Universal did better in the 1940s with its horror B-productions, such as the monster rallies beginning with "Frankenstein Meets the Wolf Man" (1943), than with a lavish production such as this "Phantom of the Opera," which largely removes the Gothic horror elements from Gaston Leroux's novel and replaces them with romantic opera. Although the Phantom of Claude Rains is given an all-too-elaborate origin's story, it makes the character look like a pathetic imbecile--killing a man and becoming disfigured (in a way taken from "Song at Midnight" (1937) instead of as in the book) over a mistake and living in poverty as a violinist (Why a violinist? It doesn't matter.), to anonymously support Christine's singing lessons, for no apparent reason (originally, they were scripted as father and daughter, but this was allegedly dropped for fears over incestuous subtext). Moreover, this misses the opportunity to feature the actor who played the eponymous role in "The Invisible Man," a part that relied on his voice more than his body, to play a similar function directing Christine with only his voice, as per the book and other adaptations. Not only that, but the Phantom isn't even very grotesque.
For much of the film, we get Nelson Eddy, who receives top billing, strutting through an opera in a backstage musical, instead of the "Faust" play-within-a-play that reflected the outer, main narrative in the book. The opera here, on the other hand, has nothing to do with the outer Phantom story. At least, the 2004 adaptation of the Andrew Lloyd Webber stage musical made some fun of a screeching soprano, but, unfortunately, this one plays the opera straight. Meanwhile, Eddy's character was invented for this film and adds a redundant love triangle to the one that already existed between the Phantom and Raoul for the affections of Christine and for her career in opera or normal life of homemaking. Maybe she could've had both with Eddy, but that point isn't explored. There are some feeble attempts at humor between the two suitors other than the Phantom, though, as they bump into each other to get through doors, or simultaneously try to kiss Christine's hand, or simultaneously talk--all of which is underscored obnoxiously.
Even the Oscar-winning art direction largely relies upon reusing the auditorium set from the superior 1925 version. That film has its faults, too, but considering the other Phantom films made since, I'd recommend the one with Lon Chaney. The use of color stands out more in that one, too; yet, again, this 1943 adulteration is the one that was honored. And for a loose reworking of the story within a backstage musical, check out "Phantom of the Paradise" (1974).
For much of the film, we get Nelson Eddy, who receives top billing, strutting through an opera in a backstage musical, instead of the "Faust" play-within-a-play that reflected the outer, main narrative in the book. The opera here, on the other hand, has nothing to do with the outer Phantom story. At least, the 2004 adaptation of the Andrew Lloyd Webber stage musical made some fun of a screeching soprano, but, unfortunately, this one plays the opera straight. Meanwhile, Eddy's character was invented for this film and adds a redundant love triangle to the one that already existed between the Phantom and Raoul for the affections of Christine and for her career in opera or normal life of homemaking. Maybe she could've had both with Eddy, but that point isn't explored. There are some feeble attempts at humor between the two suitors other than the Phantom, though, as they bump into each other to get through doors, or simultaneously try to kiss Christine's hand, or simultaneously talk--all of which is underscored obnoxiously.
Even the Oscar-winning art direction largely relies upon reusing the auditorium set from the superior 1925 version. That film has its faults, too, but considering the other Phantom films made since, I'd recommend the one with Lon Chaney. The use of color stands out more in that one, too; yet, again, this 1943 adulteration is the one that was honored. And for a loose reworking of the story within a backstage musical, check out "Phantom of the Paradise" (1974).