1:19:01
The same visuals and many of
the same icons recur poetically with force
1:19:06
in Jean Cocteau's adaptation
of Beauty and the Beast.
1:19:10
The mirror, the beast, the dark rooms,
1:19:13
the ascent into the beast's lair,
the absent father.
1:19:16
As Carlos Clarens observed,
"Cocteau knew the value of his symbols,
1:19:20
where the director of the 1925 Phantom,
Rupert Julian, did not."
1:19:25
Lubin, too, and his writers,
knew the value of their symbols,
1:19:29
but they deployed them in the confines
of commercial Hollywood narrative.
1:19:35
It is never explained how a 5'6",
1:19:38
50-year-old musician with bad arthritis
1:19:41
is able to lug a concert grand, several
large oak chairs and a dining table
1:19:46
down five stories on slippery
stone staircases around a black lake
1:19:51
that has about a 3 foot walkway around it.
1:19:54
But then again, it is a fairy tale.
1:20:06
Arthur Schutt, the virtuoso
recording pianist at MGM,
1:20:09
was brought over
to play the piano concerto.
1:20:13
He also orchestrated Edward Ward's
score, along with Harold Zweifel.
1:20:43
Built when movies were silent,
one problem with stage 28 is its tin roof,
1:20:47
which makes sound filming impossible
on those days when El Niño kicks up.
1:20:51
The Screen Actors Guild basic agreement
1:20:53
has a clause specifically referring
to cast calls
1:20:56
on "so-called Phantom stages",
1:20:59
detailing the producer's
legal responsibility to SAG members