1:15:03
to drop the chandelier in 1925.
1:15:06
For the silent film, Rupert Julian
and Charles Van Enger, the cameraman,
1:15:10
had animated their
full-scale chandelier in real time,
1:15:14
lowering it on a winch, a bit at a time,
and making single-frame exposures.
1:15:19
When run at natural speed,
the chandelier would appear to fall.
1:15:23
Claude Rains' "damn mask",
as Arthur Lubin calls it,
1:15:27
was an enigmatic, serene blue half-face
1:15:30
that echoed the plains
of Claude's own face.
1:15:34
"It looked exactly like Claude"
says Susanna.
1:15:37
"With its almond eyes and the whiskerlike
cut above Claude's mouth,
1:15:41
it had a certain catlike malevolence."
1:15:44
Foster believes that the mask
was designed by Jack Pierce.
1:15:48
Alex Golitzen's memory
is that it was designed
1:15:51
by Pierce's assistant, Buddy Westmore.
1:15:53
He was very firm and direct
on answering that, when asked.
1:15:57
The design was certainly
predetermined in preproduction,
1:16:00
and the distinctive look was incorporated
in the storyboard continuity sketches
1:16:05
prepared for Golitzen and Lubin
by Johnny Peacock.
1:16:09
"You've got to be careful about masks,"
Rains told the Los Angeles Daily News.
1:16:14
"If they're not exactly right,
they look funny."
1:16:17
Rains downplayed to the reporter
the nature of his Phantom make-up.
1:16:21
"It's not horrible at all," he said.
"Just a scar on one cheek."
1:16:25
Lubin said that Pierce designed
several elaborate make-ups,
1:16:29
tearing them down until the degree of
disfigurement was acceptable to Rains.
1:16:33
This shot is a virtual recreation
of a similar setup
1:16:36
in Walt Disney's Snow White and the
Seven Dwarfs, made seven years earlier,
1:16:40
as the wicked queen descends her
staircase, as rats watch in the foreground.
1:16:45
At the bottom of the stairs, the queen
enters her alchemical workroom,
1:16:49
where she transforms herself
into the evil hag.
1:16:52
Similarly, Claudin will go through
a transformation here.
1:16:56
In our practical world,
attics and basements
1:16:59
are the places
for the castoffs of our lives.