‘The Phantom of the Opera’ (1962) is a beautiful, tense rendition that suffers from a poor final act
One of the major qualities one notices about director Terence Fisher’s Phantom is that it is distinctly English. There is no attempt to produce an English-language version of the famous doomed love story set in its original locale of Paris. Rather, the filmmakers opt to transplant the tragedy to the Opera House, streets and underground of dark and gloomy Victorian London. Shillings are mentioned instead of francs, and the cockney accents can be quite heavy at times (thankfully those speaking are limited predominantly to tertiary characters with minimal screentime). While some may argue that the shift is cosmetic, it accomplishes two things.