One hundred years ago tomorrow, »The Phantom of the Opera« premiered at the Curran Theatre in San Francisco and was a complete flop with audiences ... for the second time! But more on that later ...
One hundred years is quite a long time, and of course, that's apparent when watching the film. Lon Chaney's first appearance as the Phantom is slowly and carefully prepared, but aside from the magnificent sets of the Paris Opera on the legendary Stage 28 the first 45 minutes of the film exude, for a modern audience, mostly boredom. After that, the film slowly picks up pace, and for the first time, we see a little more of the Phantom, whom we've only caught a few glimpses of before as a shadow or a quickly passing figure. Now, Christine Daae (Mary Philbin) comes face to face with her masked mentor for the first time.
It takes almost an hour until we finally experience the big moment we've all been waiting for. Lon Chaney, as the masked Phantom, plays devotedly on his organ. Behind him stands Mary Philbin, wrestling with her curiosity. She wants to know who is behind the mask. Finally, she can no longer resist the temptation - she tears the mask off his face and we witness one of the first jump scares in film history.
Lon Chaney, also known as the Man with a Thousand Faces, always did his own film makeup and often endured physical torture for his art. For his Phantom mask, which was kept top secret until its unveiling in the aforementioned film scene, he created the illusion of his noseless skull with the help of a piano string that positioned his nostrils. Even today - 100 years later - this dramatic appearance still resonates.
When we talk about Lon Chaney today, it is often these masks that are repeatedly highlighted. Be it his Quasimodo in »The Hunchback of Notre Dame«, his appearance in the sadly lost »London After Midnight« and of course »The Phantom of the Opera«. But it's often overlooked what a great actor Chaney was - just look at his highly nuanced handwork!
Memorable scenes in the film also include the masked ball scene on the steps of the opera house, shot in Technicolor two-color, and Chaney's appearance as the Red Death, as well as the hand-colored scene on the roof of the opera house with Chaney in his bright red costume. It's still spooky to this day!
The film's production history was extremely difficult. According to cinematographer Charles Van Enger, the relationship between Chaney, the other cast members, the crew and director Rupert Julian was strained. Eventually, the star and the director stopped speaking, Van Enger served as a go-between. He would report Julian's directions to Chaney, who responded: „Tell him to go to hell.“
The first cut of the film was shown in Los Angeles in January and was a failure with both studio executives and test audiences. It's unclear whether Rupert Julian dropped out or was fired. In any case, Edward Sedgwick was commissioned to do extensive reshoots to save the film. Sedgwick attempted to shift the film's plot toward a romantic comedy with action elements. This attempt, as mentioned above, also backfired.
Universal editor Maurice Pivar and director Lois Weber re-edited the film. Most of the scenes shot by Sedgwick were cut, with the exception of the ending, in which the Phantom is chased by a mob and subsequently thrown into the Seine. Much of the original footage from Julian was reinserted into the movie. This final version premiered on September 6, 1925, at the Astor Theatre in New York City. We still see this back and forth today with some major blockbuster productions. It seems like not much has changed in 100 years.
In the end, the film was a huge success. Even though it's more melodrama than horror, Lon Chaney's appearance here, as well as in other silent films of the 1920s, marked the beginning of what would later usher in the golden age of Universal Monsters in the early 1930s and after the introduction of sound.
Even if the plot and character models are now a bit dated, the film is of course an important document of film history that should be seen at least once. »The Phantom of the Opera« is now in the public domain and you can watch it on YouTube for free:
https://youtu.be/uA2pvD-hx9YKaustic Plastik and Infinite Statue & Collectibles have paid homage to the great Lon Chaney in two ways: First with a 1/6 scale figure of »The Phantom of the Opera«, the deluxe version of which even includes a movie-accurate organ. The second Chaney incarnation is the Man in the Beaver Hat from »London After Midnight«, the holy grail of lost films. This version is also available in a deluxe edition, which includes the pendulum clock that can be seen in many stills:
https://www.space-figuren.de/Kaustic-Plastik