Only when Hollywood royalty Cary Grant suggested that he might be open to appearing in a Hammer film did the phantom suddenly spring back into life as a suitable vehicle for him and for one of Hammer’s periodic stabs for respectability. They’d had their eye on The Phantom of the Opera for several years, but the scale of the production was a disincentive.
Having resurrected horror icons Frankenstein, Dracula, the mummy and the werewolf, it made sense that Hammer should want to tackle another of the genre’s pantheon of monster stars.
0 kommentar(er)
