Summary of "Point of No Return" part 2 - 2004 movie

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

Summary of "Point of No Return" part 2 - 2004 movie

Postby honeyphan » Fri Sep 20, 2013 2:06 pm

SUMMARY of Po int of No Return (part two)

continued from last…

Carlotta runs to see Piangi. His black mask is now missing. First there are four roses in her hair—next it appears only three are there. They also start the creepy organ music right when they show her again. Maybe to show Phantom did this (since they also played the organ music in cemetery right when they appeared to show his cloak).

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Firmin cries: “We’re ruined, Andre, ruined!”—

(They don’t care about life lost—just about the money.)

Raoul uses a red rope to get down from balcony.

The rooftop scene shows fire blowing out of 3 of the highest windows (three—phantom; he is responsible for all this—as all this happens, they are still playing the creepy organ music they did in cemetery scene, when they showed what looked like the Phantom’s cloak). On the roof, where Raoul and Christine were, fire is blazing. Roof is symbolic of shelter—there is no more shelter. Corner statue is now clearly seen—woman angel, hooded, holding a harp with left hand and right hand raised with a rope in it. Three angels around her have heads hung low, bound with rope as if defeated.

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RAOUL: “Where did he take her?”

M. GIRY—“I’ll take you to him. But remember, keep your hand at the level of your eyes.”

Perhaps meaning—don’t look too closely.
They show a statue in the background with its right arm raised at the level of its eyes…

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A friend here on the board brought this up to me the other day, and it really fits. M. Giry was faithful to the king, always. She wasn’t telling Raoul where to find the king so that Raoul could save Christine from him; she was telling him so that he could save her from the mob.

Christine is guilty and the mob now wants her too—after all, they heard her speak in PONR that she wanted nothing to do with the conspiracy—“I have come here, hardly knowing the reason why”—they heard her tell the king that her silence was the proof that he wanted that she was there waiting for him (more soon) and they watched her go to Erik, telling him she was his and showing it to all there. Then they saw them together on the bridge—and a couple of them looked almost angry.

MEG: “I’ll come with you.”

Meg—now dressed as Erik (and notice that all women in that time period wore dresses only) says she’ll come too,

M. GIRY: “No! Stay here…do as I tell you.” Odd thing to tell her, when the place appears to be burning down around their ears. Even Meg looks confused at first. (Odder still that the opera house is still standing at auction with little fire damage done to it. --more on that later).

M. Giry is reminding her that she has a job to perform, a task the king had earlier arranged. When M. Giry says “do as I say”—Meg glances down as if remembering, then turns to the mob and throws her hands out, stopping them.

MEG: “No!”

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The three men who played Phantom in Don Juan (that were in a huddle) are all there—arrows point to them—and one of them is holding his black mask. Phantom was controlling the mob—and Phantom wants to get to Erik and help the mob find him. Now, Meg holds them back, yelling “no!” She is now doing what the king had arranged for her to do (Don Juan throwing her bag of coins) she’d been ordered to keep the mob away from the king (and now, the queen too) so they could safely make their escape. And she is also doing this with Phantom, trying to keep him away, as three men who symbolize Phantom show…She is the king’s guard, but more than that…in Hannibal, Andre called her “blonde angel”, in Masquerade for a few frames only, they showed angel wings at the back of her costume, and later, she is wearing a gold cross. Whereas her mother served both the Phantom and the king, Meg was from the light and only served the king (and queen), and became, in a sense, his guardian angel. She also served Christine as a type of guardian angel—she was always following her, to look out for her, and in AOM, she tells her not to be frightened.

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More soon…



**COMPANION BOOK CLUES**

In companion book following words are underlined/capped:

P.130—The PHANTOM’s trap is sprung. RAOUL and soldiers appear in the WINGS.

This is close to the point when they show the one soldier in the wings approaching from Christine’s side of stairs. In book it's before Erik and Christine sing their final as they cross the bridge--in movie it's after. But I think it applies to the solidier in the wings.


P.130—The PHANTOM CUTS one of the many massive TASSELLED ROPES that are part of the set design.

(the rope is red, and there are 4 tasseled ropes hanging at front of stage—Red & 4—all symbolic of Erik/king.)

THE HUGE CHANDELIER CRASHES TO THE STALLS BELOW.

Companion book pictures—

p. 128: Has a full page picture of Erik and Christine with the red DJT set in the background but a green light they never showed is now over them—green is color of queen, so maybe this is another clue to show she is one. Also, notice her right arm is trapped inside the waistband of her skirt. Arm = activity in the symbols chart. Phantom is not active here; Erik the king is, and I think this is a clue to that.

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P. 130: The dancers don’t look as synchronized as they were—one doesn’t have his hands on hers, as all the others do, etc. Perhaps this means to watch the dancers. When you do you see the blue line. One of the woman dancers appears to have her flower on the left side of her head, not the right side as it was in movie…On Christine’s side of bridge, only counting ropes tied to the bridge itself, they show 5 green ropes, 5 red ropes, and 3 gold ropes. 5 is the number of Christine & Erik together—their relationship—red/green—their colors. 3—phantom’s number—eye of gold, true is false…They show only one red rope on Erik’s side. They clearly show 4 huge red tassels ropes hanging along front (Erik's number).

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And—are you ready for this?—if you really study the picture, where Erik and Christine are standing in middle of bridge, they are kissing. He is sideways and against her (not behind her as he really was at this point in movie), she is facing front, but her face is turned to him and his is angled toward hers. You can see the shadow of her jaw, etc. Here’s a zoom:

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A rope hides their faces at point of contact—(clever)—but it really looks as if they are kissing, and this could be a clue showing them as loving each other and being a true couple.

P. 132-- i hope you can see this well, but this is the carving that was above the managers' box, box 5--and here it shows it above the royal box. It appears to be two angels holding what looks like the world. A clue that this is a kingdom, and that Erik & Christine are the rulers of this "world".

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Now…get ready—because some of the below translations are going to blow some of you away if any of the above didn’t already!


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

(since I forgot to add an analysis of his last words, I’m repeating his last verse here)

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

No te asombres
Si buscando has venido aquí
Un anhelo secreto
Que no sabe nadie,
Nadie
Se han unido
Mi ansiedad con la tuya así
Y tu mente obediente
Sucumbe a mí
Y hasta tu immensa
Defensa sucumbe a mí
Tu alma se rinde a mí
No hay elección
Tú lo sabes
Lo sabes
You are not astonished. Yes, you were searching. You have come here with a secret wish of which you yet know nothing…nothing. My anxiety and yours have been the same. Your obedient mind succumbs to me, and your vast defense will succumb to me. Your soul renders to me. There’s no choice. You know it…know it.

from honey: Saying she shouldn't be surprised--deep down she was hoping he would come all along. That they both have had the same worries and unease, perhaps about their solitude and their relationship, since they both have claimed their love for one another but the darkness has brought problems. Anxiety can also mean “unrest”—brought about by the time they were apart. He’s saying now she will give herself to him freely, no longer holding back, because of those feelings she’s had for him (referring to her secret wish).

ERIK:
Past the point of no return –
No backward glances:
Our games of make-believe are at an end

Pasa el punto más crucial
No habrá retorno
El tiempo de fingir
Pasó también

Past the point most crucial, there will be no return. The time for being fake has also passed.

from honey: Could refer to her words to Raoul that they “pretend.” Crucial means of high importance, fundamental, necessary.

Past all thought of "if" or "when"
No use resisting:
Abandon thought,
And let the dream descend . . .

A llegar hasta el final
No te resistas
No pienses
Tocarás tus sueños
Ven
You won’t resist as we arrive at the end. Don’t think, merely feel your dreams come true.

What raging fire shall flood the soul?
What rich desire unlocks its door?
What sweet seduction lies before us . . .?

¿Qué fuego habrá
En tu corazón?
¿Y qué deseo y qué emoción?
¿Qué fuerza encierra la pasión?
What fire will there be in your heart? And what desire and emotion? Such strong, shut up passion.
Another translation: What force shuts in the passion?

Past the point of no return,
the final threshold –
what warm, unspoken secrets
will we learn?
Beyond the point of no return.

Pasa el punto más crucial
La puerta de oro
Que está ocultando
El fruto del edén
Y descubriendo
No sé a quién
Pasa el punto más
Crucial
Past the point most crucial, to the hidden door of gold, discovering the fruit of Eden. Past the most crucial point.
another translation: the gold door that is hiding the fruit of Eden…

from honey: We definitely saw that in MOTN--the forbidden fruit? Perhaps it means they will be like Adam and Eve in the garden...after reading the French translations at this point, I think it is purely sexual.

Christine:
You have brought me
to that moment where words run dry,
to that moment where speech disappears
into silence, silence . . .

No te asombres
Si el temblor me obligó a callar
Si es la prueba que esperas
La espero yo antes
antes
You are not astonished.
If my trembling forced me to be quiet,
it is the proof that you hope for,
that I am before you and wait for you.


from honey: Love it! She’s telling Erik that he shouldn't be surprised by her actions--that it was her fear of the conspiracy against him that forced her to stay quiet, but that because she did stay quiet and came out onto the stage it is really the proof he's longed to see from her--that she’s his, and that she waits for him. In TEW subtitles of Spanish she sang: “Speak or reveal myself, wishing to flee? Remain silent and do this wrong”-- to reveal herself on stage was what Raoul wanted, to speak and warn her Angel was what she felt she must do. And by her words and what she’s saying, here, she’s also letting him know she knows it’s him, Erik. Her king. She’s letting Raoul know she’s chosen the king—and suddenly Raoul goes into action.

I have come here,
hardly knowing the reason why . . .
In my mind, I've already imagined
our bodies entwining defenseless and silent –
and now I am here with you:
no second thoughts,
I've decided,
decided.

He venido
Cual la ola que mueve el mar
En mi mente ya vi
Nuestros cuerpos callados y unidos
Con fuego en el aire
Ya estás conmigo tú
Y la atracción es tan grande
tan grande
I have come with the wave that turns the sea. In my mind, I’ve already seen our bodies, quiet and united, with fire in the air. Already you are with me, and the attraction is very great…great…

from honey: A wave that turns the sea refers to the change in tide. She has just upset the order of things. She was supposed to sing, (her test, to draw Erik out.) She did what they pressured her to do—and now she’s showing whose side she’s really on. Another reason Raoul looks so shocked and horrified as he watches her through this.

She’s long imagined herself and Erik together—they’ve shown this in clues throughout all of movie. Now that he’s with her, the attraction and pull toward him is strong…this is where Erik has that stunned look. She has just told him she wanted no part of the involvement of the conspiracy, that she’s on his side and belongs to him, and that she’s strongly attracted to him and desperately wants him—and she just sang the words for everyone else to hear too. She has just failed her ordeal by fire; she is now guilty to all those in the opera house and as such has become wanted too—but to Erik, she has just shown her innocence. And because of that, he changes the plans…)

Past the point of no return –
no going back now:
our passion-play has now, at last, begun . . .

Paso el punto más crucial
Ya no hay retorno
El tiempo de sentir
Por fin llegó
Past the point most crucial. There is no return. The time to feel has finally arrived.

Past all thought of right or wrong –
one final question:
how long should we two wait, before we're one . . .?

Ya no existe el bien y el mal
El mundo es nuestro
Ahora, unidos siempre
Tú y yo
Already, good and bad do not exist. The world is ours. Now and always, you and I are united.

When will the blood begin to race?
the sleeping bud burst into bloom?
When will the flames, at last, consume us . . .?

¿No puede arder la sangre aún?
¿Cuándo esta flor podrá crecer?
¿No habrá placer
Que nos consuma?
Our blood will still burn when this flower opens. Will we not be consumed with pleasure?

from honey: She is saying, “no longer will I pretend and hold back my feelings—now the time has come to let them be known. Nothing good or bad can hurt us--we are the only two in the world, and will now and forever be one. Even after our act of passion is fulfilled, we will still be consumed with pleasure for one another, be devoted to one another...

Past the point of no return,
the final threshold –
the bridge is crossed, so stand and watch it burn . . .We've passed the point of no
return ...

Paso el punto más crucial
Ya no hay retorno
No hay vuelta atrás
No hay puente
No es real
Después del punto más
Crucial.
Past the point most crucial. There is no return. There is no back way, and there is no longer a bridge. Nothing of this matters, after the most crucial point.

from honey: The bridge that separated them is there no longer—they have crossed it and are together, neither of them wanting to go back...nothing else matters but that they are together.

Say you'll share with me
one love, one lifetime . . .

Dime que compartirás
Mi vida
Say you will share my life.

Lead me, save me from my solitude . . .
Dime que me libras
De esta cruz
Say you will free me from this cross

from honey: cross--burden, which was darkness/phantom...in AIAOY Raoul asked to free her from her cross and lead her into the light...now Erik is asking that she free him of his cross and lead him into the light.

Say you want me
with you, here beside you . . .

Di que me amas
Que estaré contigo
Say that you love me, and that I will be with you always.

Anywhere you go let me go too –
Déjame aprender
A ver la luz
Let yourself understand, and to see the light.

from honey: When he sings this, he draws her into a ray of light that was never there before nor is it there after—it’s only there for these few frames.

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from honey: Erik is asking her to marry him, to love him, and to free him from his cross or burden (the darkness) and lead him to the light. He’s asking her to understand that she is the only one who can help him—telling her she must see the light and do what she’s been called to do—that she’s the only one who can lead him to it and out of the darkness. He’s seen the light around her, following her. And she did try to show him what he must do—that he had to let go of the phantom spirit (the mask symbolizing the Phantom.) But again, he took it all wrong.

Christine that's all I ask of . . .
Christine
Tan sólo
Hazlo…
Christine, please do this much for me.


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

(from honey: and i have one thing to say about them... :shock: :thud: )

Past the point of no return
Passe le point de non-retour.
Past the point of no return.

No backward glances
Nos mains se cherchent.
Our hands explore each other.

Our games of make believe are at an end
Le grand moment arrive:
Enfin l’étreinte!
The great moment arrives: At last the embrace!

Past all thoughts of if or when
Passe les liens du coeur, du sang.
Past the bonds of the heart, of the blood.

No use resisting
Pourquoi te battre?
Why do you struggle?

Abandon thought and let the dream descend
Abandonne aux
Excès l’ultime enceinte …
Abandon with
Excess the ultimate enclosure …


:thud: From honey: I was told that enceinte is a sexual term that pertains to a woman’s body when used in this context…and that’s all I’m going to say.

What raging fire shall flood the soul
Vers quel enfer affluerons-nous?
Toward which hell will we rush?

What rich desires unlocks its door?
Parviendrons-nous jusqu’à sa porte?
Will we arrive to its door?

What sweet seduction lies before us?
Quel grand brasier est là
Pour nous seuls…?
What grand inferno is there
For us alone...?


Past the point of no return
Passe le point de non-retour.
Past the point of no return.

The final threshold
Plus rien à craindre
Nothing more to fear

What warm unspoken secrets will we learn
Les sens triomphent et le coeur
Reste sourd
The senses triumph and the heart pounds

Beyond the point of no return?
Au bord du point de non
Retour…
At the edge of the point of no Return...


CHRISTINE:
You have brought me
Nous avons dit
We have said

To that moment when words run dry
Tous les mots respectueux des lois.
All the respectful words of the laws.

To that moment when speech disappears into silence, silence…
Tous ces mots,
Bien appris, chassons-les
Dans la nuit noire,
Nuit noire…
All those words
Well learned, let us drive them out
Into the black night,
Black night…


I have come here, hardly knowing the reason why
Je suis ici,
Sans savoir tout à fait pourquoi.
I am here
Without knowing completely why.


In my mind I’ve already imagined
En moi-même, déjà
J’imagine
In myself, already I imagine

Our bodies entwining defenseless and silent
Tes mains sur ma peau.
Je te cèderai sans lutte,
Your hands on my skin.
I will yield to you without struggle,


Now I am here with you
Je n’ai plus peur du tout.
I no longer have any more fear.

No second thoughts
Mon corps se tend,
My body tightens,

I’ve decided, decided
Je me donne
Me donne…
I give myself...
Give myself


Past the point of no return
Passe le point de non-retour.
Past the point of no return.

No going back now
Non, n’hésitons plus.
No, let us not hesitate anymore.

Our passion play has now at last begun
Qu’éclate enfin ce drame de la passion.
What bursts at last this drama of passion?

Past all thought of right or wrong
Passe l’idée du bien, du mal.
Past the thought of good, of wrong.

One final question
Il faut que l’heure sonne!
The hour must be heard!

How long should we two wait before we’re one?
Va-t-on jouer dès ce soir
A l’unisson?
Will we play as of this night the unison?

from honey: Asking if starting now, and into the future, would they be lovers, in the literal sense of the word…

When will the blood begin to race?
Quand donc la fleur s’offrira-t-elle?
When then will the flower be offered?

The sleeping bud burst into bloom
Le sang va-t-il bientôt rugir?
Will the blood soon quickly roar?

When will the flame at last consume us?
Déjà je sens les flames
Sur moi…
Already I feel the flames
On me...


Past the point of no return
Passe le point de non-retour,
Past the point of no return,

The final threshold
Plus rien à craindre.
Nothing more to fear.

The bridge is crossed so stand and watch it burn
L’enfer battra
Pour nous de ses tambours
The hell will beat
For us from its drums


We’ve passed the point of no return
Après le point de non
Retour…
After the point of no Return...

Say you’ll share with me one love one lifetime
Sache longtemps
Me dire
Combien
Tu m’aimes.
Realize (?) a long time to tell me how much you love me.

Lead me, save me from my solitude.
Prends ma main,
Fuyons la solitude…
Take my hand,
Let us flee the solitude…


from honey: At this point of movie is when she takes his hand.

Say you want me with you here beside you
Si tu m’aimes, alors
La vie
M’enchante…
If you love me, then
Life
Enchants me


Anywhere you go let me go too
Etre aimé de toi
Est mon cadeau :
Being loved of you
Is my gift


Christine, that’s all I ask of…
Christine, c’est tout ce qu’il me…
Christine, it is all that I…



**ITALIAN TRANSLATIONS by Angelofdarknss & Co.**

Past the point of no return -
Passa il ponte fra noi due
Cross the bridge between us

no backward glances:
Non dubitare
Don’t doubt

our games of make believe are at an end
La tua, la mia bugia finisce qui
. Yours, my lie ends here (I think this means that both were lying but now it ends)

Past all thought of "if" or "when" -
Mai, mai più "non so", né "ma"
Never, no more “I don’t know”, (n)or “but”

no use resisting:
Nessun indugio
No delay

abandon thought, and let the dream
descend . . .

Dimentica chi sei e dimmi Sì
Forget who you are and tell me Yes

From honey: maybe telling her to forget she’s of the light.


What raging fire shall flood the soul?
Che fuoco mai ci inonderà
What fire will ever flood us


What rich desire unlocks its door?
Che voluttà è rinchiusa in noi
What sensual pleasure is shut away in those

What sweet seduction lies before us . . .?
Malia recondita, preziosa
Precious, hidden spells(charms)

Past the point of no return,
Passa il ponte fra noi due
Pass the bridge between us

the final threshold
Non esitare
Don’t hesitate

what warm,
unspoken
secrets will we learn?

Dell'anima il segreto tu vivrai
You will learn the secret of the soul

Beyond the point
of no return

Se passi il ponte fra noi due
If you cross the bridge between us


Christine:
You have brought me
Sei con me qui
You are here with me

to that moment
where words run dry

Non abbiamo che il fuoco in noi
We don’t own(control) that fire in us

, to that moment
where speech disappears into silence,
silence . . .

Non abbiamo di più, oramai tutto tace, tace
We don’t have(own) more, now everything(all) is silent, silent

I have come here,
Qui con te io
Here with you

hardly knowing
the reason why .

La ragione non chiesi mai
I Never asked the reason

In my mind, I've already
imagined our
bodies entwining defenceless and silent -

Come un mare al mio corpo intrecciarti
Like a sea to my body to entwine you

and now I am here with you:
A me nei miei sogni per sempre avvinghiarti
In my dreams to clutch you to me for always

no second thoughts, I've decided,
decided . . .

Ed ora mi vedrai … Decisa, sì… A restare, restare
And now you see me… Decided, yes… To stay, to stay

Past the point of no return
Passa il ponte fra noi due
Cross the bridge between us

no going back now:
Nessun rimorso
No regrets

our passion-play has now, at last,
begun . . .

La tua passione infine vincerà
Your passion will finally win

Past all thought of right or wrong
Sì, che sia sbagliato o no
Yes, that it is wrong or not

one final question:
Ti chiedo questo
You ask this

how long should we two wait,
before we're one . . .?

Sarà infinita attesa o io ti avrò?
Will the wait be infinite or will I have you?

When will the blood begin to race
Se non si placa qui con te
If it is not calmed with you here

the sleeping bud burst into bloom?
La mia marea dilagherà
My tide will flood

When will the flames, at last, consume
us . . .?

Sei tu la fiamma che consuma
You are the flame that consumes me

BOTH
Past the point of no return
Passa il ponte fra noi due
Cross the bridge between us

the final threshold,
Non esitare
Don’t hesitate

the bridge is crossed, so stand and watch it burn . . .
Ti perderai qui tra le braccia mie
You will get lost here between my arms

We've passed the point of no return
. . .

Se passi il ponte fra noi due...
If you cross the bridge between us…

ERIK
Say you'll share with me one
love, one lifetime . . .

Dimmi che tu mi amerai per sempre
Tell me that you will love me for always

Lead me, save me from my solitude . . .
Dimmi che mai più mi lascerai
Tell me that you will never leave me

Say you want me with
you, here beside you . . .

Se tu colmi il vuoto mio, d'incanto
If you fill my emptiness with captivation

Anywhere you go let me go
too,

Dove andrò io voglio ci sia tu
Where I will go I want you (to be) there

Christine that's all I ask of . . .
Christine, nient'altro chiedo....
Christine, I ask nothing else of…



**SOUND SIMILARITIES by Redrose**

"Raoul I’ve Seen Him" when Phantom sings ‘You have come here’ (also like beginning of MOTN)

Unique when he sings ‘Past the point…’

"Raoul I’ve Seen Him" when Christine begins her response (also like beginning of MOTN)

Unique when she sings ‘Past the point…’

AIAOY and POTO at the end

Chandelier Crash-- POTO
"Raoul I’ve Been There" when people are fleeing


**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—
These words weren’t broken off in song, but it’s still all about them:


RAOUL: “Where did he take her?” –About Christine, Angel of Music.
M GIRY: “Come with me, monsieur, I will take you to him, but remember keep your hand at the level of your eyes” (could mean don’t look too closely—this remark wasn’t just about the Punjab lasso as clues have shown)
MEG: “I’ll come with you.”
M. GIRY: “No, Meg, no. You must stay here. …do as I say.” --Since she lured the mob away from Erik and Christine—acting as a decoy—these lines she speaks are about AOM too. More on that later…


**MUSICAL ANALYSIS by Phantom’s Star**

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



1.)Harp – “Abandon thought and let the dream descend” – On the word “thought,” we hear the harp. I think Christine is now solely thinking of Angel, focusing on him like how she was in MOTN.

2.)Flute:

What raging fire shall flood the soul
What rich desire unlocks it’s door
What sweet seduction lies before us

We hear the flute play during these lines. Angel is calling to Christine. But could Christine also be calling to Angel?

3.)Harp – “What rich desire unlocks its door” – On the word “desire,” we hear the harp. Christine is thinking of Angel and desiring him as well.

4.)Harp – “What warm, unspoken secrets will we learn?” – On the word “warm,” we hear the harp. Even as Christine is backing away from Angel, she’s still thinking of him. As Angel sings “Beyond the point of no return”, we hear the pluck of one harp string on “return.” (Re-harp-turn). I think Christine is now remembering Raoul’s plan, thinking about that more than Angel (which is why it’s just one string).

5.)Flute – “Hardly knowing the reason why” – on the word “reason,” we hear the flute. (same tune as in Angel’s lair before MOTN). I think Angel is now calling to Christine back to him and she listens (as we see soon).

Ready for further proof Christine wasn’t faking it or in a trance during PONR?
6.)Harp – “I’ve decided” – As Christine sings this line (and also nodding), we hear the harp play. She’s back to thinking solely of Angel now.

7.)Flute – “Our passion play has now at last begun” – Christine is calling to Angel, I think to follow her up the stairs to the bridge...and possibly something else.

More proof she’s not faking?
8.)Harp – “One final question” – On the word “question”, we hear the brush of harp strings. Christine again is solely thinking of Angel. She focused on him and nothing else.

9.)“The bridge is crossed” – Right before this line, we hear the brushing of the cymbals. Angel is there at this point with Christine (if you hadn’t already know that).

10.) Harp – “We’ve past the point of no return”- On the words, “We’ve past the point” we hear the harp. Christine is only thinking of Angel and Angel is thinking of Christine (since she is his Angel of Music).

11.) Harp:

Say you’ll share with me one love, one lifetime
Lead me, save me from my solitude
Say you want me with you here beside you

We hear the harp play with the melody as Angel sings. Again, Christine is thinking only of her Angel. It is not until Angel sings “here beside you” does the harp stop. And this is when Christine looks to be remembering something else.

12.) “Anywhere you go” – We hear the cymbals crash on “anywhere” (not as big as TOM and DOM but almost similar). Angel is there and singing to Christine, but phantom is nearby .

Also: These are the words Raoul used in AIAOY. Angel instead sings “Lead me, save me from my solitude” and “Say you want me.” (Raoul says "Say you need me.") That is why I felt the cymbals were also a means of foreshadowing in AIAOY, to show us that the lines Raoul sang and the sound the cymbals crash in the middle of the song were important. It would be the lines Angel would use, but the wording would be different. There’s a little more too as HW mentioned.

13.) As Christine removes the mask, we hear the crashing cymbals twice (not as big as TOM and DOM though which is surprising, well actually not, since this is suppose to be the climax, but not according to the hidden plot of course). Both times, the shot is on Angel. I think this shows that this is Angel here, looking at Christine, which is why he looks sad/hurt and doesn’t harm Christine. But again, it’s not Angel completely since we soon see the Phantom spirit take over Angel.

14.) We hear the cymbals crash 3 times after these first 2 times and before the chandelier crashes. 3 = Phantom’s power. And the sounds of these cymbals crashing are not as big as TOM and DOM as well. We also hear the cymbals crash after the chandelier at various points (again, not as big though). So, I think this can show Angel is near despite the Phantom spirit taking control. IOW, there still is hope.


Link to “Down Once More" (Part 1) - click to read

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