Phantom of the Opera | |
---|---|
Directed by | Arthur Lubin |
Screenplay by | |
Story by | John Jacoby |
Based on | The Phantom of the Opera 1910 novel by Gaston Leroux |
Produced by | George Waggner |
Starring | |
Cinematography | |
Edited by | Russell F. Schoengarth |
Music by | Edward Ward |
Color process | Technicolor |
Production company | |
Distributed by | Universal Pictures |
Release dates |
|
Running time | 92 minutes |
Country | United States |
Language | English |
Budget | $1.75 million [1] |
Box office |
Phantom of the Opera is a 1943 American romantic horror film directed by Arthur Lubin, loosely based on Gaston Leroux's novel The Phantom of the Opera and its 1925 film adaptation starring Lon Chaney. Produced and distributed by Universal Pictures, the film stars Nelson Eddy, Susanna Foster and Claude Rains, as well as being composed by Edward Ward.
The first adaptation of the source material to be filmed entirely in Technicolor, Phantom of the Opera was even more freely adapted than Universal's silent picture. The film reused Universal's elaborate replica of the Opéra Garnier interior, which had originally been created for the 1925 film. Despite mixed critical reviews, the film was a box office success. It is also the only classic Universal horror film to win an Oscar, for Art Direction and Cinematography.
Violinist Erique Claudin is dismissed from the Paris Opera House after revealing that he is losing the use of the fingers of his left hand. Unbeknownst to the conductor, who assumes Claudin can support himself, the musician has used all his money to help anonymously fund voice lessons for Christine Dubois, a young soprano to whom he is devoted. Meanwhile, Christine is pressured by Inspector Raoul Dubert to quit the Opera and marry him. But famed opera baritone Anatole Garron hopes to win Christine's heart despite this. Christine considers them both good friends but doesn't openly express if she loves them.
In a desperate attempt to earn money, Claudin submits a piano concerto he has written for publication. After weeks of not hearing any response about his concerto, he becomes worried and returns to the publisher, Maurice Pleyel, to ask about it. Pleyel rudely tells him to leave. Claudin hears his concerto being played in the office and is convinced that Pleyel is trying to steal it; unbeknownst to him, a visiting Franz Liszt had been playing and endorsing the concerto. Enraged, Claudin strangles Pleyel. Georgette, the publisher's assistant, throws etching acid in Claudin's face, horribly scarring him forever. Now wanted for murder, Claudin flees into the sewers of the Opera and covers his disfigurement with a prop mask stolen from the Opera house, thus becoming the Phantom.
During a performance of the opera Amour et gloire, the Phantom drugs a glass of red wine which prima donna Mme. Biancarolli drinks, knocking her unconscious and asleep. The director puts Christine in her place, and she dazzles the audience with her singing. Biancarolli, who suspects that Garron and Christine are responsible for drugging her, orders Raoul to arrest them, but he says he cannot because there is no evidence. Biancarolli says she will forget the affair only if Christine is replaced as understudy and her performance is not mentioned in the papers. The following night, the Phantom kills Biancarolli and her maid, and the opera is subsequently closed.
After some time, the opera's owners receive a note demanding that Christine replace Biancarolli. To catch the Phantom, Raoul comes up with a plan: not let Christine sing during a performance of the (fictional) Russian opera Le Prince masqué du Caucase ("The Masked Prince of the Caucasus") to lure the Phantom out into the open. Garron plans to have Liszt play Claudin's concerto after the performance, but the Phantom strangles one of Raoul's men and heads to the auditorium's domed ceiling. He then brings down the large chandelier on the audience, causing chaos. As the audience and the crew flee, the Phantom takes Christine down underground. He tells Christine that he loves her and she will now sing all she wants, but only for him.
Raoul, Anatole, and the police begin pursuing them underground. Just as the Phantom and Christine arrive in his lair, they hear Liszt and the orchestra playing Claudin's concerto. The Phantom plays along with the melody on his piano orchestra. Christine watches, realizing the concerto was written around the melody of a lullaby she has known since childhood. Raoul and Anatole hear the Phantom playing and follow the sound. Overjoyed, the Phantom urges Christine to sing, which she does. While the Phantom is distracted by the music, Christine sneaks up and pulls off his mask, revealing his disfigured face. At that same moment, Raoul and Anatole break-in. Claudin grabs a sword to fight them with. Raoul fires his gun at Claudin, but Anatole knocks Raoul's arm, and the shot hits the ceiling, causing a cave-in. Anatole and Raoul escape with Christine, while Claudin is seemingly crushed to death by the falling rocks.
Later, Anatole and Raoul demand that Christine choose one of them. She surprises them by choosing to marry neither one of them, instead choosing to pursue her singing career, inspired by Claudin's devotion to her future. Anatole and Raoul later go to dinner together.
Universal first announced a remake of The Phantom of the Opera in 1935. Set to be directed by Anatole Litvak, this version would have been set in modern-day Paris, and would have portrayed the Phantom as a psychologically wounded World War I veteran who was physically unharmed, but imagined that he was disfigured. [4] However, development lingered as the studio faced financial problems that resulted in the ousting of the original film's producer Carl Laemmle and his son, Carl Laemmle Jr.
Plans for the remake finally surfaced again in November 1941, when Henry Koster became attached to direct. Koster discarded the previous screenplay, and envisioned a new version of the story in which the Phantom was Christine's father. Under Koster, the initial casting included Boris Karloff as the Phantom, Allan Jones as Raoul, and Deanna Durbin as Christine. [5] Eddy was cast after leaving MGM for a two-picture deal with Universal. This led to Durbin refusing the role, not wanting to be compared to Eddy's frequent film partner Jeanette MacDonald, who Durbin admired. [5] Karloff also became unavailable, and Koster also considered Cesar Romero, Feodor Chaliapin, Charles Laughton and Broderick Crawford for the Phantom. [6] Producer George Waggner eventually fired Koster from the project. [6]
After Koster's firing, Arthur Lubin was brought on to direct. Under Lubin, Koster's subplot about the Phantom being Christine's father was jettisoned, because it gave the romantic elements of their relationship incestuous overtones; yet the Phantom's obsession with Christine is still not completely stated within the film. [7] [4] Lubin cast Rains in the film almost immediately, saying he was his "only choice" for the role. [4] Foster, who had just left Paramount Pictures, was cast after meeting Lubin through a mutual friend, and auditioning for Waggner. [4] [8] Filming began on January 21, 1943. [4]
Lux Radio Theater presented a radio adaption of the film on September 13, 1943. Nelson Eddy, Susanna Foster and Edgar Barrier reprised their roles from the film; Basil Rathbone replaced Rains as Erique Claudin. This presentation was produced and hosted by Cecil B. DeMille.
This section needs additional citations for verification .(October 2024) |
The score was written by Edward Ward. For the Amour et gloire opera sequences, Ward adapted music from Tchaikovsky's Symphony No. 4 and used themes by Chopin. He also composed an original theme song, Lullaby of the Bells, which was heard in the film as the Phantom's piano concerto. The movie begins with a fragment from Martha, oder Der Markt zu Richmond (Martha, or The Market at Richmond) written by composer Friedrich von Flotow.
Soundtrack credits
Contemporary reviews were mixed. Bosley Crowther of The New York Times panned the film for being "watered down" from the original, calling the opening sequence "the only one in the film in which the potential excitement of the story is realized", while otherwise the "richness of décor and music is precisely what gets in the way of the tale". [9] Variety called it "a vivid, elaborate, and, within its original story limitations, an effective production geared for substantial grosses". [10] Harrison's Reports called it "a good entertainment, the sort that will direct an appeal to all types of audiences". [11] David Lardner's review in The New Yorker dismissed the film, calling it "by no means a sample of the march of progress in the film world. The old version had Lon Chaney, who scared you plenty, and the new one has Claude Rains, who somehow doesn't". [12] A review in the Monthly Film Bulletin stated that "rarely has a story so novelettish had such conscientious technical excellence lavished upon it" specifically noting that "it ranks among the screen's highest achievements in sound". The review continued that "the same careful effort-if not the same dazzling success-is apparent in casting, camera work, costuming and the numerous sets". [13]
In modern times, the film has received more positive reviews. Rotten Tomatoes gave this version of Phantom of the Opera an average score of 76%, based on 21 reviews from critics. The site's consensus states: "Though it lives beneath the 1925 version, Claude Rains plays title character well in this landmark color version of the classic tragedy". [14] Diabolique magazine said "the story was reconfigured as a musical more than a horror saga... Once you accept that, this works well on its own terms and Lubin's touch is assured; it looks splendid". [15] However, many horror fans — especially those of the classic Universal monster films — have criticized the film for focusing on more on the musical aspects of the film, and downplaying or eliminating the horror elements that were found in the original film.
Lon Chaney Jr. was reportedly unhappy that the studio never seriously considered him to play the role made famous by his father, even though he was under contract to them. Chaney reportedly also resented Rains for his portrayal. [4]
Following the success of Phantom of the Opera, Universal announced that a sequel would be made, titled The Climax . [7] Nelson Eddy and Susanna Foster were to return, along with Claude Rains as the Phantom, most likely meaning that his character survived the cave-in at the finale of the first film. The sequel, however, was later cancelled due to story troubles and problems concerning the availability of Claude Rains. Universal reworked the film completely, so it is not related to Phantom of the Opera; Foster stars in the film, alongside the original choice for the Phantom, Boris Karloff.
The film was nominated for four Oscars, becoming the only film in the studio's horror franchise to be nominated. It ultimately won in two categories at the 16th Academy Awards ceremony: [16]
Creighton Tull Chaney, known by his stage name Lon Chaney Jr., was an American actor known for playing Larry Talbot in the film The Wolf Man (1941) and its various crossovers, Count Alucard in Son of Dracula, Frankenstein's monster in The Ghost of Frankenstein (1942), the Mummy in three pictures, and various other roles in many Universal horror films, including six films in their 1940s Inner Sanctum series, making him a horror icon. He also portrayed Lennie Small in Of Mice and Men (1939) and played supporting parts in dozens of mainstream movies, including High Noon (1952), The Defiant Ones (1958), and numerous Westerns, musicals, comedies and dramas.
The Phantom of the Opera is a novel by French author Gaston Leroux. It was first published as a serial in Le Gaulois from 23 September 1909 to 8 January 1910, and was released in volume form in late March 1910 by Pierre Lafitte. The novel is partly inspired by historical events at the Paris Opera during the nineteenth century, and by an apocryphal tale concerning the use of a former ballet pupil's skeleton in Carl Maria von Weber's 1841 production of Der Freischütz. It has been successfully adapted into various stage and film adaptations, most notable of which are the 1925 film depiction featuring Lon Chaney, and Andrew Lloyd Webber's 1986 musical.
The Phantom of the Opera is a musical by Andrew Lloyd Webber, lyrics by Charles Hart, additional lyrics by Richard Stilgoe, and a libretto by Lloyd Webber and Stilgoe. Based on the novel by Gaston Leroux, it tells the tragic story of beautiful soprano Christine Daaé, who becomes the obsession of a mysterious and disfigured musical genius living in the subterranean labyrinth beneath the Paris Opéra House.
The Phantom of the Opera is a 1925 American silent horror film adaptation of Gaston Leroux's novel of the same name directed by Rupert Julian and starring Lon Chaney in the title role of the deformed Phantom who haunts the Paris Opera House, causing murder and mayhem in an attempt to make the woman he loves a star. The film remains most famous for Chaney's ghastly, self-devised make-up, which was kept a studio secret until the film's premiere. The picture also features Mary Philbin, Norman Kerry, Arthur Edmund Carewe, Gibson Gowland, John St. Polis and Snitz Edwards. The last surviving cast member was Carla Laemmle (1909–2014), niece of producer Carl Laemmle, who played a small role as a "prima ballerina" in the film when she was about 15 years old. The first cut of the film was previewed in Los Angeles on January 26, 1925. The film was released on September 6, 1925, premiering at the Astor Theatre in New York.
Leonidas Frank "Lon" Chaney was an American actor and makeup artist. He is regarded as one of the most versatile and powerful actors of cinema, renowned for his characterizations of tortured, often grotesque and afflicted, characters and for his groundbreaking artistry with makeup. Chaney was known for his starring roles in such silent horror films as The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). His ability to transform himself using makeup techniques that he developed earned him the nickname "The Man of a Thousand Faces".
Edna Mae Durbin, known professionally as Deanna Durbin, was a Canadian-born American singer and actress, who moved to the U.S. with her family in infancy. She appeared in musical films in the 1930s and 1940s. With the technical skill of a legitimate lyric soprano, she was known for singing opera and semi-classical music, which is today called classical crossover.
Nelson Ackerman Eddy was an American actor and baritone singer who appeared in 19 musical films during the 1930s and 1940s, as well as in opera and on the concert stage, radio, television, and in nightclubs. A classically trained baritone, he is best remembered for the eight films in which he costarred with soprano Jeanette MacDonald. He was one of the first "crossover" stars, a superstar appealing both to shrieking bobby soxers and opera purists, and in his heyday, he was the highest paid singer in the world.
The Wolf Man is a 1941 American gothic horror film written by Curt Siodmak and produced and directed by George Waggner. The film stars Lon Chaney Jr. in the title role. Claude Rains, Warren William, Ralph Bellamy, Patric Knowles, Bela Lugosi, Evelyn Ankers, and Maria Ouspenskaya star in supporting roles. The title character has had a great deal of influence on Hollywood's depictions of the legend of the werewolf. The film is the second Universal Pictures werewolf film, preceded six years earlier by the less commercially successful Werewolf of London (1935). This film is one of the Universal Monsters movies, and garnered great acclaim for its production.
Christine Daaé is a fictional character and the female protagonist of Gaston Leroux's 1910 novel The Phantom of the Opera and of the various adaptations of the work. Erik, the Phantom of the Opera and Viscount Raoul de Chagny both fall in love with her.
Turhan Bey was an Austrian-born actor of Turkish and Czech-Jewish origins. Active in Hollywood from 1941 to 1953, he was dubbed "The Turkish Delight" by his fans. After his return to Austria, he pursued careers as a photographer and stage director. Returning to Hollywood after a 40-year hiatus, he made several guest appearances in 1990s television series including SeaQuest DSV, Murder, She Wrote and Babylon 5 as well as a number of films. After retiring, he appeared in a number of documentaries, including a German-language documentary on his life.
The Phantom of the Opera is a 1990 American two-part television miniseries directed by Tony Richardson and starring Charles Dance in the title role. It is adapted from Arthur Kopit's book from his stage musical Phantom, which is based loosely on Gaston Leroux's 1910 novel.
The Phantom of the Opera is a 1962 British horror film directed by Terence Fisher and starring Herbert Lom, Heather Sears and Edward de Souza. The screenplay was by Anthony Hinds loosely adapted from the novel of the same name by Gaston Leroux. The film was made by Hammer Film Productions but was a financial disappointment.
There have been many literary and dramatic works based on Gaston Leroux's 1910 novel The Phantom of the Opera, ranging from stage musicals to films to children's books. Some well known stage and screen adaptations of the novel are the 1925 film and the Andrew Lloyd Webber musical ; Susan Kay's 1990 Phantom is one of the best known novels and includes in-depth study of the title character's life and experiences.
Susanna Foster was an American film actress best known for her leading role as Christine in the 1943 film version of Phantom of the Opera.
The Climax is a 1944 American horror film produced by Universal Pictures. The credits state this George Waggner film is based on the 1909 play of the same name by Edward Locke, although the plot has little connection to Locke's play. Originally intended to be a sequel to Universal's remake of the Phantom of the Opera (1943), it featured new characters and a new plot.
Erik is the titular antagonist of Gaston Leroux's novel Le Fantôme de l'Opéra, best known to English speakers as The Phantom of the Opera. The character has been adapted to alternative media several times, including in the 1925 film adaptation starring Lon Chaney, the 1943 remake starring Claude Rains, the 1962 remake starring Herbert Lom and Andrew Lloyd Webber's 1986 musical.
I'll Be Yours is a 1947 American musical comedy film directed by William A. Seiter and starring Deanna Durbin. Based on the play A jó tündér by Ferenc Molnár, the film is about a small-town girl who tells a fib to a wealthy businessman, which then creates complications. The play had earlier been adapted for the 1935 film The Good Fairy by Preston Sturges.
The Phantom of the Opera may refer to:
Bowery to Broadway is a 1944 American film starring Maria Montez, Jack Oakie, and Susanna Foster. Donald O'Connor and Peggy Ryan also had a small specialty act, and it was the only film they were in together where they did not have a name or character.
James Wheaton Chambers was an American actor during the 1930s, 1940s, and 1950s. He appeared in more than 200 films and television series during his career.