The Phantom of the Opera (1962)

"And when you sing, Christine, you will be singing only... for me.", 1 April 2007

Almost every movie fan knows the story – an opera house is beset with problems as a new production is set to open. At first it's strange, annoying occurrences like missing music or damaged instruments. But it goes beyond mere annoyance when a stagehand is murdered. What evil force is behind this series of events?

As a fan of Hammer, there's a lot here to enjoy. The first thing I always notice, and it's hard not to, is the film's "look". Hammer made some wonderful looking movies and The Phantom of the Opera just might be at the top of that list. Beautiful is the way I would describe it. The colors, the sets, and the costumes are so incredibly pleasing to the eye. Everything from the rich burgundy curtains on the opera stage to the simple, but effective mask worn by the Phantom are perfect. You could spend three times the budget of The Phantom of the Opera and not come up with something that looks this good.

Terence Fisher directed some of Hammer's best films. And his work on The Phantom of the Opera is among his best. I've read complaints that Fisher lacked imagination and was, at best, a workmanlike director who was lucky to be "in the right place at the right time". With The Phantom of the Opera, Fisher shows more artistic touches and allows the camera to be more fluid than at any time I can remember. Fisher was aided by an impressive cast. Other than Heather Sears in the female lead, the acting is solid. Edward de Souza, Thorley Walters, and Herbert Lom are all great in their respective roles. But, as usual and as expected, Michael Gough as Lord Ambrose d"Arcy steals every scene in which he appears. He's just so deliciously evil and over-the-top.

There are several little moments in The Phantom of the Opera that make it special. Scenes like those involving the rat catcher or the opera house cleaning women might seem like throwaway moments, but they help add life and interest to the film. Or the dinner scene when Sears character turns down d'Arcy's advances. The look of contempt on Gough's face as he stalks out of the restaurant is priceless. Very well done!

In the end, while there have been any number of versions of The Phantom of the Opera made over the years, Hammer's version is my favorite. It's definitely a movie that any Hammer fan or anyone interested in learning about Hammer should see.

7/10