The Phantom of the Opera

A producer tracks a mysterious figure that haunts a London opera house.

The Phantom of the Opera was director Terrance Fisher’s follow up to the disastrous The Curse of the Werewolf. He seems to have learned from his mistakes though, as the film wastes little time in getting the Phantom on screen, and is solid from beginning to end.

The cast is great. Herbert Lom is excellent as the Phantom (a role that may, or may not, have been written for Cary Grant), finding the perfect balance between mania and melancholy. Opposite him, Edward de Souza exudes an easy charm as the film’s romantic lead (another role that may, or may not, have been written for Cary Grant). Topping them both though, is Michael Gough as the wonderfully wicked villain.

It’s surprising that this version of The Phantom of the Opera tanked at the box office, as it’s really pretty good. Perhaps audiences still had a bad taste in their mouths after The Curse of the Werewolf, but in reality, this film marked a return to form for Terence Fisher, even if Hammer Films would cool on him for the next two years.