This 1943 film of Phantom of the Opera has much to like, but also has a lot wrong. Far from a bad film but underwhelming as well considering the talent involved, for fans of opera and visually beautiful films this is for you, for horror fans and purists not so much. Before getting on the many things good about Phantom of the Opera there are things that did let things down. The pacing is plodding too often, not helped by direction that was very skillful but lacking urgency. The comedy scenes vary in effectiveness- too much of it was not very funny really- and would feel much more at home in an Abbott and Costello film, the type of humour did feel out of place here for a story that is essentially a horror drama based on a disfigured man and opera.
Nelson Eddy was a wonderful singer, with handsome looks and a nice personal charm but his acting is wooden here, even more so than his performance in Naughty Marietta. And the horror is under-utilised and significantly diluted. The scariest it gets is the phantom's entrance, the death scenes are somewhat silly, with a lack of tense atmosphere and build-ups, and the phantom's face reveal is not shocking enough, even Foster didn't look that shocked.
For all the film's problems though, you can't still dismiss it entirely. The lavish production values are just gorgeous to look at and in producing them there is nothing overblown or over-produced about them. It's beautifully shot and filmed as well. The music is sublime too,- then again you are talking to a massive classical music and opera enthusiast who'd if she wanted to would spend hours talking about music, operas and performers she loves- the opera scenes are crucial to the story and are sung, produced and choreographed with so much brio and attention to detail. There are even orchestral pieces like Tchaikovsky's Symphony no.4 adapted into song, that was interesting to hear.
Suzanne Foster is beguiling in every single way, and Nelson Eddy gives some of his best ever singing here.(and this is coming from someone who is a big fan of his voice, quite possibly the most beautiful baritone voice on film with Howard Keel too a very close contender). Phantom's entrance and the chandelier scene are very effective, the dialogue is serviceable at the least and some of the romance is sweet. Phantom's back-story was interesting and moving, though it is very understandable why there'd be those who prefer him more ambiguous. Aside from the production values, the best aspect is the subtly menacing yet movingly sympathetic performance of Claude Rains, a really wonderful performance from a screen icon that deserved a better film.
Overall, a film of pluses and minuses where either point of view(love or hate, also like, don't care for and mixed feelings) is understandable. 6/10 Bethany Cox
Nelson Eddy was a wonderful singer, with handsome looks and a nice personal charm but his acting is wooden here, even more so than his performance in Naughty Marietta. And the horror is under-utilised and significantly diluted. The scariest it gets is the phantom's entrance, the death scenes are somewhat silly, with a lack of tense atmosphere and build-ups, and the phantom's face reveal is not shocking enough, even Foster didn't look that shocked.
For all the film's problems though, you can't still dismiss it entirely. The lavish production values are just gorgeous to look at and in producing them there is nothing overblown or over-produced about them. It's beautifully shot and filmed as well. The music is sublime too,- then again you are talking to a massive classical music and opera enthusiast who'd if she wanted to would spend hours talking about music, operas and performers she loves- the opera scenes are crucial to the story and are sung, produced and choreographed with so much brio and attention to detail. There are even orchestral pieces like Tchaikovsky's Symphony no.4 adapted into song, that was interesting to hear.
Suzanne Foster is beguiling in every single way, and Nelson Eddy gives some of his best ever singing here.(and this is coming from someone who is a big fan of his voice, quite possibly the most beautiful baritone voice on film with Howard Keel too a very close contender). Phantom's entrance and the chandelier scene are very effective, the dialogue is serviceable at the least and some of the romance is sweet. Phantom's back-story was interesting and moving, though it is very understandable why there'd be those who prefer him more ambiguous. Aside from the production values, the best aspect is the subtly menacing yet movingly sympathetic performance of Claude Rains, a really wonderful performance from a screen icon that deserved a better film.
Overall, a film of pluses and minuses where either point of view(love or hate, also like, don't care for and mixed feelings) is understandable. 6/10 Bethany Cox