it with your eyes wide open.
el fantasma de la opera torrent
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Begins when an opera ghost terrorizes the cast and crew of the French Opera House while tutoring a chorus girl. He finally drives the lead soprano crazy so she and her friend leave. The girl is able to sing lead one night but the soprano doesn't want her show stolen so she comes back. The ghost demands they keep giving his protégé lead roles. Meanwhile, His pupil falls in love with the Vicomte de Chagny, but the Phantom is in love with Christine, his student. The Phantom is outraged by their love and kidnaps Christine to be his eternal bride. Will Raoul, the Vicomte, be able to stop this dastardly plan?
Gifted, but deranged and disfigured composer Erik Destler (superbly played with great gusto and passion by Robert Englund) takes sweet aspiring opera singer Christine Day (a winning performance by the always spunky and appealing Jill Schoelen) under his wing and grooms her to become a major star. Moreover, Destler murders several folks in Christine's honor. Director Dwight H. Little, working from a shrewd and compelling script by Duke Sandefur, brings real style, flair and elegance to the often-told tale: the evocation of London in the past is very rich and flavorsome, the production values are stunningly opulent (Destler's subterranean sewer lair is simply amazing!), the music is exquisitely beautiful, the murder set pieces are handled with suitably gruesome panache, and the fiery climax is truly exciting. Little and Sandefur earn bonus points for making a few bold changes to the narrative. For example, Destler in this movie isn't your standard pitiable simpering lovesick fool; instead he's a decidedly unsympathetic lethal and vicious killer who made a pact with the Devil in order to achieve immortality as an artist and now has to bump folks off for their skin. The wrap-around scenes set in modern-day New York are another nice touch; they help make the point that love and music are forever. Englund portrays the juicy role of Destler with deliciously lusty aplomb. Schoelen is likewise excellent as Christine. There are additional praiseworthy contributions by Alex Hyde-White as Christine's dashing suitor Richard Dutton, Bill Nighy as slimy worrywart opera house co-owner Martin Barton, Terence Harvey as the hard-nosed Inspector Hawkins, Stephanie Lawrence as snooty diva La Carlotta, Nathan Lewis as Hawkins' bumbling partner Davies, Molly Shannon as Christine's supportive friend Meg, and Peter Chapham as mean opera critic Harrison. Both Misha Segal's robust, shuddery score and the glossy cinematography by Peter Lyons Collister and Elemer Ragaly are up to par. A worthy and satisfying fright film.
It doesn't happen very often, but I was touched by this film. It's not the first adaptation of the story that I've seen, but it sure is one of the best. In fact, only the silent version starring Lon Chaney beat this version. That version is of course an absolute masterpiece, but I easily dare to say this is one too. It doesn't strictly follow the original storyline as you know it but that alright. You're just staring at it with your mouth wide open (at least, I was...) Claude Rains is just perfect in his role as the phantom. Because of his flawless performance, you feel what he feels and you have get the idea you would take the same actions as he does in this movie. Rains plays Eric Claudin. A rather anonymous violin player in the famous opera of Paris. In all the years he worked there, he grew a strong passion and love for the young and talented singer Christine Dubois. He even wrote a concert for her. But, he's getting older and he gets fired. His only hope now to keep seeing Christine, is to sell his concert and let her sing the main voice. When he gets the idea a production company stole his music, he snaps and attacks a man. During the struggle, Claude gets mutilated horrible by burning acid. From then on he lives in the opera building does everything to make Christine a star...even if that means other people have to die in a brutal way. I can't praise this film enough. It's just perfect in my opinion. The acting, the story, the shock-effects and above all ...the wonderful music. I must admit, if you're not a big fan of opera music, this film will certainly be annoying to you. But hey, you can expect classical music in a version of Phantom of the Opera right ? If you can appreciate a bit of opera singing, this film will have another great extra value to you. I say SEE IT. My humble opinion on Phantom of the opera = 10/10 . A must see !!!
This is a reasonably pleasant remake of "Phantom of the Opera", but that is all. It's not exactly a remake, but more of a re-working of the story, as it bears less semblance to Gaston Laroux's novel than the original film--especially since all the back story they give about how the phantom came to be has NOTHING whatsoever to do with the original story. It's interesting but pays little respect to the source material.The movie is filmed in lovely 1940s Technicolor--not the most realistic, but bright and enchanting nonetheless. But color is NOT the biggest difference between this and the old Lon Chaney film. This new version has a huge emphasis on singing--with lots and lots and lots of music that will enchant opera fans and bore everyone else to death. I really hated the glossy production numbers--they were sumptuous BUT also got in the way of the story. For much of the film, the Phantom seemed ancillary at best--and was more a chance for the studio to show off Nelson Eddy and his co-star.As for the horror, it's so muted and uninteresting that I can scarcely call this a horror film! And, most disappointingly, when the big unmasking scene occurs, you see that the Phantom's face looks pretty nice--so why is the big idiot hiding it under a mask?! I saw nothing of the scary Lon Chaney in this silly Phantom!! I am a devout classic horror fan and really could have cared less about the film--and I felt frustrated that the film just wasn't scary or suspenseful--and that the Phantom really wasn't terribly important to the producers! To me, this film is like a cake from the average grocery store these days--it looks nice but tastes fake! By the way, although the original is by far the best, the early 1960s version by Hammer Films is greatly superior to this 1943 version. It ain't great, but IS still a horror film. Instead, the 1943 version seems too much like a glossier Jeanette MacDonald-Nelson Eddy film with another woman sitting in for Jeanette!!
This 1943 film of Phantom of the Opera has much to like, but also has a lot wrong. Far from a bad film but underwhelming as well considering the talent involved, for fans of opera and visually beautiful films this is for you, for horror fans and purists not so much. Before getting on the many things good about Phantom of the Opera there are things that did let things down. The pacing is plodding too often, not helped by direction that was very skillful but lacking urgency. The comedy scenes vary in effectiveness- too much of it was not very funny really- and would feel much more at home in an Abbott and Costello film, the type of humour did feel out of place here for a story that is essentially a horror drama based on a disfigured man and opera.Nelson Eddy was a wonderful singer, with handsome looks and a nice personal charm but his acting is wooden here, even more so than his performance in Naughty Marietta. And the horror is under-utilised and significantly diluted. The scariest it gets is the phantom's entrance, the death scenes are somewhat silly, with a lack of tense atmosphere and build-ups, and the phantom's face reveal is not shocking enough, even Foster didn't look that shocked.For all the film's problems though, you can't still dismiss it entirely. The lavish production values are just gorgeous to look at and in producing them there is nothing overblown or over-produced about them. It's beautifully shot and filmed as well. The music is sublime too,- then again you are talking to a massive classical music and opera enthusiast who'd if she wanted to would spend hours talking about music, operas and performers she loves- the opera scenes are crucial to the story and are sung, produced and choreographed with so much brio and attention to detail. There are even orchestral pieces like Tchaikovsky's Symphony no.4 adapted into song, that was interesting to hear.Suzanne Foster is beguiling in every single way, and Nelson Eddy gives some of his best ever singing here.(and this is coming from someone who is a big fan of his voice, quite possibly the most beautiful baritone voice on film with Howard Keel too a very close contender). Phantom's entrance and the chandelier scene are very effective, the dialogue is serviceable at the least and some of the romance is sweet. Phantom's back-story was interesting and moving, though it is very understandable why there'd be those who prefer him more ambiguous. Aside from the production values, the best aspect is the subtly menacing yet movingly sympathetic performance of Claude Rains, a really wonderful performance from a screen icon that deserved a better film.Overall, a film of pluses and minuses where either point of view(love or hate, also like, don't care for and mixed feelings) is understandable. 6/10 Bethany Cox 2ff7e9595c
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