The Phantom of the Opera 1925

Mordaunt Hall, New York Times: The Phantom of the Opera is an ultra fantastic melodrama, an ambitious production in which there is much to marvel at in the scenic effects. Read more

Keith Phipps, AV Club: The atmosphere matches Chaney's performance perfectly. His grotesque appearance is achieved with wires, cotton balls, and eye-dilating chemicals, but his character, as usual, is animated from within. Read more

Ty Burr, Boston Globe: A grand, pulpy potboiler of a suspense melodrama. Read more

Dave Kehr, Chicago Reader: Rupert Julian's 1925 silent film doesn't have much going for it apart from the famous unmasking scene. Read more

J. R. Jones, Chicago Reader: Lon Chaney's performance as the hideous organist prowling the sewers beneath the Paris Opera is still a cornerstone of gothic horror. Read more

Lawrence O'Toole, Entertainment Weekly: The main inducement to watch remains Chaney's tragic, ineffably sad figure. Read more

Roger Ebert, Chicago Sun-Times: It has two elements of genius: It creates beneath the opera one of the most grotesque places in the cinema, and Chaney's performance transforms an absurd character into a haunting one. Read more

TIME Magazine: Though Mr. Chaney wears a more grotesque make-up than ever, the film play seems only pretty good. Read more

Tony Rayns, Time Out: The highs are way up there with the best in the tradition of Gothic fantasy. Read more

Variety Staff, Variety: Kerry is a colorless hero, Philbin contents herself with being pretty and becoming terrorized at the Phantom, and Chaney is either behind a mask or grimacing through his fiendish makeup. Read more

J. Hoberman, Village Voice: A pinnacle of the Hollywood fantastic. Read more