Scene Summary of "Down Once More" -part 2 - 2004 movie

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

Scene Summary of "Down Once More" -part 2 - 2004 movie

Postby honeyphan » Fri Sep 20, 2013 2:49 pm

Scene Summary of "Down Once More" (Part Two)


Paragraph summary: in an explosive scene, Erik loses control to the phantom spirit who’s arrived at the lair, the phantom tries to push Christine away from Erik, wanting to destroy them all in his plan of revenge, and Raoul is forced to face the truth of Christine’s feelings as well as coming to other realizations. Christine, at last aware of what’s going on and in desperation, reaches her full maturity and faces the phantom/darkness head on to help free Erik and force him to see the truth. Hearing the mob close in, Erik breaks down, knowing what must be done …


One thing in any great story--the darker the conflict and "dark moments", the more triumphant the victory when it does come...and this story is no exception...


ERIK: “Wait! I think, my dear, we have a guest ... Sir...”

From clues shown, this is still Erik, but he’s starting to give over to Phantom control. The arrival of Raoul angered Erik—he intruded on their private conversation, and Raoul was the man who usurped his kingdom/throne by forming a conspiracy against him, also forcing his queen to endure a test that worked opposite of how Raoul had hoped it would and put her in grave danger. Needless to say, the king is upset. They show four lit candles in the background as Erik walks up the stairs (4—Erik’s number)—earlier there were only three lit candles when Christine came down the stairs, which showed Phantom about to invade. Now they show 4 candles lit—this is all Erik here.

Before:

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After:

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It’s easier to see them lit as he walks, since they don’t show the candles all at once, and camera rises as he goes up stairs—but in picture above the third flame can be seen by back of his head, the fourth flame can be seen by his chin.

CHRISTINE: "Raoul!"

In companion book it says she is “stunned” when she exclaims this. If she was hoping for Raoul to rescue her, she would not be “stunned” to see him. I think she’s stunned to see him because he was part of the conspiracy, she admitted she wanted no part of it, and now he’s there to help her. Just a thought …

As she moves away, candles are reflected in the mirror that weren’t before—and one is lit. The white circle of light that had been in bottom corner, showing she was getting through to Erik is now gone. Her time of getting through to him is over—because Phantom spirit isn’t one bit happy about what’s been happening there ... Notice also that not only the amount of candles lit is different—but they’re in different placements, they are thicker, with different flames, etc. I think they purposely did this so as to show the differences, to show they did this on purpose.
Perhaps the first is to show Erik and Christine are close—one candle (her number) below row of four (his number)—she’s getting through to him. A few seconds after Raoul arrives, they show one candle lit far below—by her skirt—and now only four are lit above—1 on top of three—Phantom is there—she’s no longer getting through to Erik ... The first pic is how unveiled mirror looked before—leaning to the left on top of the other. The pictures below take place seconds apart. The right mirror looks as if it’s been pushed to the side by something now standing in the middle of the mirrors (also, remember pictures of the shadow that slowly came toward her and dissolved in between mirrors in last summary, and that uncovering a mirror meant an evil spirit could enter the room per Victorian symbolism).

4 candles lit—Erik—1 lit below—Christine. White light in left-hand corner—she’s getting through to him. The shape of the white light reminds me of an eye—as if she’s bringing the light to the darkness of his “eye” spirit/soul.

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3 candles lit—Phantom spirit—1 lit above—Christine. White light is now gone. Mirrors are pushed wide apart, and something appears to be standing in between them. One lit candle is beside her, again, “1” being symbolic of Christine.

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They also show a glimpse of a “shape in the shadows” that hadn’t been there before, when she walked to mirror, and a chain to the right, by the mannequin chamber (they show a clearer picture of it later):

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ERIK: “...This is indeed an unparalleled delight. . .I had rather hoped that you would come. . .”

He was expecting Raoul—he knew he’d fallen into the water pit, because Phantom spirit was there to make sure he did and that the sacrifice was cleansed. (one of the duties of a priest—to prepare a sacrifice and kill it) The King knows a sacrifice is intended and Raoul is it. Because he’s angry with him for his treason, stealing his soon-to-be-queen, etc, he is going along with Phantom spirit’s plan, and the phantom has probably led him to think it’s the only thing to do, to get rid of the problem (Raoul). Though, he, of himself, didn’t want to kill Raoul as clues seem to show.

Erik hooks an arm around Christine: “And now my wish comes true! You have truly made my night!”

Notice how he treats her—he has never treated her like this before—as if he’s trying to make her hate him. That’s because Phantom is taking over Erik, as they show from clues. He is trying to push her away—trying to make her want to leave Erik. She’s become a danger, she betrayed Phantom, and he wants to make her suffer. Erik has also failed Phantom spirit by admitting how he felt about his lair—that it was hell—that all he really wanted was for Christine to lead him away and save him, to help him escape the darkness—wanting the light and no more solitude (as he sang on bridge). And because Erik was really beginning to listen to Christine when she uncovered the mirror angered the Phantom as well. I feel that’s one of the reasons he took over so suddenly.

Christine [spoken]: “Let me go!”

Phantom is succeeding in making her angry with Erik—because this is spoken, it’s directed to Angel of Music—whom Christine thinks she’s addressing at this point--and you can see by his drunken smile, Phantom is enjoying her reaction, as well as Raoul’s. Also, her left hand is splayed out—no ring she was holding is there. Though it appears she is holding it in her right hand—perhaps to show phantom is now there. (But in a minute they’ll show her right hand and it won’t be there either) In mirror reflection, now candles are on opposite side—right side— 4 candles are lit—symbolizing Erik—with 2 candles lit above—phantom control—(2= Phantom & Erik) and I think this is to show Phantom is gaining more control over Erik.

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Raoul: (Pleading) “Free her! Do what you like, only free her.”

By saying “Do what you like” –Raoul is telling Erik to do what he likes to punish him—as if knowing he was in the wrong for his plan and is admitting it. Here Erik releases her, almost throwing her from him. And he gives a drunken smile.

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RAOUL: “Have you no pity?”

ERIK: mocks— “Your lover makes a passionate plea.”

CHRISTINE: “Please, Raoul, it’s useless.”

Definitely not the reaction of a woman who desperately wants out of there. Maybe, “Please show us mercy!” or “Please don’t do this”—speaking to the king. But she doesn’t speak to the king, and Raoul isn’t yet in danger—he’s on the opposite side of gate ... Maybe it was “useless” because being with Erik was what she wanted—once they got things straightened out and resumed their conversation. At this point, she felt she could help bring him out of the darkness alone—as he has asked her to do on PONR bridge. Honestly—this doesn’t look like the expression of a woman desperate to get away (note: at this point I don’t think she realizes the Phantom spirit is now present and is taking over Erik)

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RAOUL: “I love her! Does that mean nothing? I love her! Show some compassion!”

I’ve always found this interesting. Here this man—a rival who just formed a conspiracy against the king, putting both the king and queen in danger, etc,--is now asking the king if it means nothing that he loves her ... maybe to show that Raoul only sees what he wants to at this time and not what anyone else wants—as one sleuther brought up, he’s always asking to “see her”—but never really does see her or who she really is and who she belongs to ... Her looks toward him when he cries out seem more pitying than anything … Also, since he uses the word “adore” and not the word for romantic, deep love in Spanish translations of AIOAY (as Erik does in DOM), maybe he’s telling the king—"I do adore and honor her. I never meant to bring danger to her. Forgive and show mercy."

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ERIK: “The world showed no compassion to me!”

RAOUL: “Christine...Christine...Let me see her...”

In view of the historical flavor of the lyrics, this is odd since he can see her. I think perhaps he is asking the king for permission to have an audience with the queen. Also it could relate to above—that he never really “saw” Christine, because they weren’t soul mates like she and the king were, and so he never really understood her.

With another grin, Erik under phantom control lifts his hand in exasperation—he’s tired of toying with the mouse and is ready to get down to business. He sings: “Be my guest, sir...”

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From this point on they show the right side of his face all lit up—the “phantom side” and the left side of his face (Erik) in darkness.

As he walks they show two lit candles on right side of screen—“2” symbolizes phantom control (Phantom & Erik) Erik is still partway there, but the phantom is gaining more control over him.

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ERIK: “Monsieur, I bid you welcome! Did you think that I would harm her?"

Erik never planned to kill or harm Christine—once she came to him in PONR and showed him she was on his side and wanted him, he forgave her and showed her that on the bridge. Phantom, on the other hand, wanted her to suffer …

Notice the candles/reflections—to the left they show a candelabra that shows the triangle—with Erik (4 candles) on bottom, Phantom (3 candles) over him, and Christine (1 candle) over that. In the mirror now only 2 candles are lit, though they show 3 there. (2 = Phantom & Erik—Erik being controlled) and now instead of the 4 candles they showed when Raoul first came to the gate and Erik walked up the stairs, there are now 3 candles lit in front of the bedroom. Phantom has taken over.

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ERIK ”Why would I make her pay for the sins which are yours?”

Raoul’s sins:

A) Trying to harm the king—when Raoul chased him into mirror chamber with sword drawn, then next morning in cemetery, pulled his sword first to attack; and then had the king helpless on the ground, at the end of his sword, eager to kill him.

B) Not being silent as was the command (think of Raoul as the pageboy in Il Muto), and instead going against kingdom rule not to speak of what you know—and opening M. Giry’s eyes to the darkness so that she changed sides, also opening the managers’ eyes so that they fought back, and opening Christine’s eyes to the truth and danger of the darkness (Phantom spirit). Then ignoring the queen’s command of silence and telling the police it was the king on stage, again putting him in danger.

C) Encouraging others to commit treason against the king and form a conspiracy to try to capture him

D) Forcing the queen to go through an Ordeal by Fire (“Raoul, I’m frightened, don’t make me do this…Raoul, it scares me, don’t put me through this ordeal by fire…”—from Twisted Every Way)—which again, an ordeal by fire in history was the strong testing given to royalty to determine their innocence or guilt in a given situation. And by Raoul forcing Christine through an ordeal by fire (even though his motives were “pure” in his eyes), he put Christine in grave danger.

E) Daring to try to steal the queen from the king and make her his own.


The meaning of the word sacrifice from dictionary
: an offering of the life of a person or animal or of an object, in homage to a deity. b) the thing offered 2a) a giving up, destroying etc, of one thing for the sake of another. . .another dictionary said this: The act of offering something to a deity in propitiation (meaning sins) or homage, esp the ritual slaughter of an animal or person b) a victim offered in sacrifice. . .

Christine wasn’t going to be killed--it was never in the Phantom's plans to kill her (he snatched her doll from the mini stage before he burned it), but Raoul was tied up to the gate, and Phantom/Erik did say "Why should I make her pay for the sins which are yours?"

Phantom/Erik throws the Punjab around him. At this point Christine gasps, and when she does they show a specter—a black shape that looks something like part of the wall (except the lair walls are green, gold, and red) and the side of mirrors help create the illusion (they were subtle with this clue)—but this looks like how the Angel of Death is often depicted in movies. With a cowl & hood, robe/cloak, no face. Much like they showed it in statue above stage. I believe now that we’re seeing the full view is to show that the Phantom spirit has fully taken over Erik ... notice there are now two candles lit at bottom of reflection, and no longer only one lit. Five are again lit at top and no longer four.—2 above 3. “2” means possession or control, from all the clues shown so far, especially with 2 candles or flames suddenly lit (when before they weren’t). 3= Phantom. I believe this shows that Phantom has now taken over the king. Also, when we see this wall in later shots, it never again looks this way—it was only during these few seconds.

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PHANTOM/ERIK: (Taunting as he ties Raoul to the gate) “Order your fine horses now! Raise up your hand to the level of your eyes! Nothing can save you now ... except perhaps Christine!”

The words “except” and “perhaps” work against each other—cancel each other out. He’s saying that even if she did do as he asked, it still might not save Raoul. If it was about her word to spend a life with him saving Raoul, the “perhaps” wouldn’t need to be there. To say “Nothing can save you now except Christine”—would make much more sense. This seems to be sung so as to be confusing ...The reference to “fine horses” in regard to Raoul again seems to point to the statuette of horse and rider they showed by the family crests in the lair during MOTN—which is no longer there against the black cloth. Or anywhere.

PHANTOM/ERIK: “Start a new life with me! Buy his freedom with your love! Refuse me, and you send your lover to his death! This is the choice! This is the point of no return!”

And now we’ve returned to the Phantom’s opera—his original plans (not the king’s). We don’t see his face as he’s singing the first part and walking toward her—this is important—but we see it at the end, and the right side where mask was (phantom side) is all lit up, while the left side (Erik) is in darkness. It’s like this throughout most of song no matter what angle he’s facing. Another clue to show who’s in control here and who’s singing this—phantom. (not the king)

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Notice something else: they only showed Erik tying Raoul’s hands to gate—but he also now has three ropes wrapped around his body. They didn’t show Erik doing this; I believe this is another clue to show that Phantom spirit is the one doing all this—3 being his number. Ropes like chains could also be symbolic of bondage to him—especially since the Punjab is associated with him, etc.


First he slams him against gate:

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Then he ties his left hand up high:

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Then his right hand lower:

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And walks away. The next shot they show, Raoul is all tied up around his middle too, and not just his hands:

Christine looks down as if thinking then looks up, angry. Before Raoul showed up, she had just explained to Erik what the real problem was that was hurting their relationship, had been starting to get through to him, and now he’s reverted back to what she’s told him she despises:

CHRISTINE: “The tears I might have shed for your dark fate, grow cold and turn to tears of hate!”

Sung in the exact way PONR was sung—“No thoughts within her head but thoughts of joy, no dreams within her heart but dreams of love ...”—to me, this shows how closely love and hate can be intertwined when you deeply love someone. If she didn’t love Erik so strongly (as numerous previous clues have shown), she wouldn’t feel so emotionally upset right now.

When she sings the above, the Phantom/Erik actually smiles as if satisfied and expecting that type of response from her—he’s happy, because it’s showing him that his plan is succeeding—she’s turning against the king. That is what he wants—to make her hate Erik, to make her suffer and “curse the day she did not do all that the phantom asked of her.”

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Again, the phantom wants revenge on everyone for not doing as he wanted— on Erik, the king, for changing the opera and trying to escape his chains to his jailer, (the phantom), in trying to break free of his prison of darkness by asking for Christine’s help on the bridge, (once Erik realized she wanted/loved him)—by pleading with her to save him and lead him away … on Christine, the queen, for not accepting his “music of the night” –a life in the darkness with Erik, ruling with him, while both of them being in bondage to phantom spirit—instead she urged the king to come to her and into the light at every opportunity … and he wants revenge on Raoul, because he is the enemy and always has been—(a messenger of/for the light) though for a time Phantom spirit deceived him and used him to form the conspiracy against the king. But Raoul is no longer needed; he was an insignificant puppet to the phantom spirit; and is now meant as a sacrifice. The phantom spirit is a destroyer and he is the Angel of Death.

RAOUL: “Christine, forgive me, please forgive me.”

Christine pays not a lick of attention to Raoul singing his heart out at the gate, begging her forgiveness for his part in the conspiracy and putting her through the ordeal by fire—but instead she focuses only on Erik:

CHRISTINE “Farewell, my fallen idol and false friend. We had such hopes, and now those hopes are shattered....”

She’s telling him that she would have stayed with him, would have married him, but now he’s spoiled it all by doing the one thing she just told him was hurting their relationship—relying on Phantom spirit and listening to his lies. The fact that she used the word “now” shows that the hopes she had were up until that moment of him doing what he did to Raoul. (In Spanish translations, these lines above further show that her love song was to Erik at the end. More on that later …)

At the same time Raoul sings, louder, as if trying to be heard: “I did it all for you and all for nothing!”

Some believe he’s singing to Christine here—that he is saying he tried to save her from the darkness and he failed. Others believe that he’s singing to Phantom spirit—that he is saying he formed the conspiracy, as he asked, and now realizes that Phantom was using him. I believe he knows this is Phantom doing this. (more in a minute)
Since they immediately show a shot of Erik gathering the ropes as Raoul sings, it’s hard to tell.

Phantom/Erik sings to her as he storms toward Raoul: “Too late for turning back, too late for prayers and useless pity!”

He’s telling her there’s only one way now—his way. Notice there are two candles lit to side—Phantom control—and three lit in mirror--phantom.

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Her hands are open—no ring. Because the disappearing ring at masquerade ball seemed to show acceptance of the promise—I think the symbolism would mean the same here also. In her heart she’s decided she will marry her king—has accepted the token and his promise—but hates what he’s doing and wants to try to stop it by what she sings.

At first they try to trick you and you see a glimmer in her fist—all throughout scene she has one fist closed and then another, but twice both her hands are open at the same time—and no ring. See below.

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They might have had her switch as another clue to show when it was Phantom there—like M. Giry’s wedding ring—but they also show both her hands open at once.

RAOUL: “Say you love him, and my life is over!”

If Raoul didn’t already believe she loved Erik, he would have never sung it like this. He knew she loved Erik, he just heard the words she’d sung to him about the fact that they had hopes, that he was her idol and friend—and again, she concentrated solely on Erik and not on Raoul singing to her about how sorry he was. But he wasn’t saying he would die from a broken heart if she said she loved Erik. He was too strong for that, in the way they portrayed his character—to say he would have withered away from a broken heart doesn’t fit the heroic figure they’ve depicted of Raoul for this movie ... Rather, he is singing this because he now knows he is the intended sacrifice, and he will die either way she chooses. He knows the Phantom is lying to her—as shown in words below—and this is made crystal clear in subtitle translations.

Also that Raoul sang he “did it all for nothing” further above shows he knows it’s too late for him, no matter what she decides. Because even if she chose not to marry Erik and Phantom then killed Raoul—it would NOT have been for nothing to a priest of light if she denied the darkness, as he’s been trying to get her to do throughout all of movie. Raoul realizes there is no way Phantom will let him live.

The Phantom spirit planned to kill Raoul no matter what she decided. His sins were too great and he was the enemy. These plans were shown in Don Juan song, and that is why she would “cry between the sheets”—because in lines before that, it talked about making the maiden suffer when the lamb was taken from her and uttered one despairing bleat, etc—IOW, when Raoul had been sacrificed—Phantom’s plan was then to punish her by taking her as his bride forcefully, through Erik, since he was sure she would resist once he killed Raoul, as per the Don Juan song (in Spanish subtitles). AND he was sure she would never choose Erik over Raoul, though he lied to her to make her think she could by pretending she could save his life. But he knew she hated the violence/killing, as she’d just shown, so he was sure this would drive her away from agreeing to be with Erik. The phantom spirit was a deceiver, as they said in Masquerade lyrics and others. He wanted to destroy all of them.

PHANTOM/ERIK: “All hope for cries of help, no point in fighting! For either way you choose, you cannot win!”

Phantom is talking here—not Erik. So it’s not about the face and him thinking she wouldn’t win if she married him because of it. Only Erik was bothered by his deformity, not Phantom. He’s saying no matter what you choose, I will have my way now and you cannot stop my plan from prevailing. He’s telling her that whether she cries, prays, fights him—he will have his way in the end. And his plan will prevail.

RAOUL: “Either way you choose, he has to win....”

Raoul is telling her the same—he’ll kill me, no matter what you choose—so don’t vow to go with him and live a life in the darkness.

No wonder she looked so confused and helpless—Raoul was telling her one thing—“he will kill me no matter what you say”—and Phantom was telling her another—"choose me and perhaps I’ll let him live." Again, one way this was shown was in “no one can save you now except perhaps Christine.” it makes more sense to leave out the word “perhaps” if it’s all about her decision being what will definitely save Raoul. But it wasn’t. Phantom was lying to her.

PHANTOM/ERIK: “So do you end your days with me?”

When he says “me” Raoul has just turned to look at him—and we can see that the Phantom/Erik’s mouth doesn’t move on the word “me.” That’s to show that this is not Erik talking—it’s the Phantom spirit, and Raoul knows it.

PHANTOM/ERIK: ”Or do you send him to his grave?”

Phantom/Erik pulls the rope, choking Raoul.

RAOUL: “Why make her lie to you to save me?”

He’s not addressing Erik—he’s already seen how drawn she is to the king; he heard her tell Erik that she wanted no part of the conspiracy, that she wanted to be with him and she chose him in PONR. Raoul was never able to keep her away from Erik—she freely went to him three times (so far) no matter what Erik had done while under phantom control--and in PONR Raoul also saw how attracted she was to Erik and vice versa. He witnessed the proposal, the plea, her smile and how lost she was in Erik’s arms—and he cried with the realization of it. Raoul even just sang to her, begging her not to voice her love for the king. So it would be no “lie” for her to say she loved Erik and would spend her days with him. But it would be a lie for her to say that to the Phantom. Raoul knows she wants nothing to do with the darkness. Raoul is saying, “why make her lie to you, you evil spirit, that she’ll willingly spend her days in darkness with you on the grounds that you’ll let me live when we both know you won’t.” Again, he knows it’s Phantom here—he saw that his mouth didn’t move on the word “me”—also a clue showing Erik isn’t singing these things.

PHANTOM/ERIK: “Past the point of no return...”

This was Phantom’s idea of PONR … he is continuing with his opera.

CHRISTINE: “Angel of Music . . .”

She now realizes that Phantom spirit has fully taken over and she’s desperately trying to get through to Erik to get him to hear her ... in Spanish subtitles this is made clearer.

RAOUL: “For pity's sake, Christine say no!”

He has just told her there’s no way the Phantom will let him live, no matter what she chooses. He’s warning her not to make the choice to agree to his terms, that it will do no good and it will not save him.

CHRISTINE: “Who deserves this?”

She’s saying the punishment is far too great. Again, she’s trying to get through to her king, not singing to phantom.

PHANTOM/ERIK: “The final threshold...”

Phantom ignores her, continuing his opera.

RAOUL: “Don't throw your life away for my sake!”

Again, because he knows it’s useless.

PHANTOM/ERIK: “His life is now the prize which you must earn!”

Phantom is again lying to her, and has shown how he’s deceived her all throughout movie. They say how he lies and deceives in masquerade song—“breathing lies”—and "you can fool any friend who ever knew you"--also in other lyrics, subtitles, including MOTN.

CHRISTINE: “Why do you curse mercy?”

A king grants mercy. She’s still trying to get through to Erik, asking him to intervene, to reconsider, to take away the punishment.

RAOUL: sings sadly “I fought so hard to free you...”

Again he sees how drawn she is to Erik, who she keeps singing to, despite all that’s happening, and he realizes she’s again about to go to him as she always has before. He has never been able to keep her from Erik, no matter how hard he’s tried (a mirror of Elisabeth musical allegory of the love triangle in that play—TOM dress Christine wore identical to Empress Elisabeth’s, etc.) ... When Raoul guarded her, Christine sneaked away, hoping to find Erik and give herself to him; when Raoul put her through the ordeal by fire with his plan to capture the king, she turned the tables on all of them and went forward to Erik instead ... this isn’t about freeing her just tonight—it’s about how he’s never been able to prevent her from going to him, despite the darkness Erik dwells in, and how he’s never been able to free her from her bonds to Erik, which he still doesn’t fully realize are ones of love, in part because they share something significant no one else does—they are both music. PONR was the first time Raoul saw the king and queen together and realized this.

CHRISTINE: “Angel of Music...”

Still she is trying to get through to Erik, her king.

PHANTOM: “You've passed the point of no return!”

Still the Phantom continues with his opera, ignoring her.

CHRISTINE: “...you deceived me... [spoken]I gave you my mind blindly.”

She’s upset. At Erik, at the Phantom. Now she fully realizes she was deceived by her king into believing lies, and that since the night at the mirror with Erik’s permission and cooperation, the Phantom spirit has controlled her in her thoughts—there, inside her mind. Throughout this entire scene, beginning with PONR, she has learned about Erik’s captivity, has faced her fear of the evil, of the darkness that imprisons him, and has been growing stronger as a result.

PHANTOM [spoken]: “You try my patience. Make your choice!”

He smiles—the darkness still covers left side of face with right side lit up. This is all phantom.

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He pulls the rope and Raoul chokes and gags.

Always before when she’s sung to her Angel of Music, he’s answered.
Christine thinks a moment, looks at Raoul and mouths “I love you” —but it’s said as if in goodbye. Her mouth quirks a bit as if to say, “this is my choice. I’m sorry.” He has the most lost, despairing look on his face when she does this. Also, because it’s spoken, for hidden plot—since all else that’s spoken in movie when breaking away from song is about Angel of Music, this, too, would conform to the pattern that these words are really directed to Erik. But I believe the “I love you” was to both men. In her heart, to Erik, and is then shown in what she is about to do—with her lips, to Raoul as if saying “thank you for trying to help me.”

Her main reason in going forward was not to save Raoul—both men told her it was useless, though Phantom tried to confuse her at times, making her think she could talk him out of it. But the “No one can save you now, except perhaps Christine” and the part that he will make her suffer (in Don Juan), as well as everything Raoul sang—looks to me as if Phantom spirit was deceiving her in all this and had hoped she would choose NOT to go with Erik—he would then kill Raoul, and would take her anyway, and she would then pay the bill and cry between the sheets, etc. He felt he had succeeded in making her hate Erik enough that she would never willfully choose him after all that had happened--again, his sly, pleased smiles when she sang about “hate” toward Erik, show this.

But her love for Erik was stronger than any evil coming against them, and that is what made her go forward. To try to save Erik, to bring him back. She did care about Raoul—she was a compassionate person and didn’t want anyone to suffer, and Raoul was her friend and savior/priest. I believe she loved him, but not as a lover or as a wife loves a husband. Her motives for going forward were not to save him—he’d already told her it was hopeless. She wanted to save her king—the one she loved and who had “kidnapped her heart” (as she sings in Spanish subtitles of TEW and PONR)—though in the back of her mind, she probably hoped her action could save Raoul too. But it wasn’t so she could spend her life with him. She’d already decided who she wanted to spend her life with, as shown in many previous clues in this scene and in PONR and all throughout movie. She has now decided to face her fears—to walk toward evil—face the darkness head on—and do all she could to free her king and bring him back to her once and for all. And this entire scene is a mirror of Robert le Diable by Meyerbeer (mentioned in auction)—a part of which I will show in a bit ... I feel the reference to it in movie was used as a clue to point us to the truth of what was really happening in this scene ... as well as to show what happened after DOM …

CHRISTINE: “Pitiful creature of darkness,”

This was the Victorian language of that time period and how they talked—translated: “unfortunate man of darkness” –she wasn’t calling him this in disgust or saying he was a monster—this name was commonly used in those days for a person—creature, as in one who was created or “a man”—pitiful—to be pitied, or unfortunate, sad

CHRISTINE: "What kind of life have you known?”

And now we see Erik—fully Erik here. And I love his expression—Phantom left when he saw his plan to turn the queen away from the king didn’t work—and that she’s now approaching Erik with love. Phantom wants nothing to do with that. The left side of Erik’s face is now lit up when before it was in darkness—(left = Erik/right = Phantom spirit), and a lost “how did I get here?” expression, is on his face, as if he’s vulnerable, (Phantom has left for a short time). It’s as if the king almost has no idea of what’s going on or how to deal with it. They even show him close his mouth and swallow hard, obviously uncertain of what to do next.

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Mist is now rolling toward her—a change is about to take place, something indeterminate (as symbol chart shows mist to be) and that is what happens next.

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CHRISTINE: “God give me courage to show you,"

She is facing the phantom, the darkness, head on and calling on the light to help her—she will fight for her king; I don’t think she knows phantom spirit has left him yet—not until she comes close to him and smiles.

On the organ, the bust from which phantom spied is now completely blindfolded. In the reflection of mirror, they now show one candle lit—Christine. She is in control now—the battle for Erik is in her favor. Five candles are lit in the candelabrum showing the “triangle”— 5 = Erik & Christine.

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CHRISTINE: "You are not alone!”

As she nears him, making eye contact, I think she sees her king is back—because she smiles as she sings the last word. This kiss was not about delivering him from the Phantom—she had no power to do that. It was about showing Erik just how much she cares, that she’s truly his, and that he has no reason to doubt her ever again. Once and for all she’s showing him where her heart lies, and she slips the ring of promise, (which magically appears in her hand again), onto her wedding finger as proof of this.

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At this point I’m not sure she knew the darkness would permanently go—though of course she hoped it would and hoped she could convince Erik to rid himself of it—but that had to be his choice, and that’s why this was first a kiss of sacrifice, as companion book says, followed by a kiss of commitment, as companion book also says. She was telling Erik by her actions that she was doing all this for him (made clearer in Spanish subtitles below). She could’ve easily agreed to phantom’s terms without going into the water toward Erik or kissing him. But she was battling for the soul of the man she loved.

She gives him a kiss, targeting his lower lip—though in companion book it shows an upper lip kiss. I feel that is the clue in the book showing why this is important. In the AIOAY analysis, I mentioned an upper lip kiss denotes stiffness, being reserved, unyielding. The lower lip, in literature, is just the opposite. You see characters often complementarily described with a full lower lip, etc.—in the literary world, a lower lip is symbolic of being passionate, yielding, giving all of oneself ... and Erik is the only one she kisses this way.


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As their first kiss grows more passionate, (though some think the first kiss turns into a second kiss), a continuous line of blue light goes through both their heads (blue line through head symbolizes Christine), and in the middle of their hearts (blue line through heart symbolizes Erik)—and this seems to show they are both now connected in a way they never have been before. Each reached the other with that kiss in a way they never imagined—and you see that by the look in their eyes after he pulls away the first time. The white light that had been reflected in the mirror is now fully there behind him—halfway open—but the white light is huge and flooding the lair where it never has done so before. The blue lines aren’t a reflection of that light, because they wouldn’t show as camera revolved, due to angle—also one of the lines doesn’t come from the light (by the heart). A hidden clue that seems to show a powerful statement—Music (what blue lines stand for as you will soon see) has irrevocably become one, the king and queen are united, and nothing can come between them again. Notice, too, the sleeves are off her shoulders as far as they will go down—she is totally yielded to him—and the sleeves remain that way the entire time she is with Erik.


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Also, notice what appears to be a gold crown above their heads, yet another clue showing he is a king, and it appears to have turtledoves on it—symbolic of Venus (Christine). So this seems to be a clue showing they are both royalty and a couple. It’s not part of the lair, because the wall is dark in background and this is gold and has a circular base. The “Turtledoves” line was in masquerade French subtitles. Definition found on website: Turtledoves reinforce the symbolism of Venus, the goddess of love and beauty. (which they’ve shown symbolizes Christine, and Music is symbolic of love). In previous scenes when they showed long angle shots, they never showed the crown. The first shots show that part of lair—no crown. It’s only above their heads during their kiss.

Area before—no crown (in pictures above, crown shows it is level with top of gate):

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The crown:

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A picture tells a thousand words ... therefore, I’m going to let the following pictures of their passionate kisses—(and if you look closely, you’ll see what I mean)--speak for themselves. Notice in the second to last picture, Raoul watches, his stance and look miserable. Christine never kissed him this way—and she never let him kiss her so deeply as shown by AIOAY pictures. He instigated all their kisses, but here she is instigating all the ones with Erik. And now Raoul can no longer deny the truth. She loves her Angel.


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The rope is hanging loose—Erik let go of it the moment Christine first kissed him. (And that signifies Raoul is no longer in any danger when she reaches up for the second kiss.)


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A tear runs from Erik’s eye—the first time he’s ever cried AND shown tears in movie. By expressing to him her love she broke through the barrier around his heart—put there by the Phantom spirit (like in the Hans Christian Andersen fairy tale The Snow Queen—and we found many parallels to HCA stories in this movie. Also, according to research, HCA’s fairy tales have been called “dark stories of the North”—referred to in Little Lotte, which might have been a clue to look for the parallels in HCA’s works.)

Erik’s face is full of wonder. Fresh tears roll down Christine’s cheeks after their kiss, though with that first one, there could have been two ... (for a total of four kisses—that would signify Erik and it being all about him. If it was three kisses, perhaps it showed she was trying to break through the darkness {phantom spirit} with her love ... )

Notice her hand at his jaw—she is not touching his deformity—the skin is smooth there. She is touching HIM. First his jaw, trailing her fingers down to his neck and beyond (when her fingers trail down off the screen, that’s when they switch shots). She is touching him because she wants to. She’s in awe and feels more connected to him than ever before (as shown by blue lines, body language of dazed look in her eyes, tender but exploring touch with her hand, etc).

I don’t think she realized the kiss would affect her so strongly, since a kiss never has up to this point. (Shown by all her actions and also the clues of paleness in those scenes with Raoul.) However, with her king, her heart has just been tied closer with his. In following pictures—watch her hand and how she touches him. Also if in doubt about how passionate their kisses were, look at what connects them. (Sorry. People have argued those weren’t deep kisses, so I thought I’d bring that up. lol)


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She looks into his eyes—the wonder apparent, her face glowing as if she’d swallowed the moon—it’s so lit up from within. Not pale as it looked in AIAOY after she'd kissed Raoul—even her lips were pale after just a kiss with him. And that’s something else—at some point during her escape with Erik, now that she’s with him—her lipstick has changed from what she wore in PONR to this glossy color that it had also transformed into the moment she walked through the mirror in POTO.

She looks down at Erik’s mouth and starts to move upward—he sways a bit toward her but holds back—and she quickly moves up for another kiss. The second (or third)—which she holds onto as long as she can—then she breaks a little away and opens her mouth to give him another kiss ... if you’re still in doubt how all passionate these kisses are, again look for the signs in the pictures. I’m not going to write them all out; it’s shown.

She didn’t make a point to touch his face because of his deformity. His deformity didn’t matter to her (meaning it didn’t alter her love for him one bit), as she’d already told him. She was grabbing his head to deepen the kiss and you can see her ring to the side of his head showing this on the last picture. She wasn’t touching his deformity to prove a point—she was touching HIM because she was lost in him and in this act of love they shared.


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She breaks away to look at him, as though memorizing every part of his face—this is the look of a woman who's just been stunned by what she’s now feeling. She’s always loved him—but this was their first truly intimate moment shared, and again she has a look as if she had no idea it would affect her so deeply. Notice her lipstick is still as glossy and colorful as before—though these 3 or 4 kisses were much more passionate and deep than the ones she’d shared with Raoul. Now her face glows, and she looks even more beautiful than when she approached Erik. I feel love is shining from her face; the womanly love she has for him, the man she wants as her husband: she’s shown him she’s chosen him. In PONR she told him; now she showed him, and in doing so hoped to get through to him.


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He gives a little disbelieving laugh—he sees the love in her eyes, and on her face--and his wish has come true from what he sang in STYDI—fear has turned to love and she has found the man behind the monster he always felt himself to be (perhaps “monster” also meant the phantom spirit he hid behind).

She smiles, totally lost in him and his every reaction—even quirking her brows a bit as if curious by his laugh. But his soft laugh soon turns into gasping sobs. This is the first time he’s ever been shown love, ever been kissed, and it was by the woman he adores. Despite all he’d done to hurt her—all he’s allowed the phantom to do, thinking there was no other way—she went forward into the water to him, to show him with her words, with her action of putting on the ring of promise he’d earlier folded into her palm, and with her kisses that held nothing back—that she was always his and always would be. She just showed him beyond a shadow of a doubt it was never about his face as he always thought, as Phantom told him. Erik is a genius—he knew what she was telling him. That she loved him. Again, she never had to walk into the water to save Raoul. Her word would have been enough. But Raoul was not the only one in need of saving ...


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To say Erik felt unworthy of her at this point would be a gross understatement. Every evil he had done was probably magnified, and when he looked at her, he saw an angel. Someone he could never hope to have as his own because he no longer felt he deserved her. The angry mob’s drums suddenly coming in the background stressed to him that the soldiers and others were fast approaching, and she was in danger too.

And that’s when he started to cry—when the drums of the mob started up, steadily growing louder, and they sang their words of revenge. He knew he couldn’t allow Christine to be tortured or killed. He no longer questioned that she loved him, but he wanted her safe. He loved her too. Her smile of contented happiness fades to a look of worry—I imagine she was wondering what she’d done wrong. One moment they were both sharing in the wonder of their love—the next, her king was sobbing, falling apart in front of her eyes. But he had made a decision, and I wonder if somehow she sensed what was coming by the fearful, worried expression she gave him.



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Link to “Down Once More" (Part 3) - click to read

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