Hammer Horror tends to be at their best when they're doing their own take on a classic story. That's what they've done here, and Phantom of the Opera is definitely one of my favourites from the studio. This version of the tale sticks closer to the original than many of Hammer's films do, with only some small elements being changed. The phantom here is much more human than the ones seen in earlier and later takes on the tale, and the chandelier sequence has been given a small overhaul. None of Hammer's real big stars appear in this production (which could be partly responsible for it flopping on release), but Hammer's favourite director, Terence Fisher, has still managed to put together a suitable cast. Herbert Lom takes the title role and does well with it, in that he has a great ability to make you feel sorry for him. The ultra-camp Michael Gough is the phantom's nemesis, and portrays his vile character brilliantly. Many people don't think much to Gough's acting - but he's one of those actors that can shine when given fitting material. Thorley Walters is no stranger to Hammer films, and he is joined by Heather Sears to make up the rest of the central ensemble. Naturally, there's a small role for Hammer regular Michael Ripper too.
The plot will be familiar to everyone, and it follows a brilliant composer whose work was stolen by the opera house director. In an attempt to burn the work, the composer becomes badly deformed and takes up residence in the annals of the opera house that should have made him famous. It isn't long before he spies the beautiful Christine, and thus makes it his business to train her singing voice. The sets for this film are great, and do everything that you would expect the sets for this story to do. Hammer have gone for a more downtrodden style than the usual flamboyance, and that helps to enforce the dark side of this classic tale. There has been a lot of versions of Phantom of the Opera over the years, and while Lon Chaney's version will remain the best in most horror fan's eyes, I have no qualms with ranking this take on it as number two. My only problem with the film really is that too much time is spent on actual opera. This is also what I hated about the Claude Rains version...but I suppose you cant have 'Phantom of the Opera' without a little bit of opera. On the whole, this is a great Hammer film and well worth seeing!
The plot will be familiar to everyone, and it follows a brilliant composer whose work was stolen by the opera house director. In an attempt to burn the work, the composer becomes badly deformed and takes up residence in the annals of the opera house that should have made him famous. It isn't long before he spies the beautiful Christine, and thus makes it his business to train her singing voice. The sets for this film are great, and do everything that you would expect the sets for this story to do. Hammer have gone for a more downtrodden style than the usual flamboyance, and that helps to enforce the dark side of this classic tale. There has been a lot of versions of Phantom of the Opera over the years, and while Lon Chaney's version will remain the best in most horror fan's eyes, I have no qualms with ranking this take on it as number two. My only problem with the film really is that too much time is spent on actual opera. This is also what I hated about the Claude Rains version...but I suppose you cant have 'Phantom of the Opera' without a little bit of opera. On the whole, this is a great Hammer film and well worth seeing!