Winslow hides his scarred face with a silver owl-themed helmet/mask. In Brian De Palma's Phantom of the Paradise, Winslow Leach becomes the Phantom after getting his face caught in a record press that mutilates half of his face and renders his right eye useless as a result. He wears this mask during most of the film, only removing it in a few scenes toward the ending. In the 1962 Hammer Horror version, this Phantom, like the Claude Rains version, had his face scarred by acid, and wore a white cloth mask that hid his entire face, save for one eye. The Phantom's mask in the Herbert Lom Hammer Horror version.
Erique's mask is seen next to his violin on a pile of rubble after his supposed death. The mask also serves as a disguise when the Phantom sneaks about on-stageĭuring a production where the actors wore similar masks. In Universal's 1943 remake starring Claude Rains, Erique Claudin wears a bluish-white mask that covers 3/4 of his face, stolen from the Opera House's costume closet after his face was disfigured by acid. However, Erik is hardly seen with his mask on, mostly keeping his deformed face in view of the audience. He also wears a cap with this mask, making him resemble a regular Middle Eastern man when masked. In Lon Chaney's 1925 silent classic, Erik wears a unique mask, one that resembles a normal face with a dust muffler u nder the nose. The Mask in other versions of the story 1925 Lon Chaney silent film Erik also mentions at the end of the book that he had invented a mask that made him look like he wasn't deformed. Susan Kay's Phantom has the same deformity, although has Erik wearing a white mask instead of a black one.
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He also wears a false nose when attending the Opera's productions, A similar black mask appears as one of many masks Erik wears in the Charles Dance version, specifically when Erik is in a malevolent mood, such as when he dumps a crate full of rats into Carlotta's dressing room.
Erik wears a black mask that hides his entire face, and the original cover of the novel depicts Erik wearing a simple black domino mask that hides 3/4 of his face. In the Leroux book, Erik mentions having worn a mask even as a child, because his mother couldn't bear to look at his skull-like face. 2 The Mask in other versions of the story.This mask, sometimes paired with a rose and/or the name of the production emblazoned, can be seen wherever The Phantom of the Opera is being performed, and just seems to invite the audience into a dark and mysterious, yet highly illuminating, musical world. He wears the mask to conceal his scarred and distorted face from view, and despite his macabre appearance and fierce demeanor, he is in many ways a lonely creature that desires nothing more than simple human compassion. The production’s iconic mask logo is an homage to its signature character a mysterious figure who dwells within the bowels of the opera house and takes a young fledgling performer under his wing.
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With an ongoing run of over two decades in New York City alone, plus numerous international productions, this story of love, passion, drama, and haunting beauty has remained a perennial favorite among theatergoers for years. Leroux's story has been adapted many times in many mediums, but perhaps the most famous is the musical theater rendition by English composer Andrew Lloyd Webber. In 1910, French author Gaston Leroux published his novel “Le Fantôme de l’Opéra”, a story partly inspired by events that took place at the Garnier opera house in Paris during the 19th century.
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