Catherine O’Hara: 1954-2026

​

 Catherine O’Hara; actress, comedian, and screenwriter…has passed away at 71. 

 

Born in Toronto, Catherine Anne O’Hara had her start at The Second City comedy club in her hometown. She would later be an understudy to Gilda Radner on Saturday Night Live. She would later earn an Emmy for writing for her work on SCTV Network 90, while appearing on TV on Tales from the Crypt, The Larry Sanders Show, and Dream On. 

 

She would have her cinematic debut in 1980, appearing with her SCTV co-stars John Candy and Eugene Levy in DOUBLE NEGATIVE. She would have many supporting roles, including in Martin Scorsese’s AFTER HOURS. In 1988 she would have one of her most famous roles, that of Lydia Deetz in Tim Burton’s BEETLEJUICE. She would reprise the role in the legacy sequel in 2024. She would have perhaps her most famous role as Kevin McCallister’s mom in HOME ALONE (1990), and it’s 1992 sequel. 

 

Other notable film roles include DICK TRACY (1990), THE NIGHTMARE BEFORE CHRISTMAS (1993), THE PAPER (1994), WYATT EARP (1994), AWAY WE GO (2009), FRANKENWEENIE (2012), and Pixar’s ELEMENTAL (2023). 

 

She would have a successful return to TV in the CBC sitcom Schitt’s Creek, earning several awards. She would provide the narration for the Canadian movie attraction for World Showcase at Epcot at Disneyworld. 

 

*

 

Catherine O’Hara’s film (and TV), career is a masterclass in comic brilliance and versatility. From her iconic roles in BEETLEJUICE and HOME ALONE to her knee-slapping lines in Schitt’s Creek, she brought intelligence, warmth, and fearless comedy to every role. She had that gift for making the most eccentric characters human; even the flake that was Lydia Deetz could be understood. Her expressions are unforgettable, and her emotional range quietly powerful. She elevated everything she was involved with, and now she has gone home. 

A Reel Opinion: The Top 10 Best Films Directed by Guillermo del Toro

Last week, the nominations for the 98^th Academy Awards came with many surprises, including an impressive nine nods for Guillermo del Toro’s remake of FRANKENSTEIN (read Reel Speak’s recap of the nominations HERE). The horror flick has been in the discussions as one of GDT’s best works, which leads us to the Top 10 Best Films Directed by Guillermo del Toro. 

 

Born in Mexico, GDT has built a career out of monsters, whom he considers to be a source of great power. But his work has also been heavily inspired by fairy tales, mythology, and religious imagery. He has been prolific, acting as producer for many films…but it is his time in the director’s chair where he truly has us.  

 

So, let’s journey into the dark side…

 

 

 

10. NIGHTMARE ALLEY (2021)

 

This remake of the 1947 neo-noir psychological horror (which was originally an adaptation of a book), had a packed cast (Bradley Cooper, Cate Blanchett Toni Colette, Willem Dafoe, Richard Jenkins, Rooney Mara, Ron Perlman, Mary Steenburgen, David Strathairm), along with dazzling production design, a haunting atmosphere and a devastating ending. All the elements that make up a good nightmare. 

 

 

 

9. MIMIC (1997)

 

Based on the short story of the same name, MIMIC followed the creation of a genetically modified insect. It had a moody atmosphere, gritty urban horror, and just enough heart. Although GDT would disavow the theatrical cut after studio meddling, the film would find new life on home video with a director’s cut. But both versions deliver the chills.

 

 

8. PACIFIC RIM (2013)

 

GDT had made a career out of making monsters sympathetic creatures. But with PACIFIC RIM, he said ah-fuck-it and just made the big monsters the big bad guys. Set in the future where mankind builds giant robots to battle colossal sea monsters, PACIFIC RIM built a self-contained universe with echoes of STAR WARS, and the spectacle was fashioned especially for big-screen oh-wow moments. 

 

 

 

7. CRONOS (1993)

 

GDT’s feature film debut. An antique dealer discovers a mysterious device inside a statue that gives eternal life. Hailed as a modern classic, CRONOS displays gothic horror with outstanding practical effects and poetic symbolism. Masterfully shot and edited, CRONOS has a beautiful melancholy to it, hinting at the style GDT would embrace for the next 30 years. 

 

 

 

6. THE DEVIL’S BACKBONE (2001)

 

One of GDT’s most acclaimed films. A young boy during the end of Spanish Civil War is haunted by the ghost of a recently deceased boy. Tender humanity, wartime tragedy, and GDT’s look at his countrymen’s past make this deserve every acclaim.

 

 

5. HELLBOY (2004)

 

There are things that go bump in the night, and what better way for GDT to bump back than with this adaptation of the popular comic, HELLBOY. Ron Perlman and his jaw stars as the demon-turned-investigator of paranormal threats, fighting off monsters and creatures and all sorts of evil. Like PACIFIC RIM, HELLBOY built a dazzling universe of creatures, and this was only a hint of what would come next…

 

 

 

 

 

4. HELLBOY II: THE GOLDEN ARMY (2008)

 

Where HELLBOY gave us a peek of the strange and unusual, THE GOLDEN ARMY drew the curtain back all the way. In this sequel, Hellboy and his team battles an elven king looking to reclaim the world. The universe is expanded by way of breathtaking creatures and setpieces (the troll-market is still amazing), and the action is balanced out with a lot of heart…enforcing GDT’s belief that all creatures are beautiful. 

 

 

 

 

3. FRANKENSTEIN (2025)

 

The newest film from GDT may still have the scent of a fresh corpse, but for now it deserves high praise in his filmography. This re-telling of the Mary Shelly novel pulls great performances out of Oscar Isaac, Mia Goth, and most especially Jacob Elordi as the creature. It is a visual stunner, emotional, and pays tribute to nearly every Frankenstein adaptation for the screen. 

 

 

 

2. THE SHAPE OF WATER (2017)

 

GDT’s take on the Beauty and the Beast fairy tale in this period dark fantasy about a mute cleaner at a secret government lab who falls in love with a captured humanoid amphibian. By using alternate ways of communication, the story unfolds in a very unique way, and it is supported by excellent performances from Sally Hawkins, Octavia Spencer, and Michael Shannon. Nominated for 13 Oscars and winner of four, including Best Picture and Director for GDT. 

 

 

 

1. PAN’S LABYRINTH (2006)

 

GDT’s compassionate imagination for dark fantasy and creatures with eyeballs in all the wrong places comes to life in this stunner that elevated his name into pop culture and elite cinema. Set in 1944, PAN’S LABYRINTH follows a young girl during post-Civil War Spain who falls into a hidden labyrinth and given three dangerous tasks. Loaded with GDT’s love for fairy tales, folklore, fantasy, and breathtaking creatures…PAN’S LABYRINTH is a journey into the unknown with emotional gravity and a few gory surprises. There are films made that we just cannot take our eyes away from, and this is where GDT had us all. 

Reel Speak's Top 10 Films Directed by Guillermo del Toro

1. PAN'S LABYRINTH
2. THE SHAPE OF WATER
3. FRANKENSTEIN
4. HELLBOY II: THE GOLDEN ARMY
5. HELLBOY
6. THE DEVIL'S BACKBONE
7. CRONOS
8. PACIFIC RIM
9. MIMIC
10. NIGHTMARE ALLEY

A Reel Opinion: The 98th Oscar Nominations - The Good, The Bad, & The Glorious

The nominations for the 98^th Academy Awards were announced this morning at the Academy’s Samuel Goldwyn Theater, delivered by hosts Danielle Brooks (THE COLOR PURPLE), and Lewis Pullman (THUNDERBOLTS), bringing a fair share of surprises and letdowns. 

 

The most nominations went to Ryan Coogler’s one-half musical, one-half horror flick SINNERS, with a record 16 nominations. It earned a nod in every category it was eligible for, including the brand-new Best Casting (which gave it the record). Right behind SINNERS was Paul Thomas Anderson’s ONE BATTLE AFTER ANOTHER with 13, followed by MARTY SUPREME, SENTIMENTAL VALUE, and FRANKENSTEIN with nine. Here is how the rest played out in The Good, The Bad, and The Glorious: 

 

THE GOOD

-This year’s Best Picture nominees (10 in total), included four films that have earned over $100 million at the box office, including Joseph Kosinski’s racing flick, F1. A good sign that the Academy is not afraid to nominate popular films. 

 

-James Cameron’s AVATAR: FIRE AND ASH earned a Best Visual Effects nomination (expected), but surprisingly got a nod for Best Costume Design. And why not? It may be digital, but the costume still has to be designed. And the name of the award is Best Design, not best weaving or sewing. 

 

-The Academy announced that Conan O’Brien would be returning as host. 

 

THE BAD

-Zero nominations for WICKED: FOR GOOD. 

 

-No acting nomination for Jeremy Allen White, for his portrayal of Bruce Springsteen in DELIVER ME FROM NOWHERE.

 

-Guillermo del Toro’s FRANKENSTEIN earned nine nominations, but he oddly missed out on Best Director. 

 

THE GLORIOUS

-ONE BATTLE AFTER ANOTHER earned the respect of the Acting Branch of the Academy, pulling in four total acting nominations: Leonardo DiCaprio, Sean Penn, Benicio Del Toro, and Teyana Taylor.

 

-SINNERS Cinematographer Autumn Durald Arkapaw became the first woman of color to be nominated in that category. 

 

-It is a magnificent year for the horror genre, with SINNERS and FRANKENSTEIN pulling in 25 total nominations. A great film can be found anywhere, and the Academy knows it. 

 

*

 

The 98^th Academy Awards are March 15^th. 

A Reel Opinion: King of the Box Office World

James Cameron has done it again. 

 

Last week, Cameron’s newest film, AVATAR: FIRE AND ASH, crossed the $1 billion mark at the international box office. That makes Cameron the first director in history to have four consecutive films reach that $1 billion mark. Although he is still behind Steven Spielberg as the second-highest grossing director of all time, right now it seems Cameron is the king of the box office. 

 

How did he get there? 

 

The writing was on the wall in 1991, when his sci-fi thriller TERMINATOR 2: JUDGMENT DAY wowed audiences and critics on its way to becoming the third-highest grossing film of its time. Audiences loved his sense of spectacle, action, and emotional hook. He would capitalize on that five years later, when his beloved epic TITANIC became the highest-grossing film of all time while earning a boatload of awards. TITANIC would be the first film in history to hit $1 billion. 

 

Despite rising ticket prices, TITANIC would hold on to that top spot for an impressive twelve years. And it turned out that the only director who could topple a James Cameron film would be…James Cameron. His own sci-fi epic AVATAR would take that spot in 2009. The sequel, THE WAY OF WATER would hit that billion mark in 2022, and now FIRE AND ASH has done it. TITANIC and the three AVATAR films would give him that special, and impressive four film run of $1 billion each. 

 

It's a feat that can’t be praised enough. Directors such as Spielberg, Christopher Nolan, and Peter Jackson haven’t done it, and in age where movie theatres struggle, any box office hit has to be considered a significant win. 

 

And how does it do it? It’s a question that has perplexed many movie fans. Cameron blends spectacle, emotion, and technological ambition better than anyone, and he pushes new filmmaking tools so well that audiences know they will always see something new. But it is not all spectacle. His visuals serve simple, universal stories about love, survival, and moral choices that translate across cultures and are timeless. He also builds immersive worlds that reward repeat viewing and belong on larger IMAX screens. His films have become global events, and the world will be ready when the king returns for a fifth try at the billion. 

A Reel Preview: The Year in Film 2026 - Episode I

2026 is about to land, and it arrives as a packed year with new films from big-time directors with names like Spielberg, Nolan, and Villeneuve, along with the return of Earth's Mightiest Heroes. It also brings significant anniversaries such as ROCKY (50 years), THE FELLOWSHIP OF THE RING (25 years), and Pixar’s CARS (20 years). 

 

But before we get to all that, we need to get through Movie Siberia; the first two months of the year where low-expectation films are dumped to die. Here is what’s falling on the big screen for January: 

 

THE PLAGUE – In this psychological thriller, a young boy is pulled into a cruel tradition at camp. Joel Edgerton stars. 

GREENLAND 2: MIGRATION - In this sequel to the 2020 disaster film, a family leaves the safety of their underground bunker after a comet collision to find a new home. Gerard Butler (300), and Morena Baccarin (SERENITY), star. 

 

 

WE BURY THE DEAD – Daisy Ridley (THE FORCE AWAKENS), stars in this horror flick where she searches for her husband in the aftermath of a zombie apocalypse. 

 

 

IS THIS THING ON? – Bradley Cooper directs and stars this comedy-drama about a couple that splits and enters the world of stand-up comedy. Laura Dern and Will Arnett co-star. 

 

 

28 YEARS LATER: THE BONE TEMPLE – The fourth installment of the 28 DAYS LATER post-apocalyptic horror series, serving as a direct prequel to 28 YEARS LATER from last year. Ralph Fiennes stars, and it is directed by Nia DaCosta (THE MARVELS). 

 

 

HAMNET – Oscar winning director Chloe Zhao (NOMADLAND), helms this historical drama centered around the marriage of William Shakespeare. It stars Jessie Buckley and Paul Mescal (GLADIATOR II). 

 

 

H IS FOR HAWK – Claire Foy stars in this drama about a woman caring for a pet hawk after the death of her father. 

 

 

MERCY – In this unique blend of sci-fi and legal thriller, a detective stands on trial for murder, and must convince an A.I. judge of his innocence. The cast includes Chris Pratt, Rebecca Ferguson, and Annabelle Wallis. 

 

 

SEND HELP – Sam Raimi (EVIL DEAD, SPIDER-MAN), helms this survival thriller where a worker and her boss become stranded on a desert island. Rachel MacAdams and Dylan O’Brien star. 

 

 

SHELTER – Jason Statham plays a former assassin forced to kill his old employers. 

 

*

 

Next month, Reel Speak previews the month of February. 

A Reel 10: STAR WARS - THE FORCE AWAKENS

“There has been an awakening…”

 

This month marks the 10th anniversary of STAR WARS – EPISODE VI: THE FORCE AWAKENS. 

The seventh episode of the series and a legacy sequel to RETURN OF THE JEDI (1983), THE FORCE AWAKENS was the first film produced by Disney after creator George Lucas sold the franchise in 2012. Picking up 30 years after the fall of the Empire, AWAKENS follows a scavenger and a former stormtrooper in their search for the vanished Luke Skywalker, with the hope that his return will fight off the First Order; the successor to the Empire. 

 

THE FORCE AWAKENS began production after Disney acquired the property from Lucas, who served as a creative consultant in the early stages. In the director’s chair would be J.J. Abrams, who had dazzled audiences with his STAR TREK revival in 2009. The script would be written Abrams, Michael Arndt, and Lawrence Kasdan…who was a co-writer on the Original Trilogy. John Williams would return to provide the score. 

 

Filming began in 2014 at Pinewood Studios in England, and on location in Abu Dhabi, and Ireland. The cast would include Daisy Ridley as the scavenger, John Boyega as the former stormtrooper, and Adam Driver as Kylo Ren; leader of the First Order. The rest of the cast would be rounded out by STAR WARS veterans Harrison Ford, Carrie Fisher, Mark Hamill, Anthony Daniels, and Peter Mayhew…along with Oscar Isaac, Lupita Nyong’o, Andy Serkis, Domhnall Gleeson, and Max von Sydow. 

 

THE FORCE AWAKENS would open to critical acclaim and would gross over $2 billion worldwide, becoming the biggest hit of 2015 and the third-highest grossing film of all time at the time of its release. It would be nominated for five Oscars and be followed by THE LAST JEDI (2017), and THE RISE OF SKYWALKER (2019). 

 

*

 

It is rare for this Blogger to write up a 10-year anniversary, but for STAR WARS, exceptions will always be made. Long-time readers of Reel Speak know that this was the film that brought my wife and I together. And in 2019, we made the magnificent climb up the Jedi steps at the breathtaking Skellig Michael off the coast of Ireland; the now famous filming location for the new home of Luke Skywalker (read about that journey HERE). For this Blogger, THE FORCE AWAKENS flies close to the heart. 

 

From a filmmaking point of view, THE FORCE AWAKENS is a film that really moves. The editing and pacing have a rhythm to it, creating a sense of forward momentum with endless energy. Visual effects, sound editing, and John Williams’ magnificent score brings back the awe and wonder that STAR WARS does so well. 

 

In that galaxy far, far away, THE FORCE AWAKENS expands and goes deeper. It shows the impact that galactic politics and war can have on even the smallest of beings; Rey’s journey from lowly scavenger to hero of the Resistance strikes that chord inside all of us…the chord that always tells us we are meant for something more. As the first new STAR WARS film in decades, it revitalized the franchise with new heroes such as Rey, while combining them with nostalgia from the old Galactic Civil War. It honors what came before while setting up another ten years of STAR WARS content…with more films, video games, and streaming series. There was an awakening in 2015, one that brought us back into a galaxy of adventure and timeless optimism.

 

“It’s true. All of it.”

 

Rob Reiner 1947 - 2025

Actor and filmmaker Rob Reiner has passed away at 78. 

 

The son of entertainment legends Carl and Estelle Reiner, he was born in the Bronx and received his early training at the Bucks County Playhouse in New Hope, PA. In the late 1960’s he acted in small roles in TV shows such as BATMAN, THE ANDY GRIFFITH SHOW, and THE BEVERLY HILLBILLIES. In 1971 he had his breakout role as Mike “meathead” Stivic in the sitcom ALL IN THE FAMILY. 

 

In the 1980’s he made the move to directing, and helmed some of the most iconic films of the last 40 years. His debut came in 1984 with the mockumentary THIS IS SPINAL TAP. Next came the coming-of-age drama STAND BY ME (1986), and the fantasy THE PRINCESS BRIDE (1987). 

 

He continued to direct hits through his Castle Rock Entertainment. The romantic comedy WHEN HARRY MET SALLY from 1989 has been regarded as the best of its genre. In 1990 he would direct the thriller MISERY, which earned Kathy Bates an Oscar for Best Actress. In 1992 he helmed the ensemble courtroom thriller A FEW GOOD MEN, which was nominated for Best Picture. Other films included THE AMERICAN PRESIDENT (1995), GHOSTS OF MISSISSIPPI (1996), and THE BUCKET LIST (2007). His final film would be THIS IS SPINAL TAP II from 2025. 

 

He continued to act and appeared in THROW MOMMA FROM THE TRAIN (1987), SLEEPLESS IN SEATTLE (1993), PRIMARY COLORS (1998), and THE WOLF OF WALL STREET (2013). His career would bring three Directors Guild of America awards and four Golden Globes nominations for Best Director. 

 

*

 

Rob Reiner leaves behind a legacy of films that have stood the test of time. Everyone knows the thundering courtroom sequence of A FEW GOOD MEN, the swordfights from THE PRINCESS BRIDE, the tension of MISERY, and the romance of Harry and Sally. With his perfect yet delicate balance of drama and comedy, he made films that clicked something inside of us and stayed there. With THIS IS SPINAL TAP, he drew the curtain back on the world of rock n’ roll bands, poking fun at them in an honest way that no headbanger could argue. He was the most human director we have seen in the last 40 years, and cinema will miss him. 

A Reel 20: KING KONG

“Kong! The eighth wonder of the world!”

 

This month marks the 20th anniversary of Peter Jackson’s KING KONG. 

 

An epic monster/adventure film, KING KONG was the second remake of the 1933 film, and the first film from Peter Jackson after his historic and successful THE LORD OF THE RINGS trilogy. Like the 1933 version, it followed an ambitious filmmaker who tricks his cast and crew into voyaging to the mysterious and hidden Skull Island, where they encounter prehistoric creatures and the mythical giant gorilla known as Kong. 

 

The voyage to KONG began back in 1995, when Universal Pictures approached Jackson to direct a remake of the classic 1933 film. The project stalled after a few years in development, as several monster movies were being made at the time and Jackson was planning on forging THE LORD OF THE RINGS. Once the One Ring was done, Universal came back to Jackson in 2003, who finally accepted. 

 

Filming began in 2004 in New Zealand. Naomi Watts would step into the role of Ann Darrow, and Jack Black was cast as the ambitious film director, Carl Denham. The rest of the cast would include Adrien Brody, Colin Hanks, Jamie Bell, Kyle Chandler, Evan Parke, and Thomas Kretschmann. Andy Serkis would provide the motion-capture for Kong. Howard Shore was originally hired to compose the score but was replaced by James Newton Howard. 

 

On release, KING KONG received acclaim and was a box office hit, finishing as fifth highest grossing film of the year. It would win three Oscars: Best Sound Editing, Sound Mixing, and Visual Effects. 

 

*

 

Peter Jackson’s KONG stomps in as a visually stunning and emotionally charged epic that elevates the classic tale. The film blends heartfelt character moments with spectacular action, delivering breathtaking sequences such as the and the dizzying finale at the Empire State Building, and Kong fighting three (!) T-Rex’s. The T-Rex fight is a cinematic stunner, followed a creepy and crawly Spider Pit sequence that is the stuff nightmares are made of. 

 

As a monster movie, it certainly delivers, and it also works as a drama and tragedy. Naomi Watts brings depth and sincerity to Ann, making a powerful bond with Kong in a love story that seems ridiculous on paper. And it’s a love story that clicks all the right boxes; they quarrel, separate, and find each other again. By embracing the Beauty and the Beast tale, and visual effects that dazzle 20 years later, Peter Jackson’s KONG has one paw in the past and one in the future. 

 

“It was beauty killed the beast..”

 

A Reel Preview: The Year in Film 2025 - Episode XII

The final month of 2025 is upon us and it is looking to go out strong; with theatres receiving films from the horror genre, animation, and the return of the King of the Box Office. Here are the notable big screen releases for December: 

 

FIVE NIGHTS AT FREDDY’S 2 – The sequel to the 2023 horror film, based on the popular video game. Set a year after the first film, Abby reconnects with her animatronic friends, revealing the origins of Freddy Fazbear’s Pizza. The cast includes Josh Hutcherson, Elizabeth Lail, Matthew Lillard, Wayne Knight, and McKenna Grace. 

 

 

KILL BILL: THE WHOLE BLOODY AFFAIR – Quentin Tarantino’s masterpiece of revenge returns to the big screen as a single film (originally released in two parts). 

 

 

SILENT NIGHT, DEADLY NIGHT – The second remake of the 1984 holiday slasher film and the seventh in the series. 

 

 

 

AVATAR: FIRE AND ASH – Box office King James Cameron returns with the third installment of his sci-fi series, this time with Jake Sully and his family meeting a war-like tribe who has aligned with their human enemies. The cast includes Sam Worthington, Zoe Saldana, Stephen Lang, Kate Winslet, and Sigourney Weaver. 

 

 

THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS  - The fourth theatrical trip for this series, this time seeing SpongeBob travelling to the depths of the ocean to face off against the Flying Dutchman. 

 

 

 

THE HOUSEMAID – Paul Feig (BRIDESMAIDS), directs this psychological thriller where a young woman with a troubled past becomes a housemaid for a wealthy family. The cast includes Sydney Sweeney and Amanda Seyfried. 

 

 

ANACONDA – This comedy/horror serves as a meta-reboot of the cult classic film of the same name from 1987, which tracks the adventures and mishaps of the film crew as they set out into the jungle to make that 1987 film. 

 

 

MARTY SUPREME – In this sports drama, Timothee Chalamet plays American table tennis player Marty Reisman. 

 

 

SUNG SUNG BLUE – Craig Brewer (HUSTLE AND FLOW), directs this drama about a real-life Neil Diamond impersonator and performer. Hugh Jackman and Kate Hudson star. 

 

*

 

Next month, Reel Speak previews the first month of 2026.

 

A Reel 100: THE PHANTOM OF THE OPERA

​

“If I am the Phantom, it is because man’s hatred has made me so.”

This month marks the 100^th anniversary of the 1925 silent film version of THE PHANTOM OF THE OPERA. 

Directed by Rupert Julian and based upon the 1910 novel of the same name by Gaston Leroux, THE PHANTOM OF THE OPERA told the tale of a deformed phantom who haunted the Paris Opera House, causing chaos to turn the woman he loved into a star. 

The phantom began its ascent in 1922, when Carl Laemmie, the president of Universal Pictures, visited Paris and met author Gaston Leroux. Taken by the story and the grandeur of the Paris Opera House, Laemmie secured the film rights as a vehicle for actor Lon Chaney. A French art director who had worked at the Opera House was brought on to design the lavish sets. Chaney was allowed to do his own makeup. 

Production began at Universal Studios in 1924. After a troubled shoot where Chaney and the rest of the cast had strained relations with director Rupert Julian, the film was completed and then went through several re-edits and reshoots. Chaney’s look was kept a secret until after the premier. 

THE PHANTOM OF THE OPERA premiered in September of 1925 in New York ahead of its wide release in November. Critical response was mostly positive, with high praise for the production and Chaney’s makeup, which reportedly had audience members fainting. Today it is considered to be one of the greatest horror films of all time, and in 1998 was added to the United States Film Registry. 

*

Years before Andrew Lloyd Webber would take the Phantom to Broadway, THE PHANTOM OF THE OPERA had a legacy of one of early cinema’s most iconic works of horror. Lon Chaney’s transformative makeup and performance set new standards for character creation and sympathetic monsters. The impressive sets and dramatic chandelier crash helped usher in grand-scale productions in Hollywood’s silent era and overall would cement the story in our culture; inspiring countless versions on film…and on stage. 100 years later it is a cornerstone of horror, and a landmark in silent filmmaking. 

“If I shall be saved, it will be because your love redeems me.”