![the phantom of the opera movie 1925 the phantom of the opera movie 1925](https://marruda3.files.wordpress.com/2015/01/phantom-unmasking-chaney.png)
The Prizma work was thrown out in favor of the two-strip Technicolor footage. Some sequences had been shot earlier using a color process called Prizma but Prizma was never quite able to compete with Technicolor’s prowess. But once Phantom hit New York City, opening the Astor Theater on September 6 and then going wide, it included the Bal Masque, and the other glorious color scenes. The first prints previewed in Los Angeles and San Francisco differed in footage (added and subtracted) and were all black-and-white.
![the phantom of the opera movie 1925 the phantom of the opera movie 1925](https://assets.mubicdn.net/images/film/10025/image-w1280.jpg)
HE shows up.ĭue to the production problems on Phantom, not every release has color. Everyone’s partying, things are goin’ on, getting’ their groove on, THEN IT HAPPENS. And if you’re a fan of horror films and a villain junkie, then this is your scene, baby. While he may not have found all the missing bits, he did find one of the most dramatic and awe-inspiring: the Bal Masque scene. David Shepard of Black Hawk Films (thankfully) proved that to be wrong. There were multiple color sequences in Phantom, but they were thought to be lost. On the other hand, it was said that people were actually fainting during the mask removal scene after general release on November 25 th of that year, so it was certainly an effective film!
#THE PHANTOM OF THE OPERA MOVIE 1925 FULL#
Credited director Rupert Julian was informed he needed to reshoot the full feature after the LA premieres in January of 1925, so he ghosted. The film went through three directors, (including Chaney himself, although this remains uncredited/rumored), various previews, added and removed footage, and drama galore. Laemmle optioned it for Lon Chaney, Sr., and the troubled production began on October 29 th, 1924, just around Halloween. The book itself was not altogether very successful in France but it is documented that LeRoux gave a copy to Carl Laemmle when he visited and commented on the beauty of the Paris Opera House. These days, fish are the only wildlife to inhabit the undercarriage of Paris’ cultural center. It began to flow into the underground area of the glorious building and has remained there ever since in a highly controlled fashion. As the original architects were building the foundation for the Opera House, they hit a section of the Seine River. For example, the “lake” that the Phantom lives on underneath the Paris Opera house actually exists. Gaston LeRoux, investigative journalist and Edgar Allen Poe-fan, imbued the fictional tale with plenty of non-fiction. Le Fantôme de l’Opéra ( The Phantom of the Opera) was originally serialized in the daily French newspaper Le Gaulois before being novelized in 1910 and translated to English in 1911. However, it is the 1925 original that is worthy of critical assessment. For a singular novel, it has certainly produced an incredibly amount of media interpretations, from stage to big and little screens. The 1929-30 sound “reissue” utilized practically all the 1925 visual material, added a few newly shot scenes and the newly popularized audio technologies to make it a “talkie” while Andrew Lloyd Webber produced a highly acclaimed stage-musical. The Phantom of the Opera has been made and remade time and time again. One of these creations was The Phantom of the Opera (Rupert Julian, 1925), which plays at the New Beverly Cinema on Wednesday and Thursday, October 27 th and 28 th. Silent film is the mother of cinematic horror as it established our ideas of the moving image monstrous.