Directed by Rupert Julian, Edward Sedgwick, Lon Chaney
Written by: Gaston Leroux
Starring: Lon Chaney, Mary Philbin, Norman Kerry
Paris Opera House; There’s a large ballet in progress. The opera house has just been sold. They warn the new owners that they may hear about a “phantom” and to ask the owner of Box 5 about it. Box 5 is owned by a man who keeps his face hidden.
There are various sightings of this alleged phantom, and the dancing girls are terrified. The owners receive a letter stating that Christine will sing the role of Marguerite Wednesday night, and not to interfere. Signed “The Phantom.” But Carlotta refuses to give up her place and insists on singing. However Carlotta gets strangely ill that night, and Christine gets to sing.
Raoul is jealous of Christine’s affection for a mysterious admirer, but there is no need, as she’s very much in love with Raoul. Now that she’s the star, they can get married. She refuses to leave the opera though, so they cannot be together.
From the shadows, she hears a voice that has taught her to sing and given her acting lessons. She thinks he’s an angel of music. However, the following week, Carlotta goes on instead, ignoring the warnings of the Phantom.
Raoul gets a note from Christine, asking him to never attempt to see her again. During the show, the lights start to blink and the phantom drops a huge chandelier onto the audience. Afterwards, Raoul overhears Christine talking to the Phantom.
The phantom appears to Christine, but he’s wearing a mask. He’s very hypnotic, and she follows him. There’s a hidden lake beneath the opera house, and the Phantom takes her there to profess his love for her. He has a whole apartment hidden down there. She faints, and he puts her in a spare bedroom, full of her clothes and shoes and things.
He wants to be loved, but she tears his mask off. He lets her go back to the surface, but forbids her from seeing Raoul, or he will kill them both.
Later, there’s a masked ball, and who shows up but Christine, Raoul, and the Phantom. She plans to run away with Raoul after tomorrow night’s show. Of course, the Phantom overhears everything. He captures her once again, and then everyone starts hunting in the sewers. From the sewers to a chase down the streets of Paris, the Phantom is ahead of the game.
Unfortunately, his carriage crashes, the mob catches up to him. They beat him to death and throw him in the river. The end.
Why are there always a mob with torches?
This was surprisingly well-preserved, unlike last week’s “Hunchback of Norte Dame” and looked sharp. It wasn’t overly “wordy” for a silent film, and kept up a decent pace throughout, never really slowing down.
Last week, I pointed out that Quasimodo was a “pawn of love,” unable to keep himself from loving a girl whom he couldn’t have, but always there as a protector. The Phantom, on the other hand, is basically a stalker, who kidnaps the girl, kills the opposition, and doesn’t show a whole lot of regret. Whereas Quasimodo wasn’t really a monster, the Phantom definitely is.