"Posters arrived in great condition - better than even I expected them to be. I really cannot express to you how very happy I am with you and your company!"
Jada A.
San Antonio, TX

View More >>

Variety, September 9, 1925

The Phantom of the Opera (1925)

Universal production featuring Lon Chaney, Mary Philbin and Norman Kerry. Directed by Rupert Julian. Adapted from the novel of the same name by Gaston Leroux. At the Astor, New York, for run starting Sept. 6. Running time, 101 mins.

The Phantom	Lon Chaney
Christine Dane	Mary Philbin
Raoul de Chagny	Norman Kerry
Ledoux	Arthur Edmund Carewe
Simon Buquet	Gibson Gowland
Philip de Chagny	John Sainpolis
Florine Papillon	Snitz Edwards

Universal has turned out another horror.

This newest of U specials is probably the greatest inducement to nightmare that has yet been screened. If the picture equals in dollars the sleepless hours it will cause the children who view it, U has a money film on its hands — and it’s reported the production cost approached $1,000,000, including over $50,000 for retakes, far above the firm’s expectations.

It’s not a bad film from a technical viewpoint, but revolving around the terrifying of all inmates of the Grand Opera House in Paris by a criminally insane mind behind a hideous face, the combination makes a welsh rarebit look foolish as a sleep destroyer.

Lon Chaney is again the "goat" in the matter, no matter if it is another tribute to his character acting. His makeup as the hunchback within the Notre Dame Cathedral was morbid enough, but this is infinitely worse, as in this instance his body is normal with a horrible face solely relied upon for the effect.

Following the "Hunchback" thing it becomes a moot question whether or not Chaney’s name in connection with a picture is going to keep children away from a theatre. Any number of "Unholy Threes" cannot erase the impression of these two makeups. While adults may throw off the hideous film characterizations if leaves an aftermath that can’t be too favorable for Chaney as a general draw.

Assuredly it is ruinous to any juvenile appeal.

Universal is evidently out to establish itself as the champ ghost story telling firm among film producers. There can be no question of its supremacy after seeing this one. Late in the footage it is learned the Phantom is an escaped inmate of an asylum for the criminally insane. This explains his fiendish means to gain any desired end, and a musical twist in the degenerate brain allows for his taking up an abode in the cellars of the opera house.

The love angle is encountered in the persons of an understudy (Miss Philbin) whom the Phantom cherishes while she is also the sole thought of her military lover (Mr. Kerry).

The girl is twice abducted by the Phantom to his cellar retreat, and the finish is built up by the pulling of levers, concealed buttons, etc., to make active secret doors, heat chambers, flooding passages and other appropriate devices. To add to the general cheerfulness it is revealed that the Phantom sleeps in a coffin flanked by two enormous candles.

However, the kick of the picture is in the unmasking of the Phantom by the girl. Told she is in no peril while his mask remains untouched, the girl satisfies the audience’s curiosity by lifting it from behind. The resultant "shot" is from the front. Between Chaney’s horrible facial makeup and the expression thereon it’s a wallop that can’t miss its objective.

There is actually no work for the cast inasmuch as the story carries the picture, neither is there any comedy to relieve. Kerry is a colorless hero in this instance, Miss Philbin contents herself with being pretty and becoming terrorized at the Phantom, and Chaney is either behind a mask or grimacing through his fiendish makeup. It’s rather a costume picture, with uniforms abounding and the women assuming attire made famous by family albums.

Julian has done well enough with his directing. An operatic ballet is a well-staged bit, while views of the auditorium of the opera house, entrance and foyer have been done in natural colors. Also included in this is a masque ball.

There’s plenty of melodramatic "hoke", while the climax is ridiculous. Following 100 minutes of gruesomeness, terminating with a mob beating out the brains of the Phantom on a wharf, is shown the girl and her officer in the proverbial clinch proceeded by a subtitle explaining it’s the honeymoon. That addition can go right out, for it is impossible in the face of the previously established morale and the picture can stand cutting.

It’s understood that the time taken, money spent and the retakes necessary for this release are what sent Carl Laemmle to Europe. Undoubtedly a big effort for Universal, the "Phantom" will appeal to those addicted to gruesome narrations.

How many will wish they hadn’t seen it is something else again.

There has been no doubt in the trade for some time that the bunch knew they had a bad boy in this one, but were helpless after the money poured in and had to go through with it. Shown some me ago in San Francisco to obtain a line on what they had, what they had didn’t please them nor San Francisco. It was then retakes were ordered, with some attempt to insert comedy. Exploitation was the final point decided to push over the picture. There has been much of that in and around New York. Placing the picture as a special on Broadway may tend to fool some exhibitors, but every exhibitor solicited or persuaded or intending to play this picture should either see it first in person or have some member of his family see it before presenting this horrifier before his patronage.

It’s impossible to believe there are a majority of picture goers who prefer this revolting sort of a tale on the screen. It is better for any exhibitor to pass up this film or 100 like it than to have one patron pass up his theatre through it.

copyright © 1925 Variety