Summary of "Point of No Return" part 1 - 2004 movie

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

Summary of "Point of No Return" part 1 - 2004 movie

Postby honeyphan » Fri Sep 20, 2013 1:42 pm

SUMMARY of Po int of No Return

Paragraph summary—this is an awesome scene in hidden plot. Here we learn that Christine makes the choice to go with Erik, to Raoul’s shock, and Christine shows her “guilt” to all in the music kingdom. Everyone views Music singing together for the first time—the king and his queen. Erik ditches revenge plan when he sees Christine wants to be with him, and he changes the phantom's opera, doing his own thing, much to the phantom's shock & displeasure. Erik proposes, and Christine steps into her role—as he asks her to do—showing him the only way he can be free. But he misreads her act, and all hell, literally, breaks loose….


ERIK: “Past the point of no return...No backward glances...

When he sings the next line, one of the dancers has a short line of blue going through his head/chest—the male dancers are symbolic of Erik and what he’s feeling—Music’s spirit is coming through)

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There is no light source to create the blue line as there has been on other occasions. This appears to have been added. At least one other time this happens without a light source, and that’s one reason I believe the height of the white light was rigged, so that each time the blue light would appear only through his heart/middle and/or her head at the times they show the blue rays of light. Sometimes it also shows through Erik’s head, but is always at some point on his chest too. And again, clues point to this showing they are the spirit of music—king and queen.)

ERIK: “…our games of make-believe are at an end...”

There’s no going back and no more “courting” as MOTN was. This is the real thing. Also, this is where M. Giry sees what’s going on and clutches her cross—the first time they show her with one in movie. She no longer serves the Phantom spirit—though she still serves the king—and she’s now worried by what she sees, because she recognizes what he’s doing, what he did in POTO, (she was a part of that plan too). To her left, the man in red cape (symbolizing one of the three who were Phantom in Don Juan) has been looking down as if not happy, though everyone else has their eyes glued to Erik. Now he looks up at Erik and Christine. You’ll see him again in a minute—and his reaction is odd then too.

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ERIK: "Past all thought of “if” or “when”...No use resisting...Abandon thought and let the dream descend..."

She’ll no longer wonder if it’s going to happen or when—he’s telling her it’s hopeless to resist, (him thinking she might want to, since he hopes she thinks he’s the messenger), and for her to forget all logical thought, to concentrate only on the moment between them. Both her and the king have dreamed about this moment, and she knows Erik is there—she can see his face, (see past his ruse) just as she saw the face of the Phantom for that brief time in POTO.

This doesn’t look like a woman who wants to resist, and she’s in no trance. More on that soon…

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ERIK: "What raging FIRE shall flood the soul...What rich desire unlocks its door...What sweet seduction lies before us?”

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He’s giving her a taste of what will happen—and by her reaction, she’s looking forward to the idea. This is the first time she has ever felt his warm hands on her skin—he’d always worn gloves before. Per Don Juan song, she has “mellowed” with the wine (passion). Though I’m not sure I ever saw her hold back. lol
He appears to remove her bracelet—which has a link—but in the actual bracelet from a RUG ebay auction—there was no link showing on that PONR bracelet. Two of his fingers are curled and his index finger and thumb appears to be unhooking something. This was the first scene they filmed together…symbolically, the removal of a bracelet means “penetration of a mystery.” So perhaps this was done this way, intended as a clue showing there is a mystery to POTO to be solved. (I am still trying to find the ebay picture, and when I do I’ll post it. The one I had on WB boards summary is only a box with a red X now. I forgot to copy and paste the pic to my documents to make my own copy of the picture, and at that time I didn’t know about right clicking and saving a picture to a harddrive. I do now! lol)

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When they again show the people in the wings—all are looking at what’s happening on stage except for the man in the red cape they showed earlier-- one of those 3 men in a huddle in Don Juan, (resembling Phantom Spirit), and also the one to look back at Carlotta as he left the stage. He now looks unhappy, angry—and is looking to the left, our right, at Madame Giry. Not looking at Erik and Christine as everyone else is doing. (His tall doll was the one on Erik’s mini stage with its right arm raised, wrapped up in curtain—and standing near Erik/Don Juan doll. This tall doll was wearing same red cape (Last we saw Passarino/Phantom, he was wearing the king’s red cape.) I believe this man symbolizes Phantom and that he’s glaring at M. Giry shows that Phantom spirit is now angry with her. She betrayed him and chose the light…she is now his enemy.

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Raoul looks as if he already knows something. He’s seen and heard the man twice now—once up close. He knows who this is:

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ERIK: ”Past the point of no return ...the final threshold ..."

Here they show a few members of the audience—the directors, leaning over the rail to get a better look as Erik leads Christine. Another member of audience in balcony also does this, and several others appear very interested. Two women on opposite side are leaning all the way forward in their chairs their arms over the rail. Raoul is also leaning forward. I feel this is due to two reasons—
A) they are hearing Music for the first time, and some are enthralled. Remember—they acted disgusted with the discordant Don Juan song, but as one of our sleuthers pointed out, when Christine and Erik—king and queen Music—took the stage, the music/singing became melodious—and by the audience reactions they are enthralled. They don’t know about a plan to capture anyone. They don’t live within the opera kingdom to know.
B) But the directors and Raoul know who is out there. They just heard the king sing the night before and saw him up close. They know who this is or at least greatly suspect it. (Since this is a high fantasy, and reality often takes a back door in such stories, it’s not a stretch of the imagination that the masquerade ball was held the night before—also they showed in NOWL that Erik had already designed the set and costumes for Don Juan.)

The arrows point to the people leaning to watch—notice also the arrow pointing to the icon above the box. They show this on the managers’ box, on the royal box, and on Box 5. Soon you’ll see what it is…

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ERIK: “What warm unspoken secrets will we learn ...beyond the point of no return?”

Beyond the point of no return/final threshold is the last step to them becoming physically one—unspoken secrets deals with the intimate act he’s describing, the private things they will learn about each other. As he sings this, he leads her by the hand. She goes with him, but then pulls away, as if she's considering something and must now do something. As she walks away, before she looks at Raoul to address him, she pulls up her sleeves. She’s not yielded to Raoul.

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She shakes her head a little, as if upset/anxious with the predicament she is now in…

CHRISTINE: “You have brought me. . .”

She looks up at Raoul in an accusatory way, as if to say
“This is all your fault—you have brought me to this moment. I told you I didn’t want to be forced into this testing.”

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Erik hears her, sees the direction of her gaze, and now knows who is responsible for Christine’s seeming guilt, and who put her through this; he soon realizes it’s a test she was put through. He looks up at Raoul too, as if now realizing who was really to blame, and that Christine is innocent. (This is made clearer in DOM). Erik already knows the police are there; the conspiracy is no surprise to him. He knows what’s going on and how they plan to trap him. He heard about it beforehand—he's ready. (as M Giry sang in Notes: The Angel knows, the Angel hears...)

CHRISTINE: “To that moment when words run dry...”

Here she looks troubled…it is the moment when she admits to all present her alliance with the king, and shows her preference for him. (In Spanish subtitles, too.)

CHRISTINE: “...To that moment when speech disappears into silence...silence.”

Again she looks up at Raoul on those last words only: When speech disappears into Silence. Silence. Just as Erik told her to be silent when he first came on stage and sang to her, she’s now telling Raoul to be silent, and not to act. But Raoul, (the pageboy of Il Muto who was supposed to keep silent—when pageboy as Christine said barely above a whisper “It’s him.” And Carlotta/Countess said: “Your part is silent!”) doesn’t obey her order. Instead, he quietly acts, telling the police “it’s him.”

With what Christine sings in Spanish subtitle translations, it makes it clearer this wasn’t a signal on her part. They didn’t even know Erik would take the stage to give any signal. She was commanding Raoul “Do not speak of what you know; do not act—instead stay silent” …even the way she sings it sounds like someone in authority giving an order, especially her last “silence”, which is much more commanding and even harsh. The look she gives him seems superior, as a ruler might give…But Raoul saw her emotions were getting lost, as she’d warned him would happen in TEW, and that she was yet again about to go to Erik, as she had throughout all of movie. Raoul—as her priest/one who served her, could not let her go into the darkness (though his heart was involved too)—so he signaled the police to be ready. The extras in the cast hadn’t seen the King at the Masquerade to know Erik is the one they want to capture—they were in the back having their own party. But Raoul and the managers heard and knew.

In Spanish translations—what she sings now shows that she’s decided she wants Erik, her king, and to be with him. In short, she has just failed her test, the “ordeal by fire” and has shown everyone what is truly in her heart. And her following actions prove it.

CHRISTINE: "I have come here, hardly knowing the reason why...”

By singing this and with the expression she has on her face she’s saying “I’m not sure why I’m here because I really don’t want to be; I didn’t agree to this conspiracy.”

CHRISTINE: “In my mind I’ve already imagined our bodies entwining defenseless and silent...”

Firmin doesn’t look happy by what she sings and says something to Andre—Raoul motions them to wait. He doesn’t want Christine hurt. Perhaps he still thinks somehow he can save her from punishment…he’s about to find out differently.
When she sings “in my mind I’ve already imagined” she rolls her eyes as if in pleasure because she’s imagined being with Erik, and her being there, per Raoul’s and managers’ plan, so they could capture the king is contrary to what she wants. Her heart is gaining control now; her memory of the fear of darkness is leaving. Erik has told her what he’s planned for them—and she wants it. She’s anticipating it as she has since MOTN. She wants him. Notice also that the shoulders of her blouse again fall down the moment she turns to Erik. Again, her shoulders go bare; she is yielded to him.

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CHRISTINE: “Now I am here with you...No second thoughts...I’ve decided… Decided.”

Here she gives the faintest of nods—so Erik can see, but no one else can. She’s letting him know she means every word she’s singing. He looks at her, stunned. His mouth even drops open as if he can’t believe what she’s telling him—and the original plan goes sailing out the window. It’s no longer about capturing her by force—because she’s willingly coming to him ... more in Spanish translations below confirms not only this, but that she also has let the king know that she knows he’s the one there, not his “messenger.” Another reason he could be showing shock—she saw through his ruse. And finally, with all that she has just said/shown, he now realizes her innocence. It's no longer about capturing her and making her pay for her sins…he realizes she has no sins.

Again, she has failed the test, the “ordeal by fire” and to the managers and everyone else she is now guilty of being on the king’s side, having shown everyone what is truly in her heart. No one ever saw/heard the private moments between her and Erik, including Raoul. No one knew. But they are about to get an earful/eyeful…

Erik didn’t put her in any kind of trance. This is not the look of a man who’s just put a woman in a trance and expects her to follow blindly. His mouth dropped open, his eyes are wide—he’s in total shock.

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Not only does he now realize her innocence in the conspiracy, but by what she’s saying here in other translations, he also realizes she desperately wants him—she’s no longer holding anything back—and he’s a bit stunned. The plan was to get her “mellow”, accepting of his advances—to take the “poor thing” and not give her a chance (per Don Juan) —but she is now and will soon show him a boldness he never anticipated. And now that he realizes he was wrong--and since the phantom was in chapel according to 3 lit candles and glowing eyes, and maybe even that lamp outside the chapel, which was never there before TEW and which is the same type that is shown here in this underworld set—I feel the phantom overheard Christine & Raoul and then deceived Erik into thinking Christine had turned on him. Now that Erik knows the truth, the king has dispensed with the original plan and is making his own plan, much to the Phantom’s shock and ire. (Remember in Don Juan the three men who symbolized Phantom spirit in a huddle, who suddenly swung around in shock to look at Carlotta at the end of the song, (Carlotta dressed/symbolizing King/Queen.) That was a foreshadowing of what is about to come.

CHRISTINE: "Past the point of no return...No going back now...Our passion-play has now at last begun."

Passion play -- making love

As she sings the above, she has an eager look in her eyes, an excited smile on her face. She also has her back to the audience—as she’s walking toward staircase--only Erik can see her. Notice also that now the women dancers have taken the stage—symbolic of Christine.

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CHRISTINE: “Past all thought of right or wrong...One final question...How long should we two wait before we’re one?”

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Meaning physically. Erik stops and stares as she passionately leans toward him and sings the last, again as if stunned. Because he can tell this is no act. She’s telling him she wants him and her actions are proving it.

CHRISTINE: "When will the blood begin to race...The sleeping bud burst into bloom..."

This is a very literal, sensual phrase that relates to the physical act. It could also be thought of as her being the rose—bursting into bloom. During this time Raoul rises to his feet, a shocked, sad, horrified look in his eye. He sees how much Christine is drawn to Erik, also seeing her in a way he never has before. She’s acting like a woman who knows what she wants and is going after it—no longer like an uncertain girl who needs to be led. And she’s failed the test, the ordeal by fire. She is now guilty to all who are watching, digging herself in deeper with all she is singing/showing, and that probably alarms him too.

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CHRISTINE: “When will the flames at last CONSUME us?”

She sings this in a throaty way as they each come to the end of the bridge—she’s forgotten everything and everyone else—except Erik.

Notice what seems to be a reversal here—if you look to the left on first picture, the lights are flickering from the wrong side—why would there be light coming from backstage onto the flames—the audience is on the side with the ropes—and it makes it appear as if he and Christine are on wrong sides of the bridge from where they started. They show the light all over her—and on second frame they show darkness where the audience should be—but they showed the stage as being very well lit. The rope appears on right side, but the lighting and stage scenery is all wrong. A reversal has happened—he is now resuming control as he flicks off the Phantom’s cloak. Still the darkness is next to him because he’s in darkness. Also, they mentioned the bridge revolves in companion book—this could be a clue to that.

Evil spirits can’t cross bridges according to superstition of that time period. Symbolism of bridge:
Bridge- links separate worlds/seen and unseen; change between states, or desire for change...superstition stated that evil spirits could not cross a bridge…another website: Bridges often appear in folklore as eerie places, symbolizing a crossing place between the natural world and the supernatural. ..It was believed evil spirits could not cross running water, so both fords and bridges frequently appear in folk tales as places of safety.”
They are crossing flames, not water, but they also brought up cases of bridges above flame pits (Lord of the Rings) and the evil spirit unable to cross it, so I still think this symbolism applies.

The plan was that once Erik crossed the bridge, the Phantom would “arrive”—but that plan went flying out the window when Erik saw Christine wanted to be with him.

See pic below of apparent reversal of bridge:


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The last pictures show how well lit up front of stage was—so the darkness above, on Erik’s right—should not be where front of stage was:

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BOTH: “Past the point of no return...”

They show both the female and male dancers dancing together now, facing one another as Christine and Erik are doing…

BOTH: “The final threshold...

Notice that though Erik has thrown off his cape, they now show him with it on. That could mean Phantom is about to arrive, or perhaps that Erik is still hiding behind his "cloak" for protection.

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BOTH: “The bridge is crossed... So stand and watch it burn...We’ve passed the point of no return.”

They meet in middle of bridge, their hands going to each other as he twirls her around and holds her close. But notice, she doesn’t look up at his black mask…the mask that represents phantom spirit. She knows more than just the ruse Erik tried to get away with by pretending to be the king’s messenger…Watching the bridge burn can mean two things—when someone burns their bridges behind them (their past), there is no going back. It can also mean they are consumed by their passion.

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A thick blue ray of light shoots through the middles of the dancers as they also twirl around—they symbolize Erik and Christine—so it’s as if showing again, that Erik and Christine are music.

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MUSIC has reached the people, something Erik has always wanted to do (as he sang in NOWL). Because he has his queen, because she’s with him in heart and spirit and they are in unity, the people are hearing Music for the first time, not through her—but hearing the man, himself. They show this in the awestruck glances of some of the bystanders who watch them. IF you study their expressions throughout this, you can see some of them look dazed, as if they are being taught and have never heard before, some curious—especially the soldiers outside the kingdom. A few who played in the chorus—the phantom’s minions—look angry. Those who played the phantom (the 3 who were huddled) all look shocked.

As they show those watching them on the bridge—M. Giry's gold wedding ring is now on her right hand, not her left. It could be to show that Erik was under Phantom control during song… Meg comes onto screen, and she’s smiling. The cross is not around her neck which shows up in later scene. Meg is happy by what she sees—she is for the king and she knows Christine belongs with him. And, Meg is also dressed like him…more on that soon… The body language of the man symbolic of Phantom in back of M. Giry seems intent, studied, as if he is as surprised as all of them, but also upset.

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Here is a picture showing others in the wings. The soldiers look puzzled, awed; the subjects of the kingdom look shocked, one looks worried, and two look angry. (perhaps at the queen who has just admitted where her loyalties lie)

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The bearded man with pipe who never once looked up while Erik sang PONR is now absorbed by what’s going on: The soldier almost looks as if he is holding his gun in salute, showing respect.

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Study Raoul’s face and eyes closely. He is shocked, hurt—but there is also a look of something else in his teary eyes. It is the look of realization. For the very first time he’s seen Erik and Christine together—he now knows without a doubt that the Angel (Guardian) of Music is real—and he, like everyone else there, is hearing the king and his chosen as one. As such, he can see that they truly are one spirit, king and queen, and are meant for each other. But it isn’t something he wants to see, and it hurts. As Patrick Wilson said about this scene (from movie website)…
…he found his reaction to be similar to his character’s when Raoul witnesses the intensity of Christine’s connection to the Phantom. “I spent three months shooting the love story with Emmy just hearing about this other guy, ”Wilson recalls. “When I finally saw them together, and felt the passion they had for each other, it was heartbreaking."

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Notice he said “the” love story. Not specifying anything about it being theirs.

Because Erik has completely shed phantom and now has what he’s always wanted—he breaks away from the Phantom’s opera—and does something not in the original plans.

Erik caresses Christine, and as he does the makeup starts to slip and his deformity becomes more apparent (because he’s now all Erik). One soldier comes into view on the side of the stairs that Christine just walked up—not on Erik’s side of stage—but instead he came up the side of the wing Christine is on and has now come into view. She’s now as guilty as the king, since she’s shown to all present that she desires the king and is on his side. In this shot they show the stage is impossible to get to. Perhaps showing only one soldier showed he was there for her since her number is one...When they showed the soldiers before, they were in groups of twos, threes, and fours, though sometimes standing a little apart from one another. A word in this scene is underlined and capped in companion book, so it must be important, and I think this is why. More soon…

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Erik is lost in Christine—he sees nothing else. Growing bolder yet evidently nervous by the way he sings the following, he officially proposes to her, also begging her to help FREE him because he knows she’s the only one who can. (Definitely not making the Phantom happy). Erik knows she's from the light—he's seen it around her; he wants it:

ERIK: (soft and pleading) “Say you’ll share with me one love, one lifetime ..."

When he sings this last part, after the word love, she smiles as if she’s totally in favor of such a thing and the idea of marriage to him appeals to her. She’s not in a trance. Again, if she were, he wouldn’t have looked so surprised when she told him she’d decided, and he wouldn’t have stopped, as though stunned by her uninhibited behavior as they walked up the opposite staircases. If he’d put her in a trance, he would have expected her actions/cooperation. But he always gave her a choice. He didn’t want a mindless puppet—he wanted her to come to him of her own free will, as he asked her to throughout all of movie. Yet the Phantom deceived him into believing that would never happen, because of his face, and that the only way to have Christine as his wife would be to take her by force. The original plan.

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ERIK: “Lead me, save me from my solitude ...”

And these are the two biggest lines in this song, because they explain the reason for everything that happens from this point on. He is asking for her help—for her to LEAD HIM. If you lead someone, you take them away from something. He’s asking her to lead him away from the darkness and into the light. He wants beauty and heaven—those are his secrets he told her about in STYDI. He wants to be freed and to be with her and doesn’t want to be alone any longer but he doesn’t know how to do this—he’s lived in darkness for 22 years, even before that—and he’s afraid. At this point she has reached up and is holding his hand. Raoul sees this, and with the way he winces, you can tell how difficult it is for him to come face to face with the truth: Christine loves her Angel.

When they show M. Giry again, her wedding ring is again on her left hand as she clutches the cross. I believe this shows that Erik is all there. The man portraying the phantom spirit seems to be turned toward Meg, reaching for her. Meg is dressed like Erik, so she symbolizes him (like Carlotta’s costume symbolized the king & queen in Don Juan). And I think this is symbolic that Phantom isn’t planning to let go of Erik as easy as he might wish…

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ERIK: "Say you want me with you here beside you ..."

As he sings the above, she has reached up to hold his hand.

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As he finishes this line, Christine opens her eyes as if just realizing what he’s asked of her, and she turns to him. He pulls her with him into a ray of light that was never there before and is never there again—(in Spanish translations when this happens, he’s telling her something very important…more on that soon…)

ERIK: “Anywhere you go let me go too ...”

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He takes her hand in both of his. A sad smile on her face, she swallows hard, because she knows her act will hurt him, (remembering STYDI) and you can see how much it hurts her to hurt him. Yet she knows it’s the only way for them to be together and be happy. Twice, she was willing to go with him into the darkness, just to be with him. Once at the cemetery, and now. But they both realize it won't work that way--even Erik...who is now asking for her help to free him. More soon...

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He has asked for her help, and she now has the understanding of what she must do to help him. She now understands the darkness and from what source it comes. In short, she has matured since STYDI and is doing what she knows must be done. She has learned from her teacher and is now becoming the master—their roles are becoming reversed, but not completely. This is the start of it.

ERIK: “Christine...” He lays his hands against either side of her neck and she cups his face with her hand. “...that’s all I ask of…”

It is very important that you see and remember where this song ends in relation to AIAOY—because of what happens in DOM. He has just asked her to marry him, to live one lifetime with him, and is waiting for her answer…

The film companion book says:
We never reach the word “you”, for Christine quite calmly removes the PHANTOM’S cowl, mask, and wig. That she “quite calmly” removed his mask shows this was no act of hatred or revenge or entrapment. This was an act of love, of freeing him. The black mask symbolized the phantom spirit and she was telling him by that one act of removing the mask that he had to release the Phantom and his liaison with him and come out of hiding from behind him. Showing Erik what he must do to be freed. She wasn’t fooled like they thought she would be; she knew phantom spirit had been the one to control Erik, but she didn’t want phantom—and wouldn’t look at his black mask when they met at bridge—she wanted only Erik.

At first he looks shocked—people scream, some put their hand to the level of their eyes. The soldiers go into action. The soldier next to M. Giry at first only watched. The very second he sees Erik’s deformed face, he raises his gun to shoulder level and squints his eye as if about to shoot and M. Giry cries no and pushes the gun away, as always, serving and protecting her king.

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The soldier didn’t try to shoot before. Christine is still in the way, in fact—she is in the direct line of fire since that soldier is on her side, so it has nothing to do with her safety. Now that she’s considered guilty too, because she is one with the king, she’s also wanted and an enemy. And like all the other people who’ve rejected Erik because of his deformity, the soldiers run forward with their guns as if to kill a beast.

They show the gold eye flash again—true is false. Phantom is behind them doing this—Erik angered him when he broke away from the Phantom’s opera and begged Christine to free him from the Phantom’s hold. (you’ll see). But I believe Phantom had been behind the conspiracy/entrapment of the king all along. And I believe he was using Raoul to do this (red--blood--on right arm when cut on left arm, sudden power to overwhelm Erik in sword fight, etc.). And the gold eye flashing on the soldiers is also a clue to that, since Raoul brought them there.

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This is when we see the “inhuman race” in the balcony, which one of the sleuthers found—dummies, at least one wearing what looks like an animal mask, etc—perhaps showing they are really the ones who are beasts because of how they treat Erik. If it was just about trying to cut cost and using dummies instead of extras—why didn’t they do the same in Il Muto? They didn’t. There, all the audience were real. Also, this fits in with masquerade line: “Take your turn take a ride on the merry-go-round in an inhuman race…” Also, one man has his left hand up at the level of his eyes…(throughout the chandelier falling, many men raise their hand to the level of their eyes.)

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His hand is at Christine’s throat from a caress, and as you can tell, he never applied pressure. She isn’t one bit fearful of Erik. In her eyes you can see her apology—she even moves her head a little, as if saying, "please understand this was the only way." She did it because she wanted to help him, as he’d just asked her to do, but he thinks her act was because his face repulsed her (as Phantom has deceived him into believing.) We find out that’s not true soon—but that's what he thinks now.

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He looks at her as if to ask why, then seems somewhat resigned—he doesn’t appear nervous or in a hurry to get out of there until he sees the men with guns running after THEM. Erik took Christine with him—because she was his, yes—but also to save her from the mob and soldiers. “I shall say come hide with me”—the “with” implies she needs to hide too. In DOM they make this crystal clear, leaving no doubt that is exactly what’s happening here—telling it right out in the translations. More on that later.)

Notice something else—Erik is a blond. The same hair color as Raoul. Perhaps another clue showing they are brothers.

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Because it was the Phantom’s plan to bring down the chandelier, Erik (now hurt by what he feels is Christine’s rejection) retreats to let Phantom have control and resume with original plan—“…I use your voice, slam the door like crack of doom…” Phantom, acting as executioner (more later), uses the king’s “voice”—his authority—and grabs Christine to him then cuts the chandelier rope—which is Erik's color--RED (the phantom’s plan for the beginning of Erik’s destruction…but what really became foreshadowing that Erik’s bondage to phantom would be severed, since the red rope was attached to a chain, which symbolizes phantom…).

He hits the trap door lever with his foot, and they plummet downward. As they do, the white half mask is back on his face for a frame, showing this was Phantom spirit doing all this. This time, it shows the mask on the left side of the face—and suddenly the tall black boots are gone—his footwear has changed—and we know he is Erik again as he runs with her down the corridors. A switch I think showing Phantom is gone during that time.


Before:
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after:

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Now there are buttons on his boots that weren't there before—perhaps spats (this change of footwear is important):

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They do the second close-up in movie of someone’s shoes—pink ballet slippers. This woman is the only one to wear these. Since Rauol is symbolic of shoes (priest who protects, Little Lotte poem, etc.)—and they showed a close-up of Christine’s pink ballet slippers at beginning of movie (later they turned beige) I believe this is to show he will again help her and save her—but not from Erik.

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They show Raoul and the skeleton that had it’s head turned to face the sun god before—now appears to have turned its face and is looking toward the people. (grinning yellows, spinning reds…)


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Link to “The Point of No Return” part 2 - click to read

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Image E/C manip made by me
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