The Ghost of Lon Chaney

Lon Chaney Sr. was a beloved character actor in the silent film era.

His portrayals of tortured, often grotesque and afflicted characters are celebrated even today. 

Lon Chaney's Phantom

Lon Chaney’s skilled and artistic use of makeup set him apart in roles such as The Hunchback of Notre Dame 1923, and The Phantom of the Opera 1925.

His unique ability to transform himself with makeup earned him the nickname, The Man of a Thousand Faces.

Chaney’s characters of Quasimodo the bell ringer of Norte Dame and Erik, the phantom of the Paris Opera House are considered to be “the most grotesquely deformed characters” in film history.

But this is not why he is beloved by all who view his films. What many forget is the success of most of his characters resulted from the fact they solicited both sympathy and pathos from the viewing audience. This is the true testament to Chaney’s ability to act.

Under the masks he created for his characters was a compelling need for all things human.

Chaney often picked characters that experienced unrequited love-- he chose to betray men who it would be impossible to love. This concept hit home with his audiences because as author Ray Bradbury once stated, Lon Chaney brought a universal fear--never to be loved--out into the open.

Chaney's Quasimodo

Lon Chaney Sr.

Lon Chaney Sr. had talents beyond the horror genre and his makeup artistry. He was a highly skilled dancer. This is evident in the grace in which most of his characters moved across the screen. He was also a comedian and a singer with a rich baritone voice.

He died of Lung Cancer in 1930 at the age of 47.

The Phantom Stage

Stage 28 at Universal Studios located in Los Angeles is known as The Phantom Stage. It was on this stage where Lon Chaney filmed his classic story The Phantom of the Opera.

For years, both visitors and employees of this studio have considered Stage 28 to be haunted. The ghost that is seen is believed to be Lon Chaney.

Electricians, carpenters, designers, art directors and studio security guards have all reported seeing a man in a black cape who comes and goes without warning.

Many who have seen this figure’s face close up have stated it is looks just like Lon Chaney Sr.

The Phantom of the Opera set is
still hidden at the back of  stage 28.

Visitors and employees have reported seeing Chaney’s ghost running overhead in the catwalks. It is sometimes reported he carries a chandelier.

Security guards who are reticent to talk about this ghost often admit that when Stage 28 is shut down for the night they have seen lights go on and off and heard doors slam shut when the stage is deserted.

Other witnesses have stated they have heard whispered voices on this stage that have no logical source.

The Phantom of the Opera: Fact or Fiction?

The story of the Phantom of the Opera was initially published in a series of articles in La Galois and then in a book in 1911 entitled, Le Fantôme de l’Opéra written by a French journalist, Gastón Leroux. When the story was first published, it was not popular, and the book went out of print.

Leroux whose specialty was investigative journalism based his story on true-life events. In fact, many who have researched this subject believe with just a few exceptions the story has several elements that are true.

The opera house in the story was based on the real Opera Garnier in Paris. The Opera Garnier does have underground tunnels, and it also has an underground lake. Leroux used this setting in several dramatic scenes in his story.

Chandelier at Opera Garnier

There was an incident where a chandelier did fall in the Opera Garnier setting the building on fire and killing a woman. Leroux used a falling light in his story as a distraction so his Phantom could kidnap Christine.

The “romance” between the Phantom and Christine in the story is just a fantasy, but it is believed that Leroux based both characters on real people.

The Phantom is based upon a man named Erik who was born in a small village in Normandy, near Rouen. He was born with a horribly disfigured face, so his parents abandoned him when he was eight. A circus basically took him, and for 7 years he was used as an attraction.

He escaped in Persia and worked as an entertainer for the Shah. Later he worked as an architect’s assistant--he designed and built several harems, which gave him a greater understanding of architectural design.

Paris' Opera Granier 

Now confident, he returned to France. In Paris, he so impressed Charles Garnier that he was signed on as one of the contractors that built the new opera house--the Opera Garnier. He worked 12 hour days until the project was completed.

He was no longer the deformed child that had suffered cruelly. He now was a gentleman who wore a mask to hide his distorted face. He also wore a dress suit, a cloak, and a large felt hat. He was respected and earned enough money to live a comfortable life.

Just as in the story the real-life Erik had his own personal "Box 5" at the opera house. He even had a hollow column built next to it where he could come and go without being seen. 

Erik did fall in love with a singer who performed at the Opera Garnier. But finding himself rejected he kidnapped this singer after an evening performance. She was found 3 weeks later, and shortly afterward she left Paris.

After this, a legend was spread that Erik was so heartbroken that he walled up the door to his apartment beneath the opera house and died of starvation.

Years later when the new Opera Bastille was built this small apartment was supposedly discovered by a workman who found a skeleton wearing a gold ring that Erik was known to wear. It is said Leroux used this “legend” about the real Erik as inspiration for his story.

Under Opera Garnier

The character Christine was based upon a soprano by the name of Kristina Jonasdotter. It is believed she was Leroux's inspiration because of the overwhelming similarities between her and his character.

Jonasdotter was taught to play the violin by her older brother at a young age in Sweden. Her family was impoverished, which made it necessary for her to play this instrument on the street to earn money. She was sent to Stockholm and then to Paris to continue her lessons.

Jonasdotter’s beautiful singing voice like the character in the story was discovered by accident. She started to sing at concerts and took the stage name, Kristina Nilsson in the 1860s. According to historians Nilsson had an incredible vocal range and was very beautiful with “a lovely figure and clear blue eyes.”

The Haunting

Another interesting fact about this story is that the Opera Garnier was considered to be haunted by a phantom--the French term for a ghost--at the time Leroux wrote his story.

Leroux used some of these tales to inspire his story. The performers at the opera house firmly believed there was a ghost that haunted the building and the tunnels that lay below.

These performers placed a horseshoe above the entrance to the right stage wing for good luck but also to protect them from a ghost they considered to be malevolent in nature.

The Grand Staircase

It was believed that someone was secretly living in the opera house and many felt it was the ghost of the real Erik. In fact, many claimed that near Box 5 they heard “ghostly’ voices and whispers when the area was unoccupied.

Other witnesses stated that they saw this phantom running through various parts of the opera house. Even eerier these witnesses reported this figure wore a black cape and a mask over its face.

Renata de Waele in 1993 wrote a narrative that compared the fictional to the real stories. She worked in public relations at the Opera Garnier for many years. Some of her speculations have been proven others have not. So reality is blurred with fiction which leaves the curious with an intriguing mystery.