The Phantom of the Opera (1962)

The greatest movie ever made..!

one of my absolute favorites!

I gave it a 7.5 out of 10

It is not only a funny movie, but it allows a great amount of joy for anyone who watches it.

Pretty good film version of the story. I've never read the book so I cannot compare to it but I can compare it to other film versions and on it's on merit. I'd say watch it if you get the chance - it's good.This version is not all that creepy but it does have atmosphere, good casting and overall enjoyable. It's similar to the Phantom of the Opera (1943) with Claude Rains in a way but not as scary as it or The Phantom of the Opera (1925) with Lon Chaney (which is the scariest). If you like the Phantom '25, Phantom '43 or any of the other Hammer Horror films then give Phantom '62 a view... not as good but definitely worth the watch.6.5/10

Terence Fisher directed this Hammer studios version of the often-filmed story. Herbert Lom plays the Phantom, who was really Professor Petrie, a struggling composer who had his music stolen by the evil Ambrose D'Arcy(played by Michael Gough) who is now having an opera produced with his stolen music. The star of the opera Christine(played by Heather Sears) becomes an obsession of the Phantom, who became disfigured after a fire involving Ambrose. When he kidnaps Christine, her producer(played by Edward De Souza) pursues the trail to the Phantom's secret lair to stop this menace from further troubling them... Well directed and acted, especially by Lom, but film is otherwise disappointing, with an unsatisfying and dull story. Ambrose deserved a harsher on screen fate! Look for future "Doctor Who" actor Patrick Troughton as the opera rat-catcher.

Hammer's inevitable take on the classic Leroux tale has taken a critical pasting in recent times and did little to enhance Terence Fisher's career at the time. But it has aged nicely and stands revealed today as an interesting attempt to try something new in the Gothic genre before the clichés were set in stone by the decade's end. Nowawdays, its notorious for the fact that Cary Grant was reportedly lined up for the film. Whether he was to play the Phantom or the hero is left vague. I can see him as Harry Hunter charmingly wooing Christine in the cab, but Grant - accustomed to the sophisticatedly sexy banter of his Hitchcock films - might have baulked at Elder's generic on-the-nose dialogue. Edward De Souza acquits himself well in the role of the young hero - traditionally the most thankless role in any horror - and is a strong, charming central screen presence to hold your attention during the lengthy expository scenes. Heather Sears - accustomed to playing abused ingenues in films like ROOM AT THE TOP and SONS AND LOVERS makes an appealing Christine - she had to be more than the cleavage on legs of most Hammer starlets - and ideally cast as Joan of Arc in the opera.Herbert Lom's voice is an instrument of dramatic beauty and is shown off to its best advantage when the actor is masked. The concept of the Phantom is flawed by having his as a disfigured composer out for revenge instead of Lon Chaney's deformed freak from birth. Chaney's Erik had a crazed, monomaniacal stalkerish quality with his Christine whereas Petrie sees her only as the ideal vehicle for his artistic ambitions. At times, he acts like a protective Father-figure for the heroine. Christopher Lee would have been interesting in the role - being able to mime-act behind a mask and sing opera - but Lom brings gravity and presence to the part. Of the rest of the cast, Michael Gough has his best Hammer performance as the lecehrous, opportunistic Lord D'arcey whose type can clearly be seen in the singing and theatrical profession to this day - as well as certain further education establishments. It has received some criticism for its alleged cheapness but, actually, to these eyes, it looks more lavish than many Hammers with location filming at Wimbledon theatre giving a grand sense of scale and the bustling London Streets outside full of convincingly rendered extras.Its ironic that hammer's regular composer James Bernard never got to score this one film where music is so important. I wonder if Edwin Astley ever considered mounting "THE TRAGEDY OF JOAN OF ARC" professionally outside the confines of this film. The ending with Joan alone on stage before submitting herself to the flames is truly moving and we understand why Lom's Phantom sheds a tear.

Something is very amiss at a London opera house. Tragedy occurs at the grand opening night of a major production. The leading lady quits the program. But mean, lecherous, overbearing owner Lord Ambrose d'Arcy (superbly played to the haughty'n'hateful hilt by Michael Gough) insists that the show go on. He hires charming ingénue Christine (the enchanting Heather Sears) as the new lead. But the Phantom of the Opera (a splendid performance by Herbert Lom) has other plans. Directed with fluid assurance by Terence Fisher and written with praiseworthy intelligence by Anthony Hinds, this lavishly mounted picture has class and style to spare: Arthur Grant's handsome, vibrant cinematography, the remarkable set design (the Phantom's subterranean sewer lair is particularly impressive), Edwin Astley's robust, spooky score, the strikingly vivid and meticulous attention to period detail, and the beautiful opera music are all uniformly outstanding. Lom brings a winning blend of touching pathos and tremendous dignity to the role of the Phantom. Gough excels as a truly vile and revolting villain. Moreover, there are excellent supporting turns by Edward de Souza as engaging gentleman play producer Harry Hunter, Thorley Walters as browbeaten manager Lattimer, Ian Wilson as the Phantom's mute loyal dwarf friend, and Patrick Troughton as the grotesque the Rat Catcher. A bloody fine yarn.