: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,
:10:00
partially visible in these photos,
:10:03
inserted into his nostrils,
then pulled taut and hidden by putty.
:10:07
According to cameraman
Charles Van Enger,
:10:10
the device often caused
significant bleeding.
:10:13
Well, it was pretty ghastly.
:10:16
And when he was unmasked, so to speak,
:10:22
it was a real shock.
:10:25
For Carl Laemmle's niece, Carla, who
lived with her parents on the back lot,
:10:29
life at Universal was never more exciting
than during the production of Phantom.
:10:34
When I was 16 years old, they were
making The Phantom of the Opera,
:10:39
and I was chosen
to be the prima ballerina,
:10:42
which was quite a big thrill to me.
:10:51
Phantom's director
Rupert Julian was also thrilled.
:10:54
After ten routine years as an actor
and director with Universal,
:10:59
the former Percival T Hayes,
son of a New Zealand pub owner,