Summary of "Don Juan Triumphant" part 2 - 2004 movie

For those who believe, or want to, that there was more to the story...

Summary of "Don Juan Triumphant" part 2 - 2004 movie

Postby honeyphan » Thu Sep 19, 2013 9:07 pm

SUMMARY of Don Juan Triumphant (part two)

continued...

CHRISTINE: “No thoughts within her head but thoughts of joy…no dreams within her heart but dreams of love…”

Notice the way she sings this—it is sung the same way as a line she sings later, and I feel there is a strong reason for this. More on that soon…
Look in the below picture: The flames now don’t appear as high as they did before—because the back ones are obliterated by a bright white light within the flame pit that wasn’t there before. As always happens when she’s in view—white light follows her or is around her in some way.

Image

Notice she is barefoot. Erik planned it that way.
A) Because he wants to be her sole protector and not have Raoul anywhere near her (The priest of light Raoul symbolizes shoes which guard the feet—and feet are symbolic of upright spirit),
B) because bare feet shows reverence and humility for her king. (symbolically)

And the shoulders of her sleeves are up; one thing about those sleeves—they never stay up when she’s with Erik, or looking at him; but with Raoul, she either pulls them up or they go up next scene without them showing it… Symbolic that she is completely yielded to Erik…but with Raoul, she’s not.

Image

Notice in above picture one sleeve is down--Erik has just entered from beyond the curtain. She’s pulling thorns from the rose . The symbolic meaning for that in the symbols guide on roses:
Rosebud with leaves; no thorns--"I fear no longer; I hope" (she is the rose, red is Erik’s color—which makes the red rose a symbol of their relationship—so this shows that she now hopes and no longer fears being with Erik ... I feel it’s because she’s made her choice (Spanish translations of PONR show this). She looked up at Raoul earlier and he nodded as if it would be all right, but she didn’t acknowledge that nod with a smile or anything. She didn’t want to be there—didn’t want to go through this difficult testing, this “ordeal by fire” that the others have forced her into…and she also doesn’t know Erik will be on the stage with her and take the part of Don Juan.)

Passarino: “Master” (he calls him this because he is king)

Phantom/Erik: “Passarino…go away for the trap is set and waits for its prey…” (Erik is telling the Phantom spirit to leave--but at the same time he’s wearing his cloak, (symbolic of hiding) so as to pretend to be Phantom. The king is approaching his prey--IOW, let the plan unfold...)

ERIK: “You have come here, in pursuit of your deepest urge…”

Image
Image

Next split second shot of her as she turns to see him—both her sleeves are far down—her shoulders bare. She is already completely yielded to him. Because Erik is who she wants—she never dreamt he would come on stage and sing to her/ be with her…she had probably thought he would attack someone from the flies as he’d always done before when he was displeased…

ERIK: “…in pursuit of that wish which ’til now has been silent, silent…”

Here they make eye contact and he puts his finger to his lips as he sings silent, silent. He is telling her to obey the kingdom rule: do not speak of what you know, that I am here with you. And she now knows that her Angel, the King, is there. She’s not fooled by the disguise, as you’ll see in next scene. Her "deepest urge" and "wish" is to be with him—as every scene thus far has shown. (Masquerade—red petticoat, 30 second stare between them/smile she gave, etc. Cemetery--song sung to him, four red roses in bouquet, Spanish subtitles of love, etc. Chapel scene, red book she was hiding, translations showing she thought plan contemptible, etc.—and more) Notice, he's not wearing black gloves. He’s wearing Phantom’s unlined cloak though, (because they just showed the switch). This is sung in the same way that he sang, as the Phantom: “I have brought you to the seat of sweet music’s throne…” in MOTN)

Image

About his costume--in a previous ebay auction RUG held with items from movie, the outfit that Erik was described to wear was as follows:


Cord and hessian underjacket in maroon and moleskin claret coloured jacket with black edging, high collar and detailing on cuffs. As worn by Gerard Butler in the Don Juan sequence.


I apologize for low quality of picture—in being transferred to a word document, then to my computer harddrive so I could host it to post here, it lost a lot of color/clarity—but this is the picture they had with the auction.
Image

In dictionary maroon (how RUG describes the jacket) is defined as: "dull, dark red"
They also say the jacket itself is claret--claret is also a shade of red.

Red being Erik, the king’s, color ...
black edging—perhaps showing Phantom bondage…

ERIK/PHANTOM: “I have brought you, that our passions may fuse and merge...”

Her eyes flutter closed as if she's deeply imagining what he's singing and she takes a deep breath. He's telling her that he plans to make love to her. Raoul sees and begin to look a little alarmed, as he notices the sudden change in Christine. If she was acting according to any plan, he wouldn’t look so startled all of a sudden; the only plan was for her to be on stage.

Image
Image

ERIK/PHANTOM: “In your mind you’ve already succumbed to me, dropped all defenses completely succumbed to me...”

Image

She has imagined them together often, probably since MOTN, and she has also thought of surrendering completely to him. She almost gave herself to him in cemetery. They showed her turn to him in MOTN, as if to kiss him, but he pulled away and told her to take it slowly (to savor each sensation)—Now he's telling her those days are over. She's his and he will also physically make her his.

ERIK/PHANTOM: “Now you are here with me, no second thoughts...you’ve decided, decided.”

Image

And she has. Now that he’s come into view, she has an eager look in her eyes, a slight smile on her face…She made the choice to go through the test and be on stage to lure the Phantom/Erik into the theater—what they wanted—so they could capture him and put an end to the darkness and his reign as king. But now that he’s actually there with her, and they’re together, attuned as one—she has decided. And it’s not to help capture him. More later. Still, she's conflicted—her head at war with her heart as they soon show (because she doesn’t want the darkness). But now Erik is there with her, on stage (something she never expected) and that makes the draw toward him even stronger...


**COMPANION BOOK CLUES**

P. 129 says:
He (Piangi) strides upstage and disappears behind the scrims. BUT HE IS NOT ALONE. (these are the only words underlined and capped in this scene, and I think this refers to Phantom spirit being there, with Erik.)

P. 126—not sure if this is anything, but they show an off camera shot of a makeup artist fixing Gerry’s mask with Emmy looking on. A small canister sits above a piece of equipment in the background, painted green on one half—on the side “Christine” is standing on. And red on the side “Erik” is standing on. Could be still another clue as to their colors—green/queen, red/king.

P. 127--They show a picture of Carlotta from Don Juan—position she’s in show only three red roses in her hair, not four as she has in movie. Could show that this is important—and that she symbolizes Erik/King there, while guy in back w/mask symbolizes phantom spirit. Making the power struggle between them make sense. (with the hands) Both men on either side of her symbolize Phantom in Don Juan—and to the side of the one on left is what looks like a woman in a red/black skirt—but where’s her face?? It almost looks as if she’s wearing a black veil to cover all of her head (and I didn’t see this skirt bottom/hemline on any of the girl singers/dancers…)


Image

This wasn’t in the companion book, but it was in the ebay auction for one of the drawings that was part of the Don Juan set:

Image


Notice the color of the bed—red & green (king and queen)



**SPANISH SUBTITLES TRANSLATIONS BY Phantommyangel & Promiseme & Co.**

Here the sire may serve the dam, here the master takes his meat,
El señor aquí estará
Y a la dama hará sufrir
"The man will be here, and will make the lady suffer..."

from honey: “Man”—“manservant”, meaning Phantom, not king masquerading as Phantom. The Lady is Christine. Phantom will come and will make Christine suffer…

Here the sacrificial lamb utters one despairing bleat.
Al cordero tomará
Y su grito se ha de oír
"He will take the lamb and will hear her cry of pain..."

from honey: He "will take" the lamb and "will hear" her cry of pain—two different things. With the context of these beginning lines, the lady and the lamb they are talking about here are separate.

The manservant, or Phantom, will make Christine suffer by taking the lamb (Raoul) and hearing her cry of pain. This is everything that happens in DOM. This line says she will cry in pain. I see this as when Raoul is “taken” (he is tied with ropes to the gate and hurt). And she does cry out—that is when they show a huge clue showing the Phantom is the one doing this. (more on that later)

Poor young maiden for the thrill of your tongue of stolen sweets
Oh, doncella
Por probar lo prohibido
Sin pensar
"Oh, maiden. You must pay a high price for him to taste what is forbidden, without thought..."

from honey: Christine must reap the penalty of what she’s done—“to taste what was forbidden” or stolen sweets (her time with Raoul on rooftop and later) and what she did without thought to the consequences...it was forbidden because she belongs to the king.

You will have to pay the bill, tangled in the winding sheets
Alto precio has de pagar
Y entre sábanas llorar
"And between sheets to cry..."

from honey: I think this means she will cry once Raoul is dead and Phantom forces her to be his. Between sheets—in bed. Remember, this is Phantom's opera—he is the one behind this—not Erik. Erik is as trapped as Christine into believing the Phantom’s lies (more later)...the Phantom spirit only wanted to kill, steal, and destroy...)

Serve the meal and serve the maid
Sírvase el banquete ya
Sírvase el banquete ya
Serve the banquet now.

from honey: Let the plans commence.

Serve the master so that when, tables, plans and maids are laid
Las viandas, la embriaguez
Sin remedio occurrirá
The food, the intoxication, without remedy will occur.

from honey: Another word for remedy is cure—I think this means nothing will stop this from happening according to plan.

Don Juan triumps, once again!
Don Juan triunfa
Otra vez
Don Juan triumphs another time!

Passarino, faithful friend, once again recite the plan,
Passarino, amigo fiel
Otra vez repite el plan
Passarino, faithful friend, once again recite the plan. (No difference)

Your young guest believes I’m you, I the master, you the man…
Su invitada cree que vos
Sois criado
Y yo Don Juan
Passarino/Phantom: Your guest believes you are the servant and I, Don Juan.

from honey: That’s certainly clearer than the English version!

When you met you wore my cloak she could not have seen your face…She believes she dines with me in her master’s borrowed place.
Ella nunca vio tu faz
Pues mi capa te presté
Cenaremos y caerá
En la trampa, yo lo sé
Don Juan/Erik: She never saw your face; I lent you my cloak. We eat, and she will fall in the trap, I know it.

Furtively we’ll scoff and quaff stealing what in truth is mine
Y pasando yo por ti
Lo que es mío he de robar
Don Juan/Erik: And I will pass for you. I must steal what is mine.

There’s another clue that he’s disguising himself as Phantom/manservant to win Christine over to him and take her.

When it’s late and modesty starts to mellow with the wine
La modestia huirá de aquí
Cuando el vino empiece a actuar
The modesty will flee from here. When the wine starts to take effect,

from honey: Wine—love/passion.

You come home I use your voice, slam the door like crack of doom
Llego y digo en alta voz
“¡Oh, qué osada situación!”
Phantom: I arrive and say in a high voice, 'Oh, what a bold/daring situation!'

A high voice is interesting—regarding the Phantom--perhaps "high" means climactic...he “arrives” when he cuts down the chandelier and takes her—and that was a bold daring situation…also, for Phantom to say he arrives means he wasn’t there at that point…

I shall say come hide with me, where oh where, of course my room!
Yo dire: “¡Te escondo aquí!”
“¿Dónde? ¡En mi habitación!”
Don Juan/Erik: I will say, 'I am hiding you here. Where? In my room!'

Poor thing hasn’t got a chance
Y perdida ya va a estar
Phantom: And she will already be lost

Here’s my hat, my cloak, my sword, conquest is assured, if I do not forget myself and laugh
Mi tremenda seducción
La va a conquistar
Que no hay que reír, no he de olvidar
Don Juan/Erik: My tremendous seduction, I am going to capture her… It is not necessary to laugh, I do not have to forget.

From honey: Don Juan tells the Phantom it’s not necessary for him to laugh…that he, the king, doesn’t have to forget…almost like saying to the phantom, “Don’t mock me—she’s mine.” Here’s why I feel that way: This reminds me of Raoul’s “I never forget” in TOM, as he was singing about Christine and memories—which the professional translator said was odd in that sentence how they used the verb in the present tense instead of past, because it didn’t go with sentence before it—("I never forget." instead of I’ve never forgotten) “I never forget” means—I always remember. She asked him to always think of her fondly, in TOM, and he did. If someone always remembers, it’s always a memory. Here, Don Juan (symbolizing Erik) sings, about Christine “I don’t have to forget.”—Erik doesn’t have to make himself forget memories, because his life with her wasn’t a memory. It became real. But to Raoul, Christine was always a memory. And I feel these two key clues—phrases about forgetting and not needing to forget--that so clearly don’t fit with what Don Juan (symbolic of Erik) sung here at the end, or with what Raoul sung in TOM—are further clues to show that she became Erik’s wife.)

No thoughts within her head but thoughts of joy
No dreams within her heart but dreams of love
Con gozo
a ver a aquel buen mozo voy
Del sueño del amor
Cautiva soy
I go to see that one great joy,
to see the dream of the love that holds me captive.


From honey: This is admitting Erik is her love, and she is captive to that love. She said much the same in TEW translations, about how he stole her heart.

Master
¿Amo?
Master?

Passarino, go away for the trap is set and waits for its prey..,
Passarino, Vete ya que aquí está
Y usar la trampa sabré
Passirino, go now, here she is. And the trap will work, I know it.


Erik/Phantom: You have come here in pursuit of your deepest urge
In pursuit of that wish which till now Has been silent… Silent.

No te asombres
Si buscando has venido aquí
Un anhelo secreto
Que no sabe nadie
Nadie
You are not astonished. Yes, you were searching. You have come here with a secret wish of which you yet know nothing…nothing.
another translation: You are not astonished. You have come here looking for a secret yearning that nobody knows…nobody.

I have brought you
That our passions may fuse and merge,

In your mind you've already succumbed to me,
dropped all defenses completely succumbed to me

Now you are here with me,
no second thoughts…
You've decided. Decided.

Se han unido
Mi ansiedad con la tuya así
Y tu mente obediente
Sucumbe a mí
Y hasta tu immense
Defensa sucumbe a mí
Tu alma se rinde a mí
No hay elección
Tú lo sabes
Lo sabes
My anxiety and yours have been the same. Your obedient mind succumbs to me, and your vast defense will succumb to me. Your soul surrenders to me. There’s no choice. You know it…know it.


**FRENCH SUBTITLES TRANSLATIONS BY Phantomrose07 & Co.**

Here the sire may serve the dam,
C’est ici que l’âme tombe,
It is here that the heart falls,

Here the master takes his meat.
Que l’on meurt dans les Abysses.
That one dies in the Abysses.
another translation: That one dies in the Abyssals zone.

I found this when doing a search for Abyssals—apparently the name is from Exalted--a popular high fantasy role playing game published by White Wolf Game Studio (interesting name, huh?) , but look how it so strongly parallels POTO (http://en.wikipedia.org/wiki/Exalted):
The central premise of Exalted is that gods have the ability to infuse ordinary mortals with a shard of their divine soul, exalting the individual into a demigod. The Solar Exalted derive their powers from the strongest of the gods, the Unconquered Sun [b]...Abyssals cannot draw essence from creation as other Exalts do and can only replenish their essence in the underworld or with powerful artifacts. The only way for an Abyssal to restore their essence away from their dark realm is by feeding on the living…The Solar Exalted are the greatest of the Exalted and during the First Age, they were the rulers of the world. Their achievements were a beacon to humanity, and their power flows from the sun. The Dragon-Blooded murdered the Solars at the fall of the First Age. However, it was not possible to destroy their essences and they continued to reincarnate again and again through the ages. Each time a Solar re-emerged into the world, they were hunted down by the Wyld Hunt and killed. Considered to be Anathema to the rest of the world, the Solars are considered to be monstrous demons and are feared by anyone with the knowledge of who and what they are.

I bolded those areas relating to POTO. This doesn’t mean I think this is a clue that Erik is a “solar exalted” and the phantom spirit and his minions are “Abyssals,” which went on to say they were like demons from the abyss—or that I think the hidden plot is really a high fantasy role-playing game—not at all. BUT I do feel it’s yet another clue showing evil spirits/forces are at work against the king and his kingdom, and that this is a “high fantasy.” Just like the clue with Robert le Diable and how that paralleled POTO, and Elisabeth musical and other clues too—the Abyssals clue seems to do this also—a clue that Erik is the spirit of Music, and shared a part of himself—his very essence—with Christine, making her into music too, a companion for him, and no longer a mere chorus girl, but a queen…

Definition of a “high fantasy”, from wikipedia:
(http://en.wikipedia.org/wiki/High_fantasy) : These stories are generally serious in tone and often epic in scope, dealing with themes of grand struggle against supernatural, evil forces. It is one of the most popular subgenres of fantasy fiction…One of the main concepts of the high fantasy storylines is the main hero's storyline. Most of the main characteristics revolve around his heritage. (POTO revolved around Erik, who he was, etc) In many novels the hero is an orphan, or an unusual and strange sibling, often with some incredible ability or abilities and skills in a particular area (usually either magic or skill with a weapon) (Erik was an orphan, he was unusual/strange/mysterious, he used magic, he had an incredible ability—Music and more—he was a genius)… In most stories, the hero, considering his dark and vague heritage, slowly gains knowledge of his past, through legend, prophecy, lost-and-found-again family members (he learns Raoul is his brother as in French subtitles masquerade line: “Beneath this wolf, your brother knows that it’s you”), or from more mysterious encounters. With that knowledge comes power and self-confidence. (parallels end of DOM) In many books there is a love interest surrounding the main character. (Christine) Usually, she is as selfless and good as the main character. The plot of the story often depicts the hero's fight against the forces against him (his fight against the Phantom spirit controlling him) ...In the beginning of the storyline, there is one important twist or event in the life of the character. He is threatened by the unknown force. (if you consider the beginning of the storyline to be when he was caged by the abusive gypsy—the twist M. Giry helping him escape to opera house, it could be then, or if beginning of movie, itself, when Raoul came to the Opera house.) Many times, the character is destined to destroy the evil force, or to be a threat himself of some importance. (Erik did both—destroyed its hold over him, and he was also a threat, himself.) In many books there is one mystical persona who provides the main character with advice and help. (Madame Giry was mysterious, a servant to Erik) Mostly he is a formidable wizard or warrior. (from clues showing her to be Diana, this would fit; she was into things magical—touching the wheel in M. Giry’s tale, etc.)

Here the sacrificial lamb
C’est ici qu’un jour succombent
It is here that a day succumbs (yields)

Utters one despairing bleat
Les agneaux du sacrifice.
Lambs of the sacrifice.

from honey: Here they talk about more than one lamb; could also be the king as sacrifice; also it means Christine but not in death. He wanted her alive. But it is definitely Raoul…

Poor young maiden
Pure et vierge, folle aussi,
Pure and virgin, insane also,

From honey: Insane—she was mad to do what she did…

For the thrill on your tongue of stolen sweets
Honte à toi s’il t’a séduite.
Shame with you if he allured you.
another translation: Shame on you if he seduced you

From honey: Shame on her if Raoul allured/seduced her.

You will have to pay the bill
Tu devras payer le prix,
You will have to pay the price,

Tangled in the winding sheets.
Dans ce lit où il t’invite.
In this bed where he invites you.

From honey: She will have to “pay for her sins” in the king’s bed. I find the word invite interesting…as if she still has a choice

Serve the meal and serve the maid…Serve the master so that when tables plans and maids are laid
Son souper et sa brebis,
C’est vraiment soirée
De fête.
Tout est prêt pour qu’aujourd’hui
His supper and his ewe,
It is really night
Of festival.
All is ready so that today


His supper and his ewe—female lamb—Christine,

Don Juan triumphs…once again
Don Juan triomphe
Dans sa quête.
Don Juan triumphs
In his quest.



Passarino, faithful friend, once again recite the plan
Passarino, allié fidèle,
Notre projet, s’il te plaît.
Passarino, faithful ally,
Our project, please.


You’re young guest believes I’m you, I the master, you the man.
La donzelle me prend pour vous,
Moi, le maître et vous, le laquais.
The young miss takes me for you,
Me, the Master and you, the lackey.


When you met you wore my cloak she could not have seen your face,
Elle t’a vu portant ma cape,
Elle n’a pu te voir en face.
She saw you carrying my cape,
She could not see you opposite.


From honey: Opposite—on the other side.

She believes she dines with me in her master’s borrowed place
Chère enfant, elle ne sait pas
Qu’elle est prête pour la chasse.
Dear child, she does not know
That she is ready for the chase (hunting).


Furtively we’ll scoff and quaff, stealing what in truth is mine
Nous vidons d’abord ma cave,
Spolions ce qui m’appartient.
We empty first my cellar,
Let us despoil what belongs to me.


Cellar—wine cellar; wine = love/passion
Original plan—to despoil her, ruin her, take her virginity

When it’s late and modesty starts to mellow with the wine,
Dès qu’enfin sa pruderie
S’amollit avec le vin,
As soon as her prudery finally
Melts itself with the wine,


From honey: As soon as her primness mellows and she accepts him…

You come home I use your voice, slam the door like crack of doom,
Vous rentrez, je suis Don Juan.
Je crie fort, il faut qu’elle gobe.
You return, I am Don Juan.
I cry loud, she must hear


I shall say come hide with me. Where, oh where, of course, my room!
Je dirai: “Partons, suis-moi!”
“Mais où ça?” “La garde-robe!”
I will say: "Let us leave, follow me!"
"But where?" "The wardrobe!" (cloakroom)


Poor thing hasn’t got a chance. Here’s my hat, my cloak, my sword
Pauvre enfant, aucune chance.
Tiens! Manteau, chapeau, estoc!
Poor child, no chance.
Take this! Coat, hat, sword!


Conquest is assured, if I do not forget myself and laugh
Si elle entend soudain que je m’esclaffe.
If she hears suddenly that I laugh.

He doesn’t want her to hear him laugh, because then she’ll know it’s phantom spirit, not a messenger.

No thoughts within her head but thoughts of joy
Ne font vibrer son âme qu’amour et joie.
Only love and joy make her heart beat.

No dreams within her heart but dreams of love
Ne priment dans son coeur
Que de beaux rêves.
In her heart only beautiful dreams precede.

Master
Maître?
Master?

Passarino, go away for the trap is set and waits for it’s prey
Passarino, Laisse-moi,
Car mon piège est prêt
Et n’attend que sa proie.
Passarino, Leave me,
Because my trap is ready
And awaits only its prey.


Erik/Phantom: “You have come here in pursuit of your deepest urge
In pursuit of that wish which till now Has been silent… Silent.

Tu es ici
Là où tout est folie des sens,
Là où bien des brebis
Sur l’autel s’offrent sans lutte,
Sans lutte.
You are here
Where all is madness of the senses,
Where many ewes on the altar offer themselves without struggle,
Without struggle.


from honey: l’autel (the altar) also had the definition of: “furnace bridge.”

I have brought you
That our passions may fuse and merge,

Tu m’as suivi
Pour m’offrir d’impossibles danses.
You have followed me
For my offer of the impossible dance.


In your mind you've already succumbed to me,
dropped all defenses completely succumbed to me

En toi-même déjà tu
Succombes à moi.
Sans résister,
Tu te livres et succombes à moi.
In yourself already you
Succumb to me.
Without resistance,
You give yourself and succumb to me.


Now you are here with me, no second thoughts…You've decided. Decided.
Ta volonté faiblit.
Ton corps se tend,
Tu te donnes,
Te donnes.
Your will weakens.
Your body tightens,
You give yourself,
Give yourself.


Wow, um, okay… And it gets even more so in PONR…


**ITALIAN TRANSLATIONS by Angelofdarknss & Co.**


CORO (Chorus):
Here the sire may serve the dam, here the master takes his meat!
Finalmente lei cadrà / e la vittima cadrà nelle mani del padrone
Finally she will fall / and the victim will fall
into the hands of the master


CARLOTTA e CORO:
here the sacrificial lamb utters one despairing bleat.
L'innocente morirà senza
via di scampo è lei
The innocent will die,
Without chance of escape she is


*The innocent and how they will die refers to everyone there—not to Christine. But she won’t be able to escape what the master—the king—has for her.

Poor young maiden! For the thrill on your tongue of stolen sweets, you will have to pay the bill-
Tu, fanciulla, nella corte i suoi baci [???] già sconterai i peccati tuoi
You, maiden, in the court his kisses [???] already you will serve your sins

tangled in the winding sheets! Serve the meal and serve the maid!
e punita ti vedrem Il complotto che tramò
and we will see you punished
the secret plans (conspiracy) that he plotted


The chorus sings this—and they symbolize the phantom and his minions. They will punish Christine. It was the Phantom who sang: “You will curse the day you did not do, all that the Phantom asked of you.” And it was him who said, “Now, let it be war upon you both.” A conspiracy is usually something unlawful—and since Raoul is going against the king with his secret plans—treason—this makes sense that it applies to him. Here we see the gold eye/policemen, perhaps suggesting Phantom had a hand in it all...

serve the master so that, when tables, plans and maids are laid
[muta tutto] al suo voler e suo pranzo, è pure lei
[everything changes] to his desire and his reception, she also is

Everything the king wants changes to his desire—he gets what he wants. And he gets Christine as well.

Don Juan triumphs once again! [i]
Don Juan sempre trionferà!
Don Juan always triumphs!

DON JUAN (PIANGI)
[i]Passarino faithful friend, once again recite the plan

Passarino, mio fedele trarrà ancor l'inganno a me
Passarino, my faithful, still she will gain the deceit in me.

from honey: The “deceit” is Phantom, so maybe that means that’s who she’ll get.

PASSARINO
your young guest believes I'm you- I, the master, you the man,
Lei mi crede Don Juan, voi mio servo ed io messer
She believes me Don Juan, You my servant and I the sir

DON JUAN(PIANGI)
when you met, you wore my cloak, she could not have seen your face..
Lei che non ti ha visto mai penserà di star con te
She who has not seen you will never believe I will be with you

From honey: He’s saying that he will have the phantom with him.

she believes she dines with me in her master's borrowed place!
mangeremo a casa mia, ruberò la cena a me
We will eat at my place, I will steal the supper to myself

Furtively, we'll scoff and quaff, stealing what in truth is mine
alle spalle del padrone gusteremo il vino insieme
From behind the master, we will enjoy the wine together

If he’s acting as messenger/phantom—under control by him—then he is not acting as king, so he will do this behind the master, the king--what he wants her to think.

when it's late and modesty starts to mellow with the wine.
lei così già mia sarà, dopo un po' l'amor godremo
Thus she already will be mine, afterward we will enjoy a little love


PASSARINO
you come home! I use your voice- slam the door like crack of doom!
Io la voce vostra fò: "Son tornato in casa già!"
I fabricated(made) your voice: “I am back home already!”

DON JUAN (PIANGI)
i shall say, "come hide with me! where oh where? of course my room"
Noi nascosti resteremo nell'alcova, mia sarà!
Hidden we will stay in the alcove, she will be mine!

PASSARINO
poor thing hasn't got a chance
Molto astuti noi saremo!
We will be very shrewd(sly)

DON JUAN(PIANGI)
here's my hat, my cloak and sword. conquest is assured, if i do not forget myself and laugh *laughs*
Ecco tutto è fatto già lo realizzerò se serio resto e se mai riderò!
That’s it, it’s done already; I will achieve it If I stay serious and if I will never laugh!


AMINTA(CHRISTINE)
"...no thoughts within her head but thoughts of joy. No dreams within her heart, but dreams of love."
Non ho timor di te, mai non ne avrò Nel cuore regnerà soltanto amor.....
I do not have fear of you, I will not ever have any,
In the heart will reign only love….


From honey: This really fits with how she pulls the thorns off the rose—symbolically meaning, “I fear no longer; I hope.” She loves Erik; never had fear of him, never will.

PASSARINO
master?
Padrone?
Master?

DON JUAN(PHANTOM)
Passarino- go away! for the trap is set and waits for his prey
Passarino... Ora va’ lei è qui, nulla più chiederò, lei è mia...
Passarino… Go now she is here, I will demand(ask) nothing more, She is mine…

Erik/Phantom: “You have come here in pursuit of your deepest urge In pursuit of that wish which till now Has been silent… Silent.
Tu che fremi per placare la fiamma tua…Per placare l'istinto che in te sempre tace, tace
You who tremble to calm your flame…To calm the instinct in you that is always silent, silent

I have brought you That our passions may fuse and merge,
T'ho sognata per gustare ogni voluttà
I dreamt you to enjoy every sensual pleasure

In your mind you've already succumbed to me, dropped all defenses completely succumbed to me
Più che mai destinata a soccombermi,
Tu puoi negarlo ma stai per soccombermi
You can deny it but you remain to succumb to me More than ever destined(intended) to succumb to me

Now you are here with me, no second thoughts…You've decided. Decided.
Ed ora sei con me, non dire no
Puoi restare, restare
And now you are with me, do not say no
You are able to remain, to remain.



**SOUND SIMILARITIES by Redrose**

Don Juan—
Warped I Remember when Carlotta sings, ending with Raoul I’ve Seen Him
Piangi’s part has a segment like a warped version of where Christine sings of being twisted every way and a segment matching DOM when Erik sings of being hunted down everywhere



**THE SPOKEN WORD**

In the movie, they broke away from song to speak lines they had sung in the play—sometimes speaking for only a few lines. Here is the connecting link I’ve found with the spoken word—

Not a main character—unless you realize he’s really the phantom here, but:

Passarino (spoken): “Master”: --directed to Angel of Music, Erik the king.
And Erik then sort of sing-songs “Passarino…”


**MUSICAL ANALYSIS by Phantom’s Star**

Harp: thinking Note: I think this is what the sounds stand for.
Flute: a calling
of Angel (Angel of Music)
Cymbals: Angel is there, or near (brush of cymbals)—loud crash—he is fully there.


1.)Flute – as the curtain opens, the flute joins in with the melody. I think we are called to pay attention to the following production of Don Juan, not just the audience.

2.)Harp – at various points when Carlotta and the chorus sing, we hear the harp.

-On the word “lamb”
-On the words “stolen sweets”
-On the word “sheets”

I had previously thought that this could relate to Angel, but I believe the harp here refers to Christine and that we should be thinking of her (she is Angel’s Angel of Music after all and he did write the play with her in mind)

3.)“Don Juan triumphs once again” – We hear the crashing of the cymbals (not like TOM or DOM though). So, Angel is there but not completely as we later see (he kills). I think this also shows Angel is Don Juan (maybe also some foreshadowing that Angel will triumph over Phantom?).

4.)Flute – the whole time that Don Juan and Passarino sing, we hear the flute playing along with the melody and the lyrics. I think this shows that we are called to pay attention to this part of Don Juan (and we know why now) At one particular point, we suddenly hear the flute switch to playing low notes and instead play to high notes but then goes back to low notes:

-Right before, “I, the Master, you, the man”

I think this shows that this particular line is one of key lines in the hidden plot (as we have mentioned). We are called to pay close attention to this line.

5.)Harp:

Passarino, faithful friend (after the word “friend,” we hear the brush of harp strings)

She believes she dines with me (we hear the plucking of harp strings during this line)

Furtively, we’ll scoff and quaff (we hear the plucking of harp strings twice; the first on “scoff,” the second on “quaff”)

Starts to mellow with the wine (we hear the brush of harp strings in between the words “the” and “wine.”

You come home, I use your voice (we hear the brush of harp strings going down in notes after “voice”)

Poor thing hasn’t got a chance (we hear the brush of harp strings on “chance”, going up in notes)

I think what the harp means here is that we need to think of Angel (and Christine) during this song, and maybe for these particular lines.

6.)Harp - As we see Erik jump, we hear the pluck of a harp string. And the next shot is Christine. I think Christine is still thinking of her Angel as she walks onto stage (next part further proves this)

7.)Harp :

No thoughts within her head but thoughts of joy
On the words “No thoughts within,” we hear the harp. Christine is thinking of Angel even as she looks to Raoul. (Maybe does this line refer to Angel as well?)

No dreams within her heart but dreams of love
As Christine holds out the word “love,” we hear the harp. She is thinking of Angel, and I think this line refers to him as well.


Link to “The Point of No Return” part 1 - click to read

*
Image E/C manip made by me
User avatar
honeyphan
 
Posts: 795
Joined: Mon Sep 16, 2013 3:17 pm

Return to Board index

Return to Hidden Plot

Who is online

Users browsing this forum: No registered users and 1 guest