Identifying Gothic Elements in 1925 film "The Phantom Of The Opera" - Review.
- by Introduction To Gothic Culture.
- Feb 14, 2016
- 5 min read
"His eyes are ghastly beads in which there is no light- like holes in a grinning skull. His face is like leprous parchment, yellow skin strung tight over protruding bones!"
The silent horror film "The Phantom Of The Opera" was an adaption of Gaston Leroux's 1910 novel Le Fantôme de l'Opéra. The film was directed by Rupert Julian and won people's glory in 1925.
This fantastic melodrama probably owes the success of its mystique to actor Lon Chaney (1883-1930) and his ability to express existential despair through bizarre roles. Mary Philbin (1902-1993), who fills the role of Christine Daae, was a notable actress, as well. We could say that she embodied the orgasm of the century in which she lived.
Thanks to the arrival of the German Expressionism in the early 20s, horror films found their roots in some avant-garde art movements, such as Dadaism and Surrealism. The Phantom Of the Opera constituted the marriage of the elements above with gothic atmosphere and dark aesthetics.
The film is based on romanticism, which is captured on the protagonist's face- a dark and melancholic figure, which has an acute necessity for companionship. Phantom's inordinate love for Christine is beyond limits. The Phantom (or Erik, as he likes to call himself at times) shows his cruel behaviour to all people who work at the opera. The "ghost" makes an attempt to offer to his beloved one all those things that she couldn't aquire on her own- the glory and the opportunities that she would obtain as an opera singer.
The incorporeal man expresses his romantic ideas via his love declarations to Christine. The mad love, but also the sick possession of his, came to convulse the unaware woman's soul.
Erik is now captured by depressing feelings- melancholy, loneliness, sadness and sense of desperation. The fact that he cannot accomplish his wish- to make the one he loves to love him back- makes him an unforgiving and ruthless creature, which seeds the death to everyone around him.
Opera's workers have been shivering at the sight of the ghost and fled in terror for many years. Phantom's criminal acts caused fright and agony. This situation becomes more difficult and complicated by the time Erik understands that he is going to lose the only creature he ever loved - a truth that is hard for him to admit.
The most impressive piece of this film is the protagonist, who bifurcate us. On one hand, we see an inexorable man to whom nature has given everything ugly and obnoxious. On the other hand, we perceive that all these evil elements of his personality originate from his wounded internal world, which craves for revenge. As the film continues, we are able to distinguish conflicting elements at ghost's behaviour. How could a creature like this also nourish pure feelings about someone else, and not only be isolated in his own desperation? All this contrast of romance and malice, love and maleficence, unsettle the viewer until the film's very last moment.
Concerning to the expressionistic visuals we could say that they offer a charming atmosphere to all viewers. The film contains attractive images and unforgettable scenes. The use of shadows causes curiosity and enthusiasm to the watcher, as they constitute an intelligent way to hide the phantom's figure. The unmasking scene gives birth to a lot of feelings- terror, fear, anguish, disgust. Moreover, the scene in which the Phantom appears in flowing crimson and with a deadhead mask, frightens the attendees, who start to blanche at the thought that this stalking figure may be the awful "Phantom". Furthermore, the sets are completely terrific for a black & white silent film from the 20s.
After so many years from the film's release, we still believe that it is as venerable as the Gothic Greats "Frankenstein", "Dracula", or "Dr.Jekyll and Mr.Hyde", which have been engraved in our memory. In fact, this Gothic presentation has all the elements of a suspense thriller, from the technical sets, hat we have already made a reference to, to the costumes and the general decoration of the place, where the Phantom lives- cloths from the victorian era, a coffin where the ghost sleeps, the catacombs as Erik's personal place, the labyrinths, the actions that tend to take place at night or at least in a claustrophobic sunless environment, the extremely dark decoration inside his cellar (candles, chains etc) and the list goes on.
In the middle of the film we see Christine, the woman who stole Erik's heart, walking down the dark, travelling to an unknown destination, with an increased sense of wonder. She is alone with a man, who is a big enigma, immersing into the darkness. When they finally arrive at his place, we notice that the interior of the cellar reminds us a 18th century castle, with elements from the Gothic architecture. Therefore, we are able to comprehend that the film is optically inspired from the Gothic Culture, in general.
Another Gothic parameter is the superstitions. During this era, people used to believe in demons, ghosts, witchcraft, spirits and paranormal matters. They couldn't easily divide the boundaries beween the natural and the supernatural. This is exactly what happened with our dearest Phantom. Erik is not a phantom and this is something understandable via reading the homonym novel. Erik is a disfigured man from birth, whose appearence could be compared with a monster's appearance. He has thin, yellow skin and a pair of bloody red eyes, which could be seen clearly in the dark. Moreover, he has no nose and his hair is completely black. We can briefly describe him as a creature that lives in darkness, whose only friend is sadness and who is fed by others' fear. People associated with the Paris Opera are confident that Erik has no relations with the natural and the humanity, but only with the supernatural and the darkness.
Christine, Erik's obsession, is a superstitious character, too. She is a young woman, deeply depressed of the loss of her father- as we learnt from the novel -and she thinks that the Phantom is an angel, sent to her from her father. She cannot distinguish the normal from the paranormal and she is fed by her illusions.
Last but not least, there are some clear issues of the female submission and illusion, something really common in Gothic novels. In this film's case, we have a female character that appears to be powerless enough to get manipulated by some dark influence. Christine's and Phantom's actions and behaviour are deeply connected with the well-known story: "The Beauty And The Beast". A weak girl with unlimited beauty, who is captivated by a mysterious and dark man, is a typical characteristic of a Gothic love story. The girl afterwards realises that this man is a monster and she tries to save herself from this awful disgusting creature. The attraction of the unknown, dark and charming lover, who gives the impression of a mysterious prince. But in the end, it doesn't really work, does it? That is exactly what happened in our story. In conclusion, we have to admit that "The Phantom Of The Opera" has been totally inspired by the Gothic Culture and it has espoused plenty of dark aesthetics.
References:
1. Mcdonald R. (2010). The Phantom Of The Opera (1925). http://www.horror-asylum.com/database/reviews.asp?item=05859
2. Gloves B. (n.d.). The Phantom Of The Opera (1925/1929).
3. Mordaunt H. (n.d.). The Phantom Of The Opera (1925).
4. Caitlynn L. (2010). Gothic Elements in "The Phantom Of The Opera"- Part One.
5. Caitlynn L. (2010). Gothic Elements in "The Phantom Of The Opera"- Part Two.
6. Caitlynn L. (2010). Gothic Elements in "The Phantom Of The Opera"- Part Three.
7. Caitlynn L. (2010). Gothic Elements in "The Phantom Of The Opera"- Part Four.
8. IMDB. (n.d.) Reviews & Ratings for The Phantom of the Opera.
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