LE FANTÔME DE L'OPÉRA
The Phantom of the Opera
Un fantôme au visage masqué hante les coulisses de l'Opéra de Paris. Amoureux d'une jeune cantatrice, il la séquestre dans l'espoir de susciter son amour.
Réalisateurs
Distribution
Lon Chaney
Erik, The Phantom
Norman Kerry
Vicomte Raoul de Chagny
Mary Philbin
Christine Daaé
Arthur Edmund Carewe
Ledoux
Gibson Gowland
Simon Buquet
Snitz Edwards
Florine Papillon
John St. Polis
Comte Philip de Chagny
Virginia Pearson
Carlotta
Olive Ann Alcorn
La Sorelli (uncredited)
Betty Van Allen
Ballerina (uncredited)
Betty Arthur
Ballet Dancer (uncredited)
Joseph Belmont
Stage Manager (uncredited)
Alexander Bevani
Mephistopheles (uncredited)
Earl Gordon Bostwick
Minor Role (uncredited)
Ethel Broadhurst
Frightened Ballerina (uncredited)
Edward Cecil
Faust (uncredited)
Ruth Clifford
Ballerina (uncredited)
Chester Conklin
Orderly (uncredited)
Roy Coulson
The Jester (uncredited)
Bruce Covington
M. Moncharmin (uncredited)
Equipe
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CinemaSerf
When then famed Paris Opera finds new owners, they are full of enthusiasm for their star "Carlotta" (Mary Fabian) whom they know will wow the audiences. Both she and they, though, get a letter informing them that should she take the stage instead of her understudy "Christine" (Mary Philbin) then they'll all rue the day. Nobody pays a blind bit of notice and, well, the audience really do bring the house down! Using the enchantment of his voice, and promises of success, the "Phantom" (Lon Chaney) manages to lure the young "Christine" to his lair some five floors beneath the stage where he declares his undying love. She's more interested in the mask that he's wearing, and upon it's removal is abhorred. She begs to go free and he agrees - provided she spurns her lover "Raoul" (Norman Kerry). She does quite the opposite however and that antagonises her admirer to the point where life and limb are threatened and even the opera house itself could end up in smithereens. It all builds to a marvellous climax - a race against time, against flood waters and gunpowder - if "Raoul" is to save his love from their clearly insane nemesis. A lot will spend on the accompanying music here, but if you get a good score then this film really does come alive. The sparing use of colour - especially as Chaney straddles the gargoyle atop the roof of the building, but also during some of the theatrical scenes contrasts well with the rather more drab monochrome scenes. The creative use of light and shadow to create a genuine sense of peril and, at times, even desperation as the story develops is also enthralling to watch. A great story of love and obsession on a big screen with a live pianist - this takes some beating.
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