:08:03
Mary was not of this world, really,
not of this age.
:08:08
She was extremely shy.
:08:11
She was a lovely, sweet,
gentle human being.
:08:16
Lon Chaney's screen persona
was the complete antithesis of Mary's,
:08:20
the Beast to her Beauty.
:08:22
And although Chaney was unparalleled
as a master of grotesque make-up,
:08:26
Phantom would put
even his talent to the test.
:08:29
The concept of the death mask
comes from the book.
:08:34
So this is Christine describing to Raoul:
:08:38
"Suddenly I felt a need
to see beneath the mask."
:08:42
"I wanted to know the face of the voice."
:08:45
"And with a movement which
I was utterly unable to control,
:08:49
swiftly my fingers tore away the mask."
:08:52
"If I live to be a hundred,
:08:54
I should always hear
the superhuman cry of grief and rage
:09:00
which he uttered when the terrible sight
appeared before my eyes."
:09:04
"I fell back against the wall, and
he came up to me, grinding his teeth."
:09:08
"And as I fell upon my knees,
he hissed mad incoherent words."
:09:13
"Leaning over me, he cried
'Look! You want to see?"'
:09:21
To create the illusion of a living skull,
:09:24
Chaney had taken inspiration from
a book illustration by Andre Castaigne,
:09:28
which only partially revealed
the Phantom's face.
:09:32
An exaggerated skullcap
raised his forehead,
:09:35
and his cheekbones
were exaggerated with putty.
:09:38
Further distortion was made by wadding,
:09:40
inserted into either side of his mouth.
:09:43
Small prongs attached
to a set of decaying teeth
:09:47
created the perpetual grin of
a death's-head and held the mouth open.
:09:52
The make-up's most startling feature,
a skeletal nose,
:09:55
was intensified for close-up shots
by means of a wire appliance,