The Phantom

This serial has been panned by critics,but I found it to be one of the better efforts from Columbia Pictures,who often tended to make light of its efforts.Tom Tyler plays the Phantom and looks great in the Phantom costume.The plot is simple;Finding a lost city.Two different factions search for the city for different reasons,one good and one bad.From a technical standpoint,I found it to have good production values.On the down side,the villians,in general,tend to overact,but i've seen that in many Columbia serials.There is good rear projection work,and music by Lee Zahler is ok.."Breezy" Eason directs his cast in a capable manner,and supporting cast is good.Summary: good effort from Columbia. On tape and DVD. DVD has extra features.I can't compare the two mediums since I haven't viewed the tape.

This serial has a lot of action and good excitement, and Tom Tyler is very likeable as the Phantom. He is the best thing about the serial. The supporting as is good, including a small army of the villain's henchmen! Another plus about this serial is the super-intelligent German Shepherd dog, Devil, the Phantom's loyal--and invaluable--associate and friend. Among the supporting cast, the professor's niece was attractive and did a good job. I thought the professor himself gave a somewhat weak performance: he seemed so old, he was almost decrepit, in my view, and not very sharp mentally somehow. If you like serials with a jungle setting, you will enjoy this one.

"The Phantom" is one of the better serials released by Columbia Pictures. It benefits from the casting of Tom Tyler in the lead role. Tyler had previously played a comic book hero in "The Adventures of Captain Marvel" (Republic-1941) and was physically suited for the role. Tyler kept himself in good shape and didn't look out of place in the Phantom costume. Although he primarily played in westerns, ironically, it is for these two serials that he will probably be best remembered.

The "run through the jungle" story has Professor Davidson (Frank Shannon) and his daughter Diana (Jeanne Bates) searching for the Lost City of Zoloz and the hidden treasure therein. Their efforts are being thwarted by Singapore Smith (Joe Devlin) who wants the treasure for himself. Kindly Dr. Bremmer (Kenneth MacDonald) an apparent foreign agent, is trying to destroy the peace among the natives, which had been controlled by the Phantom, to build a secret air base.

Geoffrey Prescott (also Tyler) who is Diana's fiance succeeds his father as the Phantom when the older man is murdered. Even though the Phantom wears only a small eye mask to cover his face, in true serial tradition, no one including Diana is able to recognize him.

Over the course of the 15 chapters, the Phantom escapes death from explosions, poison gas, avalanches, a collapsing rope bridge etc. etc. With the help of his trusty dog Devil the Phantom is able to overcome the villains and again bring peace to the jungle.

Although the serial gives billing to only Tyler and Bates there are several other familiar faces (other than those already mentioned) in the cast. Ernie Adams plays Rusty, the Phantom's ally, Dick Curtis a Tartar Chief and Anthony Carouso, George Chesebro, Wade Crosby, Edmund Cobb, I. Stanford Jolley and Kermit Maynard as varios henchmen. And watch for a brief appearance by Jay Silverheels in chapter 9 as an Atari warrior.

Director B.Reeves Eason keeps the action moving and tries to come up with new twists on the chapter ending cliff hangers. The VCI DVD has restored the serial to its original brilliance although some dialogue sequences had to be re-dubbed due to the deterioration of the original soundtrack.

"The Phantom" certainly has to rank as one of the top 5 serials of all time.

Republic was certainly best known for serials, but other studios often got into the act. One of these was Columbia Pictures. In truth, Columbia's serials weren't anything to write home about--but there was one exception: the 1943 THE PHANTOM, which cracks along at a memorable pace with an entertaining storyline, some excellent fight choreography, visually interesting set pieces, and a truly fine performance from Tom Tyler in the title role.

Tom Tyler (1903-1954) was a handsome, well-built man who played in well over 150 films between 1924 and 1953--but whose final years was marred by rheumatoid arthritis that reduced him to small supporting roles. But he was very much at his peak in 1941 when he appeared in the legendary Republic serial THE ADVENTURES OF CAPTAIN MARVEL--and no less so for the 1943 THE PHANTOM. Seen today, many serial "super heroes" of the 1930s and 1940s look more than a little chubby in their skin-tight costumes, but not Tyler: he had the body to carry it off, and if his acting chops weren't up to the standards of Hollywood's A-List actors they were perfect for this sort of comic book fun.

The story finds the peace of jungle tribes threatened by the evil Dr. Bremmer (Kenneth MacDonald), who seeks to create an airbase for use by an unfriendly country at the long-lost jungle city of Zoloz. But in order to locate the hidden city, Bremmer must obtain "the keys"--pieces of a puzzle-like map--from newly arrived Professor Davidson (Frank Shannon) and his party. Can the Phantom, with the aid of his clever dog Devil, foil Bremmer, protect Davidson, and bring peace to the jungle once more? You better believe it, but before he does there are crocodiles, lions, tigers, a "fire princess," and booby-traps galore to overcome, most of them cleverly imagined and all of them expertly performed. Director B. Reeves Eason keeps everything moving at a sharp pace, and if the dialogue and cinematography are seldom inspired they are never less than entertaining, and there's not a dull moment in all fifteen chapters.

Like many serials, THE PHANTOM does adopt certain racial sensibilities that will cause modern viewers to roll their eyes from time to time. It is actually a bit difficult to tell where this film is supposed to be set: at times the script seems to imply Africa, at other times it seems to imply South America, and the "natives" are pretty much clumsy white men in dark make-up who look silly in diaper-like costumes. Even so, the thing goes like a house afire, and if you're interested in the serial genre this is one you can't afford to miss.

The VCI DVD edition features a nice commentary by Max Allan Collins on "Chapter One," a handful of biographies, and samples of comic book art and lobby cards; the real plus, however, is the quality of the film itself, which is quite fine--and this in spite of an instance where the soundtrack was lost and had to be re-created by modern actors. The picture quality is very good and the sound is more than adequate. Recommended to serial fans everywhere! GFT, Amazon Reviewer

I write my observations after seeing the 1996 version, followed by the 2010 SyFy Phantom production. I can say with confidence that the 1943 version was far ahead of its times and pretty authentic, compared to the later versions.

The fact is that in 1943, a nifty Phantom movie serial could be made, using the most primitive tools and technology (as compared to today's standards), but today's producers find it so difficult to stick to the basic canons of the Phantom mythos and make changes in almost everything, (except perhaps the name of the Phantom). Today's producers need to study this vintage production first, before venturing out on their own. Some of my reasons are below:

1. The Tom Tyler series had a tight script, focused plot and minimal deviation from whatever mythos had been built up by Falk by that time. In a 1940s scenario, with the backdrop of WW II, limited budget, no special effects, no color, no CGI and no trained wolves, the series was the most faithful portrayal of the Phantom we can hope for. Swabacker and Cox can be excused for not showing the Bandar, because the mythos was not so well developed or well known in 1942, but can Boam be excused for declaring right at the start of the 1996 film that the Touganda tribesmen rescued the first Phantom (as a child), when it was actually the Bandar, enslaved by the Wasaka, who rescued the first Phantom, when he was already a grownup? 2. Sai Pana was perhaps the precursor of Morristown; The Tonga village was perhaps the precursor of the Deep Woods. The name, Walker, was perhaps first mentioned here, although I am not sure. How much did Falk pick up from this series? We may never know. 3. Tom himself was cool, muscular and impressive, without spandex; his outfit was a faithful representation of the Phantom's costume. His eyes could be seen, but once he took over as the 21st Phantom, he stopped showing his face. And of course, there were none of the silly grins or wisecracks. Nor did a biker's suit and helmet replace the Phantom's costume, like in the latter day SyFy production. 4. Jeannie was a better Diana than Kristy; No scowling or muttering. She was feisty and expressive as Diana has always been shown to be. 5. Ace, the Wonder Dog as the talented Devil was better than the mangy wolf of the 1996 film; the woods in outskirts of Hollywood were impressive; no exotic locations were required. 6. The 20th Phantom was depicted as old but tough and impressive, by Sam Flint. There was no need to depict him as a doddering old fool, as portrayed by McGoohan in 1996. 7. Of course, the plot was racy, believable and fun. The viewer's intelligence was not sorely tried by showing stuff that was, well, plain unbelievable. I think you guys get the point.

I can go on and on.. but my submission is: why it so necessary to make goofy, avoidable changes in established canons, to make a 'modern' film? If "Breezy" Eason could pull off such an achievement 65 years ago, why is it so difficult to accept the Phantom for what he is, by modern film producers? If the Phantom is an 'aged' hero, wearing a ridiculous costume, so are the others in the DC and Marvel universes. And they are world-wide box office successes. So that 'argument just won't jell. Coming back to more modern times, adopting parkour, making the Phantom look like a Ninja Turtle, having a female Guran who is taller than the Phantom etc. might satisfy the producer's hidden talents for weirdness, but such talents will certainly not improve the fan base of the Phantom. I fully agree that the Phantom character needs to be treated with respect, and the 1943 version succeeded in this, while latter versions failed miserably.