Robert Englund as the Phantom

Englund as the bane of the Opera is chillingly like the rest of the Opera staff. Able to disguise himself wearing purloined flesh, he walks among the upper levels of the Opera, dealing with those who dare oppose him. He has a more fantastic sense to him, almost as if he were more spirit than flesh. Indeed, having made a pact with the devil like Faust before him, Erik Dressler earns a sort of pitiless immortality. He will live eternally to peruse the object of his desires, always being spurned by Christine once she is with him.

Englund’s Phantom has a most tolerant nature towards Christine, putting up with the various ways she tries to destroy him. But his temper does have a boiling point, and he comes close to attacking her at the end of the film. Add to this that he demands his rights as husband after tricking her into marriage and you get a much more devious Phantom than normal.

The evil side of his nature comes in part from the treatment he receives from others due to his deformity, but also from a deep-rooted hatred of all other men. The most unusual addition here is the supplemental dark powers Erik possesses. Much like Englund’s other character, nightmare stalker Freddy Krueger, this Phantom can disappear and reappear at will, apparently teleport, and confound his enemies with supernatural strength and speed.

Jill Schoelen portrays a spirited yet confused Christine who seems a bit too easily duped by Erik. There is no hint of love for him on her part, and she seems to regard the lessons as only that. She would much rather be with Richard, and unthinkingly reveals this to Erik. Her likable sweet nature more than makes up for these flaws, and lends an endearing edge with the audience. She is the most violent of Christines, and repeatedly tries to kill Erik off. But in the end his obsessive love preserves him and Christine walks worriedly towards a future of his pursuit.

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