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The relationship between Chaney and Julien deteriorated to the point where the actor refused to talk to or take direction from Julien. Chaney clashed frequently with his director, Rupert Julien, whose claim to fame was finishing the directorial chores on Merry-Go-Round after Erich von Stroheim had been fired. (This stage, which still stands today on the Universal lot, is the only surviving set from any Chaney film.) The studio also hired over 250 dancers for elaborate dance numbers supervised by renown dance producer Ernest Belcher and shot the masked ball sequence, among other scenes, in the early two-color Technicolor process.īut the film was plagued by numerous difficulties from the beginning. They built the first steel and concrete stage in Hollywood which housed the entire interior set of the Opera House, the backstage area, and the grand staircase. Universal spared no expense in producing The Phantom of the Opera. Chaney had just signed a new contract with MGM and already completed the studio's first feature, He Who Gets Slapped, which was an unqualified success. It would be his final film with Universal Studios. It also marked a turning point in his career. The dramatic demands of the role and the makeup required for the Phantom presented a physical challenge Chaney couldn't pass up.
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It is not hard to see why Chaney was attracted to the title character of Gaston Leroux's novel.
#HOW LONG IS PHANTOM OF THE OPERA MOVIE MOVIE#
Despite the effectiveness of this scene, the movie was the most problematic of all the films Chaney made and the most uneven in terms of quality, despite its reputation as Chaney's most famous role. It was interesting how the story took us to modern-day New York for some additional story elements.īetter than Dario Argento's Phantom, but I still love Andrew Lloyd Webber's musical version the most.If you asked movie buffs to select the most memorable scene from the entire Lon Chaney filmography, most of them would probably pick the famous unmasking sequence from The Phantom of the Opera (1925). Like the phantom, Christine exists in the past and the present. The movie could've done with more of her lovely singing. Her beautiful prescence helps balance out the ugliness and horror of the setting.
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I found it hard to believe lovely Christine (Jill Schoelen) could fall for such a creepy and disturbing character. They've also included a somewhat supernatural origin to the phantom. There is enough violence shown to please gore-hounds: guttings, impalements, skinnings and beheadings are on display. He plays a disturbed and mysterious musical composer with a killer tendency. His phantom wears a hat and flowing cape, and applies facial patches and makeup to get about in public. Robert Englund shows us he can be much more than Freddy Krueger. It looks extravagant and high-budget the visual splendour makes it a treat to watch. The set design was great: from the underused opera house, the masquerade hall, the grimey streets and pubs of London to the phantom's candlelit sewer layer. Instead of Paris, this movie was set in London. It's not cheaply done the movie is stylish and well-directed. 1989's Robert Englund's "Phantom of the Opera", offers a fresh 80's slasher variation.