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Lon Chaney is Erik, the horribly disfigured Phantom who leads a menacing existence in the catacombs and dungeons beneath the Paris Opera House. When Erik falls in love with a beautiful prima donna, he kidnaps her and holds her hostage in his lair. This horror classic, presented in its 1929 re-edited reissue version, features a rare early 2-color Technicolor sequence.
Actors: Lon Chaney, Mary Philbin, Norman Kerry
Directors: Rupert Julian
Format: Multiple Formats, Blu-ray, Black & White, NTSC, Silent, Widescreen
Region: Region A/1 (Read more about DVD/Blu-ray formats.)
Aspect Ratio: 1.77:1
Number of discs: 1
Rated: NR Not Rated
Studio: IMAGE ENTERTAINMENT
DVD Release Date: November 1, 2011
Run Time: 92 minutes
on January 17, 2018
By Fan reader
This movie is one of my favorite classic movies I love.
The Original Phantom of the Opera
11 people found this helpful.
on September 8, 2013
By H. Snyder
This first movie version of The Phantom of the Opera was released in 1925, starring “the man of a thousand faces”, Lon Chaney, as the Phantom. In an era when some actors still did their own makeup, Chaney was the master of grotesque transformations. The Phantom and the Hunchback of Notre Dame are his best known roles, both requiring extreme makeup for a shocking effect. The famous unmasking scene in Phantom is one of the highlights of early motion pictures, and reportedly caused shrieking and fainting among the audience.
Out-of-sync Gaylord Carter score!!!
5 people found this helpful.
on February 4, 2016
By Frank Talby
The wonderful theater organ score by the legendary Gaylord Carter for the 24 frames per second version is horribly out-of-sync, and that accounts for my subtraction of one star for this otherwise excellent video presentation. It is out-of-alignment by minutes, not seconds, which is truly inexcusable. If you want to hear the Gaylord Carter score presented properly, you will have to buy the Image Entertainment (2011) edition. In every other aspect, particularly the obvious clean-up of the 20 frames per second presentation with its excellent Gabriel Thibaudeau score, this Kino Classics edition is superior to the Image Entertainment edition. Gaylord Carter was Harold Lloyd’s favorite accompanist and deserves a better fate than this shameful quality control fumble.
Phantom of the Opera Release is an Upgrade for Sure
33 people found this helpful.
on November 1, 2011
***Update. Feb.4, 2012. I just received a replacement Blu-ray sent from Image and although the menu is easier to access– for example the version listed as 20 fps Gabriel Thibaudeau score and the 1929 24 fps version with the Gaylord Carter score, etc. the menu is the only upgrade. The momentary “freeze” moments which is in the first release on the 20 fps version are, sadly, still there. From what I can tell, only the menus were made better, which is both good and bad. It is nice the menu is easier to access for people who buy this new version but sad that the 20 fps movie still has several moments where for a split second the image freezes. Why they left that the same I have no idea. Okay, back to my original review in early November:
Great looking blu-ray…
8 people found this helpful.
on October 1, 2014
By G. Edmonson
This blu-ray has three versions of the Phantom of the Opera. It has the original 1925 (114min) version which was copied from a 16mm source, and then two versions of the 1929 reissue with one presented at 24 frames per second(78min) and the other at 20 frames per second(92min). Both of the 1929 films are the same film but run for different lengths because of the variation in the film speeds, however the 24 frames per second film has also been remastered even better than the 20 frames per second film and looks simply amazing, though don’t expect all of the scratches and oxidizing markings to be completely removed. This film is lucky to be around at all given the volatile stock which was used for this film and others from this era. The original 1925 film is the roughest looking by far, but also shows the original film in its entirety. The 1929 films were reedited, with other parts refilmed, like a portion of the ballet sequence. The 20 frame per second version also comes with an excellent commentary by Dr. Jon Mirsalis, and an orchestral score by Gabriel Thibaudeau. The 24 frames per second film version comes with Gaylord Carter’s organ score or a brand new score by the Alloy Orchestra which is very good, and moody/creepy. The 1929 versions are colour tinted, with the famous “Bal Masque” sequence in Technicolor, and other segments hand colored, which is quite striking and an unexpected surprise. This is an excellent blu-ray which has been wonderfully remastered.
1929 re-release DVD of Lon Chaney’s PHANTOM has great music and picture, if only Mary Philbin was better!!
2 people found this helpful.
on April 16, 2014
After a reviewer’s review told me that his DVD with the 1929 re-release of PHANTOM OF THE OPERA had lovely colour tinting of the black and white done in 1929 of the film and a great music score composed by Gabriel Thibaudoux for the movie, I ordered this re-release title and I was immediatly delighted by the score, and the silent movie performances such as the frightened ballet dancers with them running in fear of the phantom accompanied by the running music, the comic releif stagehand and the other stagehand, Bouquet with his scarey description of the mysterious Phantom. While most of the actors are not in the same class as Lon Chaney they have good humourous moments and keep the story moving well. And the tinted colours are used to good effect whether it’s a night blue for outdoor night scences or a hot red colour for when the Phantom tries to roast the undercover police agent and Christine’s boyfriend who loves Christine, the opera singer that the Phantom wants for himself! Whenever rival opera singer Carlotta’s stage mother enters a scene the music sounds like, ” the General has entered the building!” and plays like a military march which matches the broad gestures of a diva stage mother who is used to getting her own way! When Christine was first spoken to by the Phantom with a melodious sound, according to the title cards, the music used a strange, errie sound witha hypnotic feel and after the Phantom has played his organ the music burst into loud, rising notes that seem to echo the Phantom’s mocking laugh after Christine has ripped off his mask and witnessed his gruesome face!
The new benchmark in the Phantom of the Opera(original version)
2 people found this helpful.
on October 18, 2015
By Robert Badgley
This is for the new(2015) Kino two disc edition of the Phantom of the Opera.Kino of course issues nothing but quality releases and should be commended for another fine job here with the Phantom.
This is the first film version of a famous story
on August 14, 2017
By Israel Drazin
This 1925 black and white silent film, considered one of Lon Chaney’s best films, is unfortunately granny and it moves in places very slowly. The Phantom is a deranged man, Erik, with a deformed face, who escaped a lunatic asylum and hides in the bottom of the Paris Opera House where there was once a torcher chamber. He appears from time to time and frightens people. He becomes enchanted by the understudy for the Opera’s top role, Christine, and writes a letter insisting that the understudy take the top role in an opera, otherwise he will cause great trouble for the house. The producers do not listen to him and he does damage. He kidnaps Christine and her lover Raoul does what he can to rescue her.
13 people found this helpful.
on October 27, 2011
By Paul Scott
This Phantom of the Opera shows its age, to be sure, but it has held up surprisingly well. While co-stars Mary Philbin and Norman Kerry hardly set the screen on fire (as commentator Jon Mirsalis notes), an evocative and then-gargantuan production design, as well as Chaney’s commanding performance more than make up for the lack of chemistry between the supposed romantic duo. What is so fascinating about this film is that Chaney is really not all that present and yet his presence looms over the entire film in a menacing way. For the first half hour or so, he’s only seen sparingly, and then only in shadow or silhouette, making the iconic unmasking of him in the bowels beneath the Paris Opera all the more dramatic. Director Rupert Julian (aided by an uncredited Edward Sedwick and even Chaney himself for reshoots Laemmle ordered both for the 1925 and rejiggered 1929-30 versions) keeps things moving fairly briskly, though truth be told the original 1925 version can be a somewhat slow slog at times, despite its more coherent and cohesive storyline. The special effects are really quite convincing considering the age of the film, and Chaney’s makeup certainly still retains its horrific nature and certainly is still easily one of the most disturbing transformations in the annals of film, silent or otherwise.
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