Aside from that, this can still be enjoyed as a horror story set against the Paris Opera background. The comic aspects of the story are a bit overdone and the only weakness of the film is giving Eddy and Edgar Barrier silly routines as they compete for the hand of Foster. Nelson Eddy has never been in better voice and Susanna Foster is certainly up to the demands of her singing role. Why carp about the changes made for this version? It stands on its own as an entertaining melodrama studded with operatic sequences that give it added dimension. His performance is just one asset of this handsome technicolor adaptation of the famous story.
He's one of those rare actors who can make you feel sympathy when he plays the ill-treated violinist so that you understand why he turns into 'The Phantom'. Before writing a film article on Claude Rains for CLASSIC IMAGES (December 2000), I took another look at 'Phantom' to appraise his performance.
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