Phantom of the Opera | Chicago Reader

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There's more opera than phantom in this 1942 remake of the Chaney silent, conceived largely as a vehicle for Nelson Eddy and Universal's pet soprano, Susanna Foster. Claude Rains, as the revenge-crazed composer, has a few good, juicy moments, and Hal Mohr's Technicolor photography is superb, but the rest makes one yearn for Jeanette MacDonald, which is not a comfortable feeling. The picture was a tremendous success in its time, and even inspired a sequel, of sorts, in The Climax, which pitted Susanna against Boris Karloff. Alas, she won.

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