The Phantom of the Opera (1925/30): *****

Who doesn’t know the basic premise of The Phantom of the Opera by this point? Thanks to Andrew Lloyd Webber’s musical of the same name, Phantom is part of modern popular culture, especially in musical theatre where aspiring young sopranos try to hit the end notes of the titular song, often with little success and damaging nearby eardrums. But just in case. This first film adaptation (of many) of Gaston Leroux’s pulpy novel takes place at The Paris Opera House, which is opening their new season. When the Opera House’s leading prima donna Carlotta (Mary Fabian) suddenly falls ill, corps de ballet member Christine (Mary Philbin) quickly takes over her role with great success. Her childhood sweetheart Raoul (Norman Kerry) wants to marry her, but Christine’s mysterious musical tutor stands between their love. He is revealed to be the Phantom (Lon Chaney), who haunts the Opera House by scaring the ballerinas and murdering curious stage-hands, much to the annoyance of the Opera House’s management. Will Christine succumb to the will of the Phantom or will she escape from him and be united with Raoul? 

Considering this film is ninety years old this year, The Phantom of the Opera is still a pinnacle in Gothic horror. It does show its age in places in the slapstick routines involving a buffoonish stage hand. Additionally the broad acting style, common in silent films, does not always hold up, particularly when portraying ballerinas as ditzy, randomly twirling around on the spot. Christine really does not have much going for her to the modern viewer; she is the early 20^th century Bella Swan. These problems are swept aside by the main star of The Phantom of the Opera, Lon Chaney as the Phantom himself. 

Chaney could have easily played the Phantom just as a cackling devil that torments the Opera House, which he does with abandon. He is genuinely frightening at points as he looms over Christine, especially when the mask is off. Chaney’s make-up is astonishing to look at, however, whilst the make-up is iconic, his performance is even more so. Lon Chaney brings a lot of weary sorrow to his performance; he extends his hands to try to reassure Christine that he means her no harm. The Phantom is aware that his appearance frightens others, but you can see his pain when Christine does recoil in horror, the same as everybody else. When later the Phantom slumps against a wall, heartbroken by Christine’s reactions toward him, it is hard not to feel sympathy for the poor murdering guy. Lon Chaney’s performance is easily one of the best aspects of the film, if not the best.

Everything about The Phantom of the Opera screams atmosphere. The lighting in the film is influenced to some degree by German Expressionism, the Phantom’s shadow looms above the terrified cast. There is a strong contrast between light and dark, in one scene Christine is pulled away from the light and down the stairs into the darkness. The 1930 reissue of the film also used colour tinting, using a warm light brown for many of the Opera House interiors, becoming blue and green as characters journey into the cellars, and then turning rusty coloured as they approach the Phantom’s lair and danger. One striking use of colour is during the rooftop scene, as the Phantom overhears Christine and Raoul’s plans for escape. The Phantom’s red cloak billows around him stark against the blue-tinted scene, as he listens from above in rage at Christine’s betrayal. 

Tall arched stone corridors rear above the characters as they enter the cellars of the Opera House. Sometimes it is a spiral staircase or a zigzagging walkway they follow, but they are always descending further down into the depths. The lake reflects the curved ceiling above it, creating a rippling tunnel as they sail across. All of this and more creates a moody Gothic atmosphere which envelopes around the characters. The music score, by Gabriel Thibaudeau in the 1990 version, fits in nicely with the film. It captures the bustling nature of the Opera House, the Phantom’s melancholy and helps deliver the scares as well.

The Phantom of the Opera is required viewing for anyone interested in early horror or atmospheric Gothic films, with an iconic performance by Lon Chaney.