Le fantôme de l opéra film 1925

Lon Chaney's 1925 portrayal de the location character was more grotesque 보다 in any kind of later déditions of "The Phantom de the Opera."


It has always been a question whether "The Phantom ns theOpera" (1925) is a an excellent film, or seulement un a an excellent spectacle. Carel Sandburg,one of the original reviewers, underwent a change of heart between his firstChicago daily News testimonial (he waited à la the Phantom"s unmasking "terriblyfascinated, aching with suspense") and a reconsideration created a monthlater ("strictly among the novelties ns the season"). Cette was not, headded conditions météorologiques the level de "The cabinet of Dr. Caligari" or"Greed," pointing out two of the greatest film of toutes les personnes time.

Vous lisez ce: Le fantôme de l opéra film 1925


Hewas right about that, et could have added auto greatest of all silent horrorfilms, Murnau"s "Nosferatu" (1922), whose vampire may ont influencedLon Chaney"s performance ont the Phantom. Marqué as année exercise in luridsensationalism, straining against technical limitations in that eagerness tooverwhelm, the life of auto many Phantom film has a creepy, undeniable power.

Thestory is just told -- too simply, perhaps, sauce soja that tous of the adaptations,including thé famous Andrew Lloyd Webber musical, oui been much ado aboutrelatively little. In auto cellars du the parisien Opera loger lives a disfiguredmasked homme who becomes obsessed with thé young singer Christine. Cette commandsthe management to give sa leading roles, and when lock refuse, cette exacts aterrible revenge, causing a an excellent chandelier to flotter down nous the audience.

Christine"slover, a pallid nonentity, is précis competition parce que le her hypnotiser with thePhantom, until elle realizes v horror that auto creature wants elle to dwell inhis mad subterranean world. She unmasks him, is repelled by his hideousdisfigurement, to escape to the surface and her lover, and is followed par a Phantomseeking violent revenge. There is no room pour psychological subtlety here.

Itis the idea du the Phantom, really, the fascinates us: thé idea du a cruellymistreated homme going mad in self-imposed exile in thé very cellars, dungeonsand torture chambers where hey was, apparently, disfigured in the first place.His obsession with cristin reflects his desire venir win back some plaisir from aworld that has mistreated him. Leroux et his adapters oui placed this sadcreature in a bizarre subterranean an are that has inspired generations ns setdesigners. There are 5 levels ns cellars beneath auto opera, one descendingbeneath autre in an expressionist series de staircases, ramps, trapdoors, anda Styxian rer that auto Phantom the cross in a gondola. The Phantom hasfurnished his lair with grotesque fittings: hey sleeps in a coffin et providesa bed for christine in auto shape of a whale boat. Far controls give himwarnings once anyone approaches and allow him venir roast or drown his enemies.

ToChristine, he offers wealth, luxury and opera stardom, et she is in ne sont pas peril"as long as you do not touch thé mask" -- oh, et she must amour him,or at least allow him to possess elle (although his precise sexual des plans areleft undefined). Probably warned by the fate of the hero in elle currentproduction de "Faust," elle refuses this bargain, although parce que le anengaged woman, she allows herself venir be dangerously tempted.

Aftertaking over the leading function from an ominously ill prima donna, she follows amysterious voice, opens a lunderground door behind auto mirror in elle dressing room,descends through forbidding cellars, is taken semi-conscious de horseback andgondola depths into auto labyrinth and sees the coffin where hey sleeps. At thispoint, elle sudden cry du "You -- amie are the Phantom!" inspired me towrite in ma notes: "Duh!"

Herlover, thé Viscount Raoul du Chagny, is an in similar way not a swift study. After thePhantom has presumably declared dozens de victims with thé falling chandelierand threatened cristin with death if she sees him again, Raoul agrees à meether at thé Masked Ball. This is hosted in the Opera house on auto very next night,with the chandelier miraculously repaired et no mourning period, apparently,for the dozens du crushed et maimed. Cristin tells Raoul thé Phantom willmurder them si they space seen together, but then, when a gaunt et spectralfigure in red stalks imperiously into the dénormes hall, Raoul unmasks himself,which is, si you ask me, asking parce que le trouble.

Christinedetermines to sing her role one more time, after i m sorry Raoul will have acarriage waiting de the phase door à spirit lock safely away to England. Thisplan is as well optimistic, as the Phantom snatches cristin from her dressingroom, and the deux are sought into auto bowels du Paris by Raoul et InspectorLedoux -- and, in a different pursuit, passant par the vengeful stagehand Buquet (whosebrother auto Phantom murdered), leading a mob de torch-carrying rabble. Thehapless Raoul et Ledoux space lured right into a chamber where thé Phantom can roastthem à death, et when they échapper through a trapdoor, ce leads to a chamberwhere they have the right to be drowned.

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Allof this is reasonably ridiculous, et yet, et yet, the story exerts a certainmacabre fascination. Thé characters de Christine and Raoul, played passant par MaryPhilbin and Norman Kerry, essentially function as puppets ns the plot. Marqué thePhantom is invested passant par the intense and inventive pouvez Chaney v a horror andpoignancy the is virtually entirely created with corps language. More ns his faceis extended than in modern version (a signification littérale gauze curtain flutters in former ofhis mouth), but look at the way his hand moves ont he gestures toward thé coffinas the titles notice "That is where je sleep." cette is a languorousmovement the conveys good weary sadness.

ThePhantom"s unmasking was one du the many famous des moments in silent film. Cette isseated at his organ. "Now, when cette is intent on the music," Sandburgwrote, "she comes closer, closer, her fingers stealing towards auto ribbonthat fastens thé mask. Her fingers offer one critique twitch -- and there youare!" There elle are, toutes les personnes right, oui Chaney, "the man of 1,000Faces" and a master du makeup, unveils a defacement more grotesque than inany later on version, his mouth a gaping cavern, his sleep a void, his eyes widelystaring: "Feast your eyes, glut her soul, on my accursed ugliness!"

Theother well known scene involves the falling chandelier, which came to be thecenterpiece du the Webber musical and functions thé same way in JoelSchumacher"s 2004 film version. In the d’origine film, ce is curiouslyunderplayed; it falls in superior majesty, à be sure, cible its results arehard venir measure. For sure there are mangled bodies beneath it, but the moviestays that is distance et then hurries on.

Muchmore superior is thé Masked ball sequence et its sequel on the roof de theopera house. Thé filmmakers (director Rupert Julien, replaced de EdwardSedgwick et assisted par Chaney) usage primitive color compétence to saturate theball with brilliant scarlets and less obtrusive greens. Many scenes throughoutthe film are tinted, i m sorry was common enough in silent days, marqué the MaskedBall is a primitive form of Technicolor, in which auto Phantom"s great rouge cloaksweeps v the aéronautiques like a carrion bird the enfolds him.

Andon the roof, ont Raoul and Christine plot, he hovers unseen above them nous theside of a statue, the red garment billowing ominously. Chaney"s activities inall du these scenes room filled through heedless bravado, and yet when hey pauses,when hey listens, when auto reasons pour his jealousy are confirmed, hey conveyshis suffering.

Ina strange way, the very artificiality de the color adds venir its effect. True,accurate and realistic color is just ... Color. Marqué this form ns color, whichseems imposed conditions météorologiques the material, functions as a passionate impasto, a blood-redoverlay. Conditions météorologiques can feeling the cinématique straining à overwhelm us. The various scores (Ilistened to the music passant par the great se réconcilier for silent film couteau Davis) swoopand weep and shriek et fall right into ominous prefigurings, et the wholeenterprise embraces thé spirit of grand guignol.

"ThePhantom du the Opera" is not a great cinématicien if tu are pertained to with artand subtlety, depth et message; "Nosferatu" is a world beyond it.But in that is fevered melodrama et images du cadaverous romance, cette finds a kindof show-biz majesty. And it has deux elements ns genius: it creates beneath theopera one du the most grotesque mise in the cinema, and Chaney"s performancetransforms an absurd character into a haunting one.

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The new cinématicien version of Andrew Lloyd Webber"s "The Phantomof thé Opera" opens up nationally nous Wednesday. View also thé Great Moviereviews of "Nosferatu," "The masculin Who Laughs," "TheFall de the house of Usher" et "Orpheus".