A Review by Phil Calabro
1925, Universal, Dir. Rupert Julian/Edward Sedgwick - Starring Lon Chaney, Mary Philbin, Norman Kerry, Arthur Edmund Carewe, Gibson Gowland, John St. Polis, Snitz Edwards, Olive Ann Alcorn, Joseph Belmont, Alexander Bevani, Edward Cecil, Cesare Gravina
There's something amazing about watching the 1925 edition of 'Phantom' in complete darkness. It's a feeling that no words, no elaborate music, or scenery could affect. In its complete monochromatic silence, it continues to be both a lavish picture and a haunting masterpiece. Not to forget, it also proves Andrew Lloyd Webber wrong - you can certainly sum up this plotline in less than two hours. It's hard to say, though, whether Universal meant this to be either one of their classic monster flicks or a substantial drama - because aspects of both can be found in it. Certainly, you're bound to deal with the conflicting relationships of Phantom and Christine and Raoul, but when the infamous unmasking of the Phantom takes place, so does a change of heart. Critics can take it either way they want, but I happen to take both paths - and they both result in a piece of classic cinematic art.
In the creaky depths of the Paris Opera House, the Phantom of the Opera (Chaney) lurks in hopes of finding someone to open his repressive heart which yearns for open air and recognition from the world. But after so many years of being shunned because of his facial deformities, he has remained in the Opera so people won't be horrified by his wretched ugliness. Meanwhile, young Christine Daae (Philbin) is a soprano who the Phantom has taken a great liking to, to the point which he controls her to break off all connection with her true lover Raoul (Kerry). Raoul does not believe in the Phantom, and continues to love Christine. But when strange things keep happening around the Opera House, including several ransom letters ordering for Christine to perform solos, Raoul takes action against the evil Phantom. The monster takes Christine to his depths in order to keep her away from high society.
Considering that this is a silent film, there is not much to say about the acting jobs, so I'll spend this paragraph to highlight this film's focal point - Lon Chaney. The senior 'Man of One Thousand Faces', Chaney has a keen sense of transforming himself to the Phantom through his self-applied makeup and demeanor. It's not some overdone characteristics that do the job, like a hunch or et cetera tics, but his facial expressions and the way he addresses each of his lines in a bravador yet frightening style. He expresses himself very softly to the young Christine, who is very confused of her situation, but then when she unmasks him - that's where it all unfolds. The unmasking is not just another scene, it is where the entire movie begins to progress - from the heart of the monster. And what a face this is! Thinly skinned, almost as if you see the rotting colors through the black-and-white prints. Ferocious teeth bending every single way, and eyes that could burn through wood stare blazingly in the camera. It's even rumored that Chaney cut into his nose to create a more deteriorating look for the skull. This show of face is not just a scary look, but an introduction into the contemporary horror film.
Most lines dictated to us involve the romantic aspects of the film - the relationship that the Phantom invisions with Christine, for the most part. I really appreciated the taciturn nature of the film, because if these lines were spoken, they're come across way too pretentious and wordy. It also shows the dependence on the book by Gaston Leroux rather contemporizing the whole situation - no wonder Webber transcribed the dialogue to music. Also, it's hard to tell how the director wants to portray the Phantom. He allows both sides of the monster to contact Christine - the male lover and the execrable ghoul - but which one fashions the Phantom more? I feel it's a combination of both, a feeling of imagination and self-realization for Phantom, but I guess only Chaney and the director will know for sure.
'PotO' is one of Universal's monster greats, as well as one of their classical masterpieces of all time - a real gem indeed. Sure, it's a bit outdated, but the horror still packs a genuine wallop. There's a great sensation that goes through my body when I watch Chaney stares in horror as Christine whips of his gauzy face - and he turns around in an angry fit and the words jump upon the screen: 'Feast your eyes! Glut your soul on my accursed ugliness!'
