



The reaction of contemporary critics was; too little phantom, too much opera. Anyone approaching this as a remake of the legendary Lon Chaney horror classic will inevitably be disappointed. Those who want to hear Nelson Eddy and Susanna Foster sing popular (and original) classical arias, will have a fine time.
Aside from the musical numbers on the famous Universal set of the the Paris Opera, there is a romantic melodrama about a novice (Foster) who dreams of being an acclaimed soprano. The phantom is pushed to the margins, which maybe is a good thing, as Claude Rains is dreadful as the man behind the mask.
He’s more irritating than terrifying, and his third billing is an indication of the studio’s priorities. Even the unmasking is a dud. There is the novelty of Technicolor, and sumptuous costumes and set design. But crucially, also an abysmal script and misjudged performances.
Those in search of horror can go back to Chaney’s silent version. Opera fans can play a record. There is little to recommend this now beyond the lavish production. Arthur Lubin was a decent director of B-films but fluffs his shot at the big time. This one is for aficionados of studio scenery.