Overview
Tagline:
In flaming Technicolor!
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Awards:
Won 2 Oscars.
Another 2 nominations
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User Comments:
Horror may be muted...but the music is glorious...
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| Nelson Eddy | .... | sculptor: bronze statue of Christine DuBois |
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Additional Details
Runtime:
92 min
Color:
Color (Technicolor)
Aspect Ratio:
1.37 : 1
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Sound Mix:
Mono (Western Electric Recording)
MOVIEmeter: 
No change since last week
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Fun Stuff
Trivia:
Universal Studio originally planned to rewrite Phantom of the Opera as a comedy for the team of Bud Abbott and Lou Costello. They also considered casting
Lon Chaney Jr. as "The Phantom," a role made famous by his father, and actor
Jon Hall as the romantic lead.
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Goofs:
The climatic scene (Christina unmasking the "Phantom" as he is playing the piano) takes place in Claudin's underground lair in the sewers beneath the Paris Opera House. To get there they pass through tunnels, descend several stone staircases, and navigate a narrow ledge beside an underground "lake." So how the heck did Claudin manage to get a grand piano down there?
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Quotes:
[
Claudin is talking to Christine as they descend into the catacombs beneath the Opera]
Enrique Claudin:
See? Didn't I tell you it was beautiful? You didn't know we had a lake all to ourselves, did you?
[
Christine covers her face and sobs]
Enrique Claudin:
They've poisoned your mind against me. That's why you're afraid. Look at your lake, Christine. You'll love it here when you get used to the dark. And you'll love the dark, too. It's friendly and peaceful. It brings rest and relief from pain. It's right under the Opera. The music comes down and the darkness distills it, cleanses it of the suffering that made it. Then it's all beauty. And life here is like a resurrection.
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Before writing a film article on Claude Rains for CLASSIC IMAGES (December 2000), I took another look at 'Phantom' to appraise his performance. He's one of those rare actors who can make you feel sympathy when he plays the ill-treated violinist so that you understand why he turns into 'The Phantom'. His performance is just one asset of this handsome technicolor adaptation of the famous story. Why carp about the changes made for this version? It stands on its own as an entertaining melodrama studded with operatic sequences that give it added dimension. Nelson Eddy has never been in better voice and Susanna Foster is certainly up to the demands of her singing role. The comic aspects of the story are a bit overdone and the only weakness of the film is giving Eddy and Edgar Barrier silly routines as they compete for the hand of Foster. Aside from that, this can still be enjoyed as a horror story set against the Paris Opera background. The sets are rich and detailed. Understandably, the film won Academy Awards for color cinematography and color art direction. Edward Ward's haunting score was also nominated and contributes greatly to the overall enjoyment of the film. The horror is muted in this version--but the rich musical highlights are a compensation. Absorbing entertainment.