Before Andrew Lloyd Webber was a pixie-like twinkle in his father's
eye, Gaston Leroux's The Phantom of the Opera was most
famously dramatized by the classic silent horror film starring
Lon Chaney. The sumptuously designed movie, shot by Charles Van
Enger, ASC and directed by Rupert Julian, was Universal's "Super-Jewel" production
for 1925. A generous budget was devoted to an incredible full-scale
representation of the Paris Opera House, extended stagings of
scenes from Gounod's Faust, and, for select sequences, two-strip
Technicolor. The Phantom of the Opera was very popular,
and Chaney's indelible makeup and masterful pantomiming secured
it a firm place in movie history. That said, the film itself
is static, often incoherently plotted, and rather dull whenever
Chaney is off camera.
But that shouldn't keep anyone from snatching up this two-disc "Ultimate
Edition" of the film and savoring its offerings, which includes
two separate versions of the film, an outstanding commentary
by historian Scott MacQueen, and a raft of extras, including
a 1973 audio interview with Van Enger. On disc one is Photoplay
Productions' restoration of a 1929 reissue print, featuring remarkably
sharp and clean picture elements and an entire sequence returned
to the original Technicolor. Disc two contains a badly scratched
copy of the 1925 original release version, which is about 15
minutes longer than the reissue.
As MacQueen points out in his commentary, there is no "pure
version" of The Phantom of the Opera, and the movie's
troubled production and extensive reshoots account for some of
its narrative confusion. The film was previewed in early 1925
with a story that followed Leroux's 1910 penny-dreadful novel
fairly closely. Chaney's masked title character, also known as
Erik, haunts the opera house, offering young singer Christine
Daa‚ (Mary Philbin) encouragement as a disembodied voice emanating
from her dressing-room walls. Erik finally whisks Christine away
to his lair in the catacombs, where, in a scene that is still
quite startling, she unmasks him, revealing his disfigurement.
(In this sequence, Julian's lifeless front-and-center staging
is suddenly enlivened by dynamic camera angles; MacQueen accounts
for the shift by theorizing that Chaney, whose disdain for the
director has been well documented, had grabbed the reins.) Christine
briefly escapes and returns to her more conventional lover, Raoul
(Norman Kerry), before she is kidnapped once again by the unhinged
Erik, who, when confronted with her love for Raoul, releases
her and dies.
This ending didn't fly with preview audiences, so the film was
extensively reworked before being screened in San Francisco,
where it bombed. For the general release, most of the new material
(stills from which are included on this DVD) was dumped, with
the exception of a new ending directed by Edward Sedgwick and
shot by Virgil Miller, ASC. In this comparatively kinetic sequence,
the Phantom is run down by a mob and thrown in the Seine. In
1929, all major cast members except Chaney were assembled to
film new dialogue sequences; that footage has been lost, but
the soundtrack remains, and it has in places been synchronized
to the Photoplay restoration (which can also be viewed with Carl
Davis' score).
Despite the visual splendor of the restoration - the Technicolor
Bal Masque sequence, which shows the Phantom descending the opera
house staircase dressed as the Red Death, is really something
to see - there are apparent conversion problems with the transfer
from PAL to NTSC. (The restoration and original video transfer
were done in Britain.) The consistent ghosting and strobing is
very distracting, and does a disservice to such impeccable restoration
work. Still, Ben Carr‚'s sets are shown off to magnificent effect,
as is Van Enger's artful use of silhouette and compositional
depth in backstage scenes to provide a much-needed measure of
visual variety. The restoration also follows the tinting guidelines
of the original release, and includes a digital reconstruction
of a Handschiegl process used to color the Phantom's Red Death
cloak in a scene on the opera roof.
In his audio interview, Van Enger reveals Julian's ineptitude
in a funny anecdote about the episode in which Erik unties the
opera chandelier, letting it fall onto the heads of the audience.
The director insisted on absolute darkness for the scene, somehow
failing to understand that light is a key component in perceiving
action. When Julian demanded to look at the setup through Van
Enger's blue contrast glass, the cinematographer instead handed
him a blue poker chip - and the "view" through the
opaque chip met with the director's approval. What Julian thought
when he saw the resultant, generously illuminated footage has
not been documented.
- John Calhoun