"The Phantom of the Opera" by Hammer is a dramatic version directed by Terence Fisher. The screenplay shows the phantom as a poor composer that is stolen by the arrogant and corrupt Lord Ambrose D'Arcy, who is the real villain of the story. The sets and costumes are magnificent associated to great performances in one of the best films of the famous story by Gaston Leroux. My vote is seven.

Title (Brazil): "O Fantasma da Ópera" ("The Phantom of the Opera")

This is a good movie with a decent performance by Herbert Lom as the Phantom. But, there's a fundamental problem with the movie. It really bears little, if any, resemblance to the actual story written by Gaston Leroux! Instead of a mysterious phantom whose exact origin is clouded in mystery, the writers created an interesting but new back story involving stealing of a great composer's work and driving him to the brink of madness. In fact, in the film, he's actually a pretty nice guy and all the bad behavior usually associated with the Phantom in other films is done by the Phantom's sidekick--and probably without the Phantom's permission.

My feeling is that maybe they should have still made this movie--I liked what they did to the plot. It's just that it should not called it the Phantom of the Opera! It reminds me of the movie STRANGE BREW--while, technically it IS "HAMLET", you really have to be pretty drunk to recognize this! Still, if you ignore the Leroux novel and don't mind that once again Hammer Films has greatly changed a classic (such as placing it in Britain instead of France, among many other differences),then it is a very watchable and interesting film.

By the way, the leading lady sure looks a lot like Joan Plowright, but it really is Heather Sears. Also, I really liked the character played by Michael Gough--he must have had a lot of fun playing such a big jerk!

As far as adaptations of The Phantom of the Opera goes(excluding the Andrew Lloyd Webber musical),this 1962 Hammer version is not as good as Lon Chaney's, which is the best version, but it's superior to the Claude Rains version(though I do prefer Rains over Herbert Lom).

It does have its problems, with too much time spent on the opera and the romance and not enough of the Phantom, which does undermine the tension, sense of dread and horror. Sadly, the opera numbers, while musically good, are staged awkwardly and really do slow the film down. The romance is rather saccharine, and the chemistry between the two 'heroes' a little bland. Heather Sears also plays Christine too low-key and the script, while with some intelligent moments, does plod sometimes and has a little too much talk.

However, it is very lavishly made (one of the better looking early-60s Hammer films) with truly marvellous interiors of the opera house, rich vibrant colours and opulent costumes. It is beautifully and spine-chillingly scored, though James Bernard would have been an even better fit for composer. The story is less than perfect, but does offer some effective moments. The close up of the eye is really quite chilling and enough to make one jump, while the grasping hand over the stage and the lowering of the gas lamp are indeed very suspenseful, Phantom's back-story is interesting and makes one empathise with him and the ending is incredibly moving.

Terrence Fisher's direction is technically accomplished and does evoke some suspense and atmosphere, though his story-telling has been better elsewhere. Regarding the acting, Michael Gough steals the show being chillingly vile as a true slimeball with no redeeming qualities of a character. Herbert Lom is a great contrast as the Phantom, under heavy and effective make-up he is a sympathetic and tragic figure and it is quite a poignant performance, though not without a few scary moments. Edward De Souza is charming.

In conclusion, not among the best of Hammer by a long shot and could have been better, but still manages to be pretty good. 7/10 Bethany Cox