Terence Fisher: THE PHANTOM OF THE OPERA (1962)
After having such success with the remakes of Frankenstein and Dracula (in 1957 and -58) it was only right that Hammer would make its own version of Gaston Leroux's immortal classic. Unfortunately they didn't do their own version of the book but instead a remake of 1943 Claude Rains version.This seems to be the ultimate curse of many Phantom- movies: instead of reading the book the writers start to add their own ideas, sometimes just too much.
Story is set in Edwardian London. A vile opera manager Lord Ambrose steals the life work of poor music teacher Professor Petrie. Petrie tries to use own hand justice but in an accident gets burned from the face and disappears. When Lord Ambrose tries to play his opera under his own name a mysterious Phantom starts to cause troubles. Phantom starts to teach young singer named Christine Charles to sing his opera. Also Lord Ambrose and a young director Harry Hunter are interested in Christine.
Set designer Bernard Robinson is making a superb job here creating the dark corridors of the opera house, Edwardian sets, sewers and of course Phantom's underground lair. I dare say Robinson's version of the lair was used as an inspiration to the lair in 2004 musical. Hammer's number one director Terence Fisher is the force keeping this film together. When story could have been so much better, even actor Herbert Lom didn't like it, it is Fisher's touch to create atmosphere that saves a lot here. Also the decision to start the film where Phantom is already haunting the opera house, and then show his past in a flashback, gives the touch of Leroux. I liked the beginning, especially creepy was the scene with Phantom's hand appearing to turn down the gaslight.
The major minus is the plot. Instead of horror film or Gothic romance it is more of a detective story, with Harry trying to discover who is causing all the problems. And Phantom and Christine don't have anything else then a student/teacher relationship, no obsessed love. Well, at least Christine does feel compassion for him which is always good. Character of the Phantom himself, Professor Petrie, is much kinder and human then any other Phantom I've seen, though he does slap Christine in the face. And it's not really him who does all the nasty things but a deranged dwarf who is also living in his cave. Go figure.
Actors are doing a fairly descent job here. Herbert Lom (The Phantom) is a fantastic character actor who has played almost everything from Captain Nemo to Doctor Van Helsing and Dreyfus in original "Pink Panther" series. Still he is wasted here, with appearing too little and 90% of that time behind all covering mask. Both Heather Sears (Christine) and Edward De Souza (Harry) give little better performances than most of Hammer film's leading lovers. It is Michael Gough (Lord Ambrose) who steals the show as the true villain of the story. His performance as the upper class British villain is pure Hammer. The scene in the restaurant where he puts his hand on Christine's shoulder and says: "You're a delicious little thing" makes anyone feel uncomfortable. Still he is great.
Last word: a descent Phantom/Hammer movie, but not the best example of either, with only Fisher and Gough saving the show.
After having such success with the remakes of Frankenstein and Dracula (in 1957 and -58) it was only right that Hammer would make its own version of Gaston Leroux's immortal classic. Unfortunately they didn't do their own version of the book but instead a remake of 1943 Claude Rains version.This seems to be the ultimate curse of many Phantom- movies: instead of reading the book the writers start to add their own ideas, sometimes just too much.
Story is set in Edwardian London. A vile opera manager Lord Ambrose steals the life work of poor music teacher Professor Petrie. Petrie tries to use own hand justice but in an accident gets burned from the face and disappears. When Lord Ambrose tries to play his opera under his own name a mysterious Phantom starts to cause troubles. Phantom starts to teach young singer named Christine Charles to sing his opera. Also Lord Ambrose and a young director Harry Hunter are interested in Christine.
Set designer Bernard Robinson is making a superb job here creating the dark corridors of the opera house, Edwardian sets, sewers and of course Phantom's underground lair. I dare say Robinson's version of the lair was used as an inspiration to the lair in 2004 musical. Hammer's number one director Terence Fisher is the force keeping this film together. When story could have been so much better, even actor Herbert Lom didn't like it, it is Fisher's touch to create atmosphere that saves a lot here. Also the decision to start the film where Phantom is already haunting the opera house, and then show his past in a flashback, gives the touch of Leroux. I liked the beginning, especially creepy was the scene with Phantom's hand appearing to turn down the gaslight.
The major minus is the plot. Instead of horror film or Gothic romance it is more of a detective story, with Harry trying to discover who is causing all the problems. And Phantom and Christine don't have anything else then a student/teacher relationship, no obsessed love. Well, at least Christine does feel compassion for him which is always good. Character of the Phantom himself, Professor Petrie, is much kinder and human then any other Phantom I've seen, though he does slap Christine in the face. And it's not really him who does all the nasty things but a deranged dwarf who is also living in his cave. Go figure.
Actors are doing a fairly descent job here. Herbert Lom (The Phantom) is a fantastic character actor who has played almost everything from Captain Nemo to Doctor Van Helsing and Dreyfus in original "Pink Panther" series. Still he is wasted here, with appearing too little and 90% of that time behind all covering mask. Both Heather Sears (Christine) and Edward De Souza (Harry) give little better performances than most of Hammer film's leading lovers. It is Michael Gough (Lord Ambrose) who steals the show as the true villain of the story. His performance as the upper class British villain is pure Hammer. The scene in the restaurant where he puts his hand on Christine's shoulder and says: "You're a delicious little thing" makes anyone feel uncomfortable. Still he is great.
Last word: a descent Phantom/Hammer movie, but not the best example of either, with only Fisher and Gough saving the show.