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Hello,


I'm new to this board and would like to start my first topic with Lon Chaney's: "The Phantom Of The Opera". I am interested in the Gaylord Carter version. Which version was released by Image Entertainment on LaserDisc in 1990? My research is stating that there were 2 versions by Gaylord Carter. Is this the Paul Killiam version? I am thinking of buying it but need a little more information. Any information would be greatly appreciated!


Thank You,

I don't know about the laserdisc, but http://www.silentera.com" target="_blank" target="_blank and information on Amazon agree that the 2011 blu-ray of TPOTO has the Gaylord Carter score available as one of two (the other being the Alloy Orchestra) with the 24 fps version on this Blu-Ray. Unfortunately, it may be out of print.

http://www.amazon.com/Phantom-Opera-Sil ... ra+blu+ray" target="_blank" target="_blank

http://www.silentera.com/video/phantomOfTheOperaHV.html" target="_blank" target="_blank

EDIT: Here is one on eBay at the full list price:
http://www.ebay.com/itm/PHANTOM-OF-THE- ... 51b8e096d1" target="_blank

Rick

Image Entertainment released PHANTOM in the Blackhawk Films / Gaylord Carter score version
on Laserdisc in their Silent Classics series. It was a 2 disc set containing the 1929 and 1925 versions.

PHANTOM was released again on Laserdisc by David Shepard and Image with a score by Gabriel Thribadeau.

Both of these versions were featured on the Image Blu ray.

At one time (I can't guarantee it now), the Killiam version of "The Phantom of the Opera" with the Gaylord Carter score could be found on youtube.

I recorded an 80 minute Killiam version which was shown here on ABC-TV (free-to-air, commercial free) a few years back. Doesn't look speeded up, and the quality is quite good. This is apparently the 1930(?) reissue, all b/w, with colour closing credits tacked on by Killiam Pictures Inc. One colour title card shows "Restoration Karl Malkames, Original Score Gaylord Carter, Theatre Organ Richard Simonton".

I've posted about this version previously, and Christopher Jacobs added at the time " .....Gaylord Carter did compose and perform the score for the Killiam print, using the Simonton organ, and Simonton's elaborate home screening room was also often used by Harold Lloyd, with Carter performing....."

I have another version running 106 minutes with "a glorious music score" (an uncredited orchestral potpourri). The cover of this Aussie VHS PAL Collectors Edition proudly proclaims that it "contains the first colour ever seen in a movie - the famous ballroom scene was in fact hand-tinted".

"contains the first colour ever seen in a movie - the famous ballroom scene was in fact hand-tinted".

Oy. And, oy.

Oh I can't stand Gaylord Carter scores! They really put me off silent films!! Why don't you get this version; it's MUCH better

http://www.dvdjournal.com/reviews/p/pha ... a_ue.shtml" target="_blank

The Milestone Ultimate Edition!

It has a fantastic, beautiful score by Carl Davis with a proper full orchestra; PLUS the original 1929 sound re-issue score on a different track, [edited to fit the picture and the action], and even a bit of talking here and there; and a thoroughly interesting commentary track by Scott MacQueen.

Oh I can't stand Gaylord Carter scores! They really put me off silent films!! Why don't you get this version; it's MUCH better

Well that's your opinion and of course you are welcome to it. We all have differing tastes. To me there is or was nothing wrong with the cinema/theatre organ, and I quite enjoy it. I just wish it was a feature of cinema-going once again on a regular basis.

Gaylord Carter incidentally was a fine musician and someone who actually played accompaniments back in the days when silent pictures were on the bill. What you are getting is close to an actual 'being there at the time' experience.

Of course the above comment is not meant to disparage the orchestral accompaniment version put out by Carl Davis - I also admire his work greatly.

It's "Swings or Roundabouts" Donald -- Or "Apples or Pears" -- Or "Marmite"; you either love it or you hate it.

I think both Musicians are fantastic. I just have my favourite you see. (oooooh not to mention the 1929 score done by Universal). That was fab too!

Hello,


I appreciate ALL of your comments! Thanks Again!

Strange that the Image blu-ray from three years ago is out of print, you'd think it'd be a catalogue perennial (it seems the DVD version is still available). But I see some dope trying to get $130 for it on Amazon Marketplace. Thankfully the BFI blu-ray of the Photoplay edition with the Carl Davis score is only 10 pounds, which seems like a bargain.

Little Caesar wrote:At one time (I can't guarantee it now), the Killiam version of "The Phantom of the Opera" with the Gaylord Carter score could be found on youtube.

The links in this thread still work, and between the two, you can hear the full score :

viewtopic.php?f=3&t=10228" target="_blank

If the music in those links is being played by Carter on Simonton's organ for Killiam Film Classics, than what is the pedigree of the version found on the Image Blu-ray?

David Alp wrote:Oh I can't stand Gaylord Carter scores! They really put me off silent films!! Why don't you get this version; it's MUCH better

http://www.dvdjournal.com/reviews/p/pha ... a_ue.shtml" target="_blank" target="_blank

The Milestone Ultimate Edition!

It has a fantastic, beautiful score by Carl Davis with a proper full orchestra; PLUS the original 1929 sound re-issue score on a different track, [edited to fit the picture and the action], and even a bit of talking here and there; and a thoroughly interesting commentary track by Scott MacQueen.

I agree. However, what I "can't stand" isn't actually Gaylord Carter at the keyboard, but rather Gaylord Carter's keyboard; his instrument, that is. Same score played on piano would to me be far preferable, not that piano alone could possibly equal in cumulative effect even a four-piece ensemble.

Today I dug out* my copy of the Image blu-ray and compared the Gaylord Carter score to the ones mentioned in this and other threads as being from the Killiam version. I only compared the very beginning, but it starts totally differently.

So I believe Scoundrel's post (above) is exactly right.

*It was hidden in my dungeon with other valuables to protect it from fire, flood, opera rioters and the French police.

Erik

I agree. However, what I "can't stand" isn't actually Gaylord Carter at the keyboard, but rather Gaylord Carter's keyboard; his instrument, that is. Same score played on piano would to me be far preferable, not that piano alone could possibly equal in cumulative effect even a four-piece ensemble.

Whilst it is a matter of horses for courses - I wonder - have you actually heard the theatre/cinema organ in a theatre? Recordings of this magnificent beast often do not do justice to the low rumblings and exotic trumpetings that issue forth, filling the auditorium with a triumphant, magnificent sonorousness.

I actually heard Gaylord Carter at the Dendy Cinema, Middle Brighton (Melbourne Oz) way back in 1971 playing the accompaniment to "The Mark of Zorro" with Douglas Fairbanks - on the Wurlitzer organ installed there. To this day I have never forgotten that experience and when I hear the Tango in D by Albanez I am reminded of his wonderful mastery of the instrument.

Played properly the theatre/cinema organ is as it was originally intended - a complete one man Unit Orchestra - and offers a variety of tonal shadings that far outreach the limitations of purely percussive instruments such as the piano.

If the theatre/cinema organ is combined even with a small band/orchestra it can make it sound as though there is a huge orchestra in attendance.

As you can probably ascertain from the above I am somewhat biased towards the instrument - and I thought that I should reserve the right of reply to present an alternative viewpoint.

Donald Binks wrote:...Whilst it is a matter of horses for courses - I wonder - have you actually heard the theatre/cinema organ in a theatre?

But aren't we talking about recordings? The scene of whatever I'm hearing is my living room!

But aren't we talking about recordings? The scene of whatever I'm hearing is my living room!

By the same token a recording of an orchestra playing is not going to sound the same in the living room as the real thing in a concert hall.