Although the beginning is tense and nerve-wracking as people begin to die, once Erik reveals himself, the mystery is over. With The Phantom of the Opera by Gaston Leroux, however, I first watched the film, before seeing Andrew Lloyd Webber's stage production as a 21st birthday present from my Uncle Rory before only just having read the book many years later after first having come across the Parisian ghost story. But Lerouxs best-known story is The Phantom of the Opera (1911), whose macabre hero has been played in film by classic horror film stars Lon Chaney and Claude Rains. In the book, when Christine is telling Raoul about everything, he thinks to himself, "He now realized the possible state of mind of a girl brought up between a superstitious fiddler and a visionary old lady and he shuddered when he thought of the consequences of it all. The book is a classic literature and a bit Broadway musical genre, it is perhaps not bad to say that the book is filled with a lot of suspense and almost an indefinite thought provoking moments that some would find very interesting, when some would find it awkward. You might also likeSee More. Steve Barton, as the Vicomte who lures her from the beast, is an affable professional escort with unconvincingly bright hair.
Then we're introduced to Christine, a young singer who grew up very close to her father, a traveling musicians. Love me and you shall see! Gaston Leroux uses flashbacks to give the reader insight into Erik's childhood and his life as a young adult. The setting and stage is incredible and everything about the films setting is gorcious, so they really made it all feel beautiful. During one of the shows, the prima donna loses her voice, and a grand chandelier crashes on top of audience members. In the musical, he is clearly messed up, but you just aren't as bothered by him as you are in the book and '25 movie. This isn't in either movie. The Phantom of the Opera. ISBN: 978-1-949518-09-2.
Another problem I had is that I should fee a sense of fear from the Phantom, but they don't give us any thrills are questioning, just Gerard Butler running around in a mask. Peter F. Neumeyer's The Phantom of the Opera is a journey through books that are fun for kids, neat for adults, and have absolutely no basis in reality (nor does it want to have one). Only a terminal prig would let the avalanche of pre-opening publicity poison his enjoyment of this show, which usually wants nothing more than to shower the audience with fantasy and fun, and which often succeeds, at any price. There's swooning, screaming and proclamations of love left right and centre (opera pun! )
This is an amazing production though, the sets, the wardrobe, the singing. Back when the masses were surviving before exploring the nature of their feelings, they read or went to the theater for different reasons than we do now. That purity is Christine. This is after she has fainted, and there are others in the dressing room at the moment. His high-spirited, often dangerous, escapades and questioning nature provided much of the background and plot material for his sensational mystery and adventure stories, particularly those starring his reporter-sleuth, Joseph Rouletabille. For an added lift, we visit the opera-house roof, with its cloud-swept view of a twinkling late-night Paris, and the subterreanean lake where the Phantom travels by gondola to a baroque secret lair that could pass for the lobby of Grauman's Chinese Theater. Through the use of literary devices, Gaston Leroux portrays Erik as a depressed sociopath willing to do anything to get what he wants.
Worth visiting the original but it's very much a piece of serialized 19th century fiction that is actually improved by modern adaptations. Basically, right away, Raoul loses it and can't stand the heat or the confusion of the mirrors. While there really was a tragedy of the chandelier falling leading to some people dying, as well as rumors of a ghost, plus the underground of the opera house being full of tunnels and having a river. More by William Shakespeare.
Recommended for young adults and up. Erik is referred to as a phantom, and Christine thinks he is the 'angel of music' that her father promised to send her. In modern day, we see an old Raoul at Christine's fresh grave and there is also a rose with a black ribbon which is the Phantom's signature token, showing he is still alive. Before reading, I admit to being slightly apprehensive. The melodrama of the hideous recluse abducting a beautiful young woman in a Paris opera house did not achieve international celebrity until the American…Read More. The characters other than Opera ghost do not stand last for many. They knew each other as children and are now renewing that friendship as adults. "Know that it is a corpse who loves you and adores you and will never, never leave you!.., I am not laughing now, crying, crying for you, Christine, who have torn off my mask and who therefore can never leave me again!.., mad Christine, who wanted to see me! Speech that is being sung is denoted by musical notes in a textually energetic way, while the whole dialogue has pace. Overview and Characters. In the musical, Raoul doesn't take Christine seriously at first, but in time sees the threat the Phantom is and they have the duel at the graveyard. I'd only recommend this novel to those who enjoy drama and theatrical tragedy, and no one else. But, the story is well presented, despite its being twisted, dark, and gothic in semblance. You Read How Many Books?
Click here to subscribe. He lifts his mask to kiss Christine, and she returns the kiss. They make his character out to be so hideous when really he just looks like he was given a terrible makeup artist, so I really did not find it believable that everyone would consider him some gross beast. Otherwise, the spiritual content is practically non-existent. Published in 1910, it went on to become his most notable work. Of course, as scene in both movies, when they go to the opera rooftop and she tells him all about the Phantom, the Phantom is there too and overhears it all. What follows is a series of eerie events that cause chaos in the opera house, running alongside the central love story of Christine and her childhood sweetheart Raoul, who hears her triumph at the gala on the night of her old managers' retirement and seeks to rekindle their flame.
To begin with, he was persuaded that, if any one was to be pitied, it was he, Raoul. "Poor, unhappy Erik! The Opera Ghost's attraction to Christine is seriously messed up. There are close-ups, zoom outs, panoramas and variety of character angles so the reader isn't bored as they go through.
Lloyd Webber's esthetic has never been more baldly stated than in this show, which favors the decorative trappings of art over the troublesome substance of culture and finds more eroticism in rococo opulence and conspicuous consumption than in love or sex. I think we as Christians could take a great lesson from Leroux's novel. Erik wants hope to transcend his condition, Christine wants to live up to the music and Raoul doesn't want the portrait of his childhood to break. Though the story is actually all about romance and mystery it is also full of obsession and suspense.