The Phantom of the Opera [PG]

Beneath the Paris Opera, below the cellars, tombs, and torture chambers dwells the mysterious ‘Phantom of the Opera’: a musical master with an ear, and eye, for true talent. When he first hears the beautiful Christine sing, he is captivated and, through a series of events, forwards her career and turns her into a star. All he desires in return is for her to come at his call and give him her love. But when that moment comes and she discovers the horror of his true self, she flees and spurns him. Shattered and betrayed, the Phantom vows to have Christine and if he can’t, no one else will. 

Based on the novel by Gaston Leroux, this 1925 silent classic remains the tale’s closest adaptation and, despite its loose plot and one or two scenes where things go a bit awry (a short technicolour sequence at one point, the camera going out of focus at another), this movie still retains its awe-power, namely through the stunning performances that give it shape. I could not help but my find myself at the very end of it in a state of wonderment and, of course, you’ve got to admire the film just for that. 

Beneath the Paris Opera, below the cellars, tombs, and torture chambers dwells the mysterious ‘Phantom of the Opera’: a musical master with an ear, and eye, for true talent. When he first hears the beautiful Christine sing, he is captivated and, through a series of events, forwards her career and turns her into a star. All he desires in return is for her to come at his call and give him her love. But when that moment comes and she discovers the horror of his true self, she flees and spurns him. Shattered and betrayed, the Phantom vows to have Christine and if he can’t, no one else will. 

The story is relatively mild, apparently very close to the book (which I must admit I have a copy of, but have not read), so what really gives this movie its staying power is the brilliant performances, namely those of Lon Chaney and Mary Philbin. 

As the Phantom, Lon Chaney delivers this delicious melodramatic performance that is drenched, absolutely drenched, in drama, love, torment, and a nice dash of darkly funny insanity. There is a sadistic glee that comes across his face on more than one occasion and when he’s not grandiosely spouting for his love for Christine, or nearly moving his audiences to tears with his heartrending cries of woe and betrayal (which you can almost hear), he actually brings a bit of humour into the mix. 

Mary Philbin as Christine begins the movie a bit doe-eyed and ditsy, but soon comes into her own that, by the time she wrenches the Phantom’s mask off (which is so scary even the camera goes out of focus in terror), there’s a real sense of a character there and not some mere vessel of attraction. What I really liked was how her performance was actually really quite genuine. Now keep in mind this is a silent film where facial expressions and gestures have all got to go to 11, Mary’s performance keeps at a level 9 or 10, a great balance that doesn’t make you want to burst out laughing or roll your eyes until they cross. I really liked that. 

Starring Norman Kerry, Arthur Edmund Carewe, Gibson Gowland, John St. Polis, and Snitz Edwards, The Phantom of the Opera is an enchanting piece of cinema that will have you under its curse just like its heroine. Filled with romance, love, amazing sets, drama, horror, action, and a few smatterings of dark comedy, it’s a silent that really stands up. I was in awe by the end.