Phantom of the Opera (1962)

I want to say this is the first of the Phantom adaptations I've actually watched this year. The 1962 version with Lom as the Phantom I haven't watched since 2007; I must say this isn't too shabby, though. This is still dressed and costumed in period quite well, although it isn't as elaborate, ornate, or extravagant as the highly budgeted Universal film in 1943, starring the great Claude Rains. I like this one as it isn't as concentrated on opera as much as story, set piece, and horror. Nothing against Lom, he's damn good in the right roles, and not bad here, but he just isn't as memorable as Chaney but who is? This has a really good cast, top to bottom well acted. Hammer production, to me, has plenty to offer...not sure why I haven't watched it in so long. Miles Malleson, much like Michael Ripper, always turns up a memorable supporting part as a cabbie (he's also fun in films like "Hound of the Baskervilles" and "Brides of Dracula"). Gough is so dastardly and Lom is still sympathetic, not to mention, the romantic couple of producer and potential operatic star quite able to hold their own as the pawns all fulfill their roles requirements dutifully.

Lom given the chance to see Sears perform and rescue her from a chandelier, sacrificing himself, quite a different spin on the classic scene, is quite refreshing since the Phantom is properly redeemed. 3.5/5

In Hammer Studio's version of PHANTOM OF THE OPERA, the facially scarred pianist who haunts the opera-house, portrayed sympathetically by Herbert Lom, is not a demented monster causing nothing but disruption, but a deeply wounded man betrayed by a composer named Lord Ambrose(played as a lecherous scoundrel who belittles everyone around him as only Michael Gough could). You see there's a reason, in this version anyway, why the Phantom(actually a professor Petrie, a fine pianist who created accomplished works needing cash to pay his rent)causes such trouble to a specific opera house where Ambrose's plays reside..Ambrose stole Petrie's work claiming it as his own. Petrie, in a fit of rage(..who wouldn't be?)breaks into the printing press to destroy the works that are rightfully his but carrying Ambrose's name..in the act, nitric acid splashes in Petrie's face causing the disturbing scar that would lead to hiding his hideous face under a creepy mask forever. Harry Hunter(Edward de Souza)is producer of Ambrose's plays and Christine(Heather Sears)is a novice, with a fine voice, for whom the Phantom wishes to see star in a play of his own as a true audience member. But, Ambrose wishes for Christine to sleep with him and when she refuses, urging Harry to assist in getting out of the situation, they are both "excused" from the play. The running villain, who in most versions is the Phantom, is actually Ambrose who keeps a sure winning play from being realized. Harry will seek out information about Petrie as his mute "assistant" kidnaps Christine bringing her to the Phantom's sewer lair underneath the opera-house. The Phantom wishes to teach Christine how to use her voice to the uttermost bringing grace to his stolen play Ambrose couldn't. Will Phantom see his play come to fruition with Christine as star? Or, will Ambrose's desire to not see this type of opera played at the theater succeed in never giving Petrie that satisfaction?

Not too bad an adaptation of the play. I thought it had great casting with Lom quite underplaying the Phantom..he's more sad and miserable than menacing or scary. Sears and Souza are acceptable as the hero and heroine of this Hammer flick. But, Gough easily steals this film, as he always seems to do, as the vile composer, who is such pure slime. I love watching Gough because he makes dialogue crackle and sizzle..you just loathe this man for he's such a wretch to humankind. But, being filthy rich and having stabbed quite a few backs to gain such a prominent position..to see him lose his opera at the end as his nasty emotions get the better of him pays off with dividends. The film itself isn't the most memorable of the Phantom films, but does allow him to gain sympathy from the viewer. When his own assistant causes the chandelier to fall accidentally as it appears Christine is in danger of being crushed, we get a true hero instead of a jealous lunatic fiend causing harm rather than good. That finale at least sets this apart from other versions.