The Duchess of Mint
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I've finally watched the movie more carefully...SPOILERS!Dear "TPotO" Fans,
*SPOILER ALERT*
When I first watched the movie version of "TPotO", I could hardly hear any of the lines, or any of the music, so I was so totally in the dark about the movie's storyline.
Today, I watched the movie on a better entertainment system, and I must say that my views about the storyline have changed slightly...
I have a few new comments, and a few new questions, about the movie...
QUESTIONS:
* Did Christine AWAKE in The Opera Ghost's lair every time that she spent the night in the lair? If she DID awake in his lair during any of those other times, why, in the name of all reason, did she never try to discover who The Opera Ghost was, or why he wore that mask, until that last time that she was in the lair?
* Why did none of those men, including Raoul, ever go searching for The Opera Ghost? It's as though they ALLOWED Erik to make colossal fools of them, and it's also as though all of the performers just sort of went with the flow no matter WHAT was happening!
* Why, when Christine finally ventured into the graveyard to speak to her father's spirit, did she STILL believe in the Angel of Music, even though she'd ALREADY unmasked her teacher, after having been led down to his lair? Shouldn't she have connected the dots, or something...?
COMMENTS:
* I have a newfound distain for Madame Griry! I can't believe that the same girl who SAVED Erik would then HIDE him from society, NOT allow even her own DAUGHTER to know the truth about him, and NEVER, EVER TELL anybody that, yes, he WAS the rightful owner of the opera house, etc. I can't believe that she wasn't more attentive, with regards to Christine's well-being; she never ONCE ventured down into The Opera Ghost's lair, even when Raoul was willing to do so. SHE knew how cruel society was towards Erik, and yet, in her infinite wisdom, she never honestly, kindly bothered to introduce him to any girls, allow him the chance for love, etc. So, in other words, she herself put Meg, Christine, Raoul, etc., in danger...
* I think that I understand Christine slightly more now. I still think that she was just slightly too clueless, though, and that she KNEW that The Opera Ghost was, in some way, a good, and a valuable, person.
* I laughed my rear off while those guys were reading the letters! The Opera Ghost really had those guys "whipped", fer shurr!
* I don't know that I like Erik's violent streak now. Of course, I am now of the opinion that it was Madam Griry's job to socialize him, and that his being hidden away contributed greatly to his anger.
* I STILL don't like Christine's behaviour during the final confrontation. It's as though she's been a clueless, helpless dolt the entire time, and that she's suddenly being almost too smart for her own good (Ie: "I can lie to The Opera Ghost, save my true love, and somehow escape with my bases covered!"). It's almost as though she sort of KNOWS that he's a truly good person, in some way, and that she's forcing herself to leave him (because she can't really deal with his face?) by placating him with strange excuses and pitying phrases (Ie: "You LIED to me, so THAT'S why I'm leaving you! I feel sorry for you. So, will a KISS satisfy you? Is THAT all that you wanted? I can KISS you. I'll go now.")
* I know that Meg becomes curious about The Opera Ghost twice during the storyline, but I don't understand why she couldn't have been MORE curious, for the sake of her friend/ stepsister (?) Christine. I still think that the REAL tragedy was the fact that Madam Griry didn't introduce Meg to Erik early on during their lives, so that Erik could have at least grown up knowing one TRULY kind girl.
* I now understand the real sadness of the love triangle between Erik, Christine, and Raoul. BOTH guys knew her from a young age; Erik was a brilliant child, who convinced (?) Christine that he was the spirit of her father, and Raoul was Christine's childhood sweetheart. Both men had an almost fair chance to be her boyfriend/ husband. Yet, Erik taught her to sing; he honed her natural talent, and, moreover, he honed a talent that she LOVED. I think that he may have truly loved her; I can't understand why she had to choose a childhood sweetheart, when she could never forget her Phantom/ Angel of Music/ Opera Ghost.
Thanks in advance for your replies.
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Phanom
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To answer your questions:
1. The mirror scene is the FIRST time that Christine and Erik (the Phantom) meet. Until then, she could only hear his voice guiding her. Then, after her success in the Hannibal show, when she asked him to "enter at last".
He agreed, thus: first time.
2. As I figure it, very few really believed that the Phantom existed, like Joseph who actually tried to spot him, and Meg, who almost found him, when her mother brought her back (according to the film).
The rest probably thought of it as a legend until he started to get all crazy 
3. When she was at the graveyard, she had NO idea that Erik followed her. How could she know? As far as she's concerned, she hears a voice from her father's grave, and wonders if it's her father or the phantom "Angel or father, friend or phantom, who is it there hiding?"
Hope that helps!
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Phantom On A Budget
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Phanom did a good job of answering some of your questions. Regarding the rest of them:
| Quote: | | I have a newfound distain for Madame Griry! I can't believe that the same girl who SAVED Erik would then HIDE him from society, NOT allow even her own DAUGHTER to know the truth about him, and NEVER, EVER TELL anybody that, yes, he WAS the rightful owner of the opera house, etc. I can't believe that she wasn't more attentive, with regards to Christine's well-being; she never ONCE ventured down into The Opera Ghost's lair, even when Raoul was willing to do so. SHE knew how cruel society was towards Erik, and yet, in her infinite wisdom, she never honestly, kindly bothered to introduce him to any girls, allow him the chance for love, etc. So, in other words, she herself put Meg, Christine, Raoul, etc., in danger... |
This is one of the many reasons why I dislike the movie so much. Even the ALW stage show provides a hint of intriguing backstory for the Phantom; the movie, however, implies that he literally grew up under the Opera Populaire, having never traveled or accomplished anything. I've no idea if you have read the original novel, but Erik was quite the accomplished man in many fields, had traveled the world, and had at least experienced life outside of that cellar. In the movie, however, it over simplifies (and cheapens) the character's history, much to the detriment of not only the Phantom, but in this case Madame Giry as well.
| Quote: | | I don't know that I like Erik's violent streak now. Of course, I am now of the opinion that it was Madam Griry's job to socialize him, and that his being hidden away contributed greatly to his anger. |
One more way that the terrible history trifles with the story. Should Mme Giry have socialized him? It's difficult to say, honestly. It may be easy to assume so, but at the time she was a young girl, ultimately not in charge of the situation, and had she told anyone, both would be in danger - Erik, in danger of being returned to the freak show, and little Mme Giry of losing her place at the Opera Populaire. Also, we often hear of that fine line between genius and madness...it's a line I think Erik would have walked anyway, despite being hidden away. I think his violent streak, while frightening, is an essential part of the character.
| Quote: | | I STILL don't like Christine's behaviour during the final confrontation. It's as though she's been a clueless, helpless dolt the entire time, and that she's suddenly being almost too smart for her own good (Ie: "I can lie to The Opera Ghost, save my true love, and somehow escape with my bases covered!"). It's almost as though she sort of KNOWS that he's a truly good person, in some way, and that she's forcing herself to leave him (because she can't really deal with his face?) by placating him with strange excuses and pitying phrases (Ie: "You LIED to me, so THAT'S why I'm leaving you! I feel sorry for you. So, will a KISS satisfy you? Is THAT all that you wanted? I can KISS you. I'll go now.") |
I, for one, am no fan of Rossum's performance as Christine. I can say, though, from numerous stage experiences, that the character's decision in that final scene can be truly beautiful. I've seen some that play it as a "Well if I do this, he may finally let Raoul and me go," but some actresses truly make it about sacrifice. In that moment Christine makes her first important decision on her own, and in many cases it's not about her. She ultimately has no idea what Erik will do. But she stands up and goes to him, kisses him without fear, and leaves both herself and Raoul to his mercy. This then leads to Erik coming to terms with what she gave to him, and in turn he ends up sacrificing himself, in a way, to allow Christine and Raoul to love. The Phantom's character arc cannot be complete without Christine's decision, no matter what motivated her.
Did she care for Erik? I think so. Did she pity him? Yes. Fear him. Absolutely. Ultimately I think Christine loved Erik, but not in the way that she loved Raoul (ie. romantically), and that is why they are not meant to be together. You can have a deep love and appreciation for someone without loving them in a romantic sense. Nevermind that he stalked her, kidnapped her, murdered those around her, and threatened to do the same to Raoul. He was a brilliant but insane man, and while we all swoon over him, we can't be blind to what he did. This once again leads back to Christine's kiss and what Erik did in response. He could have easily offed Raoul or sent him away, and taken Christine for himself. He had that power (and was properly out of his mind) to do so. But her actions changed something in him.
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