THE PHANTOM OF THE OPERA is the Hammer Horror version of the famous Gaston Leroux story, starring Herbert Lom as the hideously disfigured murderer hiding beneath a Parisian opera house and seeking revenge on those responsible for his predicament. This one's directed by Terence Fisher and was a flop on release, meaning that Fisher didn't get to work again for Hammer for a couple of years. The atmospheric and colourful visuals are the film's best aspect although the story is, it has to be said, a little flat.
The problem lies with the writing rather than the direction. The viewer can never quite get excited about the big set-pieces and Hammer's spins on the original story are none too impressive. Lom's Phantom certainly looks the part but the story gives him very little to do other than haunt the scenery. Similarly, Heather Sears and Edward De Souza are fine as the protagonists, but they spend the film reacting rather than acting on their own behalf. Where this film shines are in the supporting roles, with a number of cameoing actors (Patrick Troughton, Miles Malleson, Michael Ripper) showing up to supply laughs and doing very well at it too. In addition, Michael Gough is a splendidly horrible villain. Compared to their adaptations of Dracula, THE CURSE OF FRANKENSTEIN and THE MUMMY, Hammer's THE PHANTOM OF THE OPERA is merely okay, although fans of the era and story should enjoy it anyway.
The problem lies with the writing rather than the direction. The viewer can never quite get excited about the big set-pieces and Hammer's spins on the original story are none too impressive. Lom's Phantom certainly looks the part but the story gives him very little to do other than haunt the scenery. Similarly, Heather Sears and Edward De Souza are fine as the protagonists, but they spend the film reacting rather than acting on their own behalf. Where this film shines are in the supporting roles, with a number of cameoing actors (Patrick Troughton, Miles Malleson, Michael Ripper) showing up to supply laughs and doing very well at it too. In addition, Michael Gough is a splendidly horrible villain. Compared to their adaptations of Dracula, THE CURSE OF FRANKENSTEIN and THE MUMMY, Hammer's THE PHANTOM OF THE OPERA is merely okay, although fans of the era and story should enjoy it anyway.