:02:02
and command your love.
:02:06
What does he look like?
:02:08
I saw him, I tell you.
:02:10
All-over black,
:02:13
and his eye staring at me.
:02:15
- His eye?
- Eye!
:02:18
One eye in the middle of his forehead.
:02:20
- It has a long nose and a big, red beard.
- You make me nervous.
:02:24
And his nose? There is no nose.
:02:28
He has no nose!
:02:30
And how far will he go
in pursuit of his passion?
:02:47
If one theme recurs in the canon
of Universal Studio's horror,
:02:51
it is certainly the timeless legend
of Beauty and the Beast.
:02:57
But nowhere has the classic fairy tale
been more masterfully elaborated upon
:03:02
than in Universal's
The Phantom of the Opera,
:03:06
first made in 1925 with Lon Chaney,
:03:10
followed by
an Oscar-winning remake in 1943,
:03:14
featuring Claude Rains as the Phantom,
:03:16
and remade once again in 1962,
:03:19
with Herbert Lom
as the disfigured music master,
:03:23
whose story has become one of the most
popular narratives of the 20th century.
:03:28
The thing about
The Phantom of the Opera
:03:31
is the romantic quality that it has.
:03:36
The appeal of The Phantom of the Opera
:03:38
is one of those perennial things
where you have a character
:03:43
who also has a tragic element.
:03:45
It's so intriguing and mysterious.
:03:48
The mystery of it all,
it fascinates people.
:03:52
I think the thing
that sticks in everybody's mind
:03:56
is the removal of the mask.