Scene Summary of "Down Once More" - part 3 - 2004 movie

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

Scene Summary of "Down Once More" - part 3 - 2004 movie

Postby honeyphan » Fri Sep 20, 2013 3:02 pm

Scene Summary of "Down Once More" part 3

continued from other post…

The mist is coming forward again—another pivotal change is about to take place, another moment of uncertainty for Christine and Erik both.

MOB: “Track down this murderer, he must be found!”

In the background we hear the mob’s cries coming closer—and the king knows what must be done and reaches a decision:

ERIK: “Take her, forget me, forget all of this . . .”

He was telling Raoul to take her away from the danger of the mob—(they make it crystal clear in subtitles that she was in danger too). He was releasing her from her vow to be his wife, and telling them both to forget him and all that went on there that night. Before this, we see Raoul with his face turned all the way away—he could no longer bear to watch their kisses. When we first see her, her hand is lifted to Erik as if in entreaty, right before he pushes her away. At Erik’s command, Raoul has turned to look at her, but when he sees she doesn’t move and only stares after Erik, he bows his head.


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She isn’t one bit happy to hear the king’s words. Her brows are drawn up as though she may cry—her king has just rejected/hurt her again. This is the third time he’s destroyed a moment between them then left her—the 3 months he was absent and she didn’t understand why (after he took her back immediately in STYDI when she first uncovered his face) … at the masquerade ball when he turned on her so suddenly after she went to him when he asked it of her. And now she has just shown her love for him, holding nothing back—both of them experiencing one of the most powerful moments they’ve ever shared—and he’s again pushing her away, telling her to go, telling her it’s all over between them.

Also, I imagine she’s worried about him staying behind; she wants him to come with her to safety and instead he’s giving in and giving up. She’s confused. The expression on her face isn’t a woman happy with the prospect of leaving—because she didn’t want to lose him. The pictures are a bit blurred because of the high zoom, but by the body language/expressions—the planes and contours of her face—it’s easy to tell she’s very upset. The last picture is right before she turned to run—she looks as if she’s about to break down and cry because her brows are drawn even further upward in the middle.


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ERIK: “Leave me alone - forget all you’ve seen . . .”

I think the last part—to forget all they’ve seen—refers to the Phantom spirit, and all the evil they’ve just witnessed, etc. The king orders them to leave him alone—to go away—he is breaking up with her to put it in today’s language.

she runs, but from her expression, she doesn't look one bit happy by the king's command:

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And she then unties Raoul from gate.

ERIK: “Go now - don’t let them find you!”

“Them”—the mob, controlled by phantom spirit as we’re about to see. Christine failed her ordeal by fire, and as Erik’s queen, she is considered as guilty as he now is. Another reason she’s in danger—she’s a part of him, his queen—so she is also Music. The mob is getting closer—he knows they’ll soon be there and he wants her to get away to safety before they arrive. (This is made clearer in subtitles translations, leaving no doubt this is exactly what’s happening here.)

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In a mirror that has always reflected the candles, no matter how far away Christine or Erik stood, now there is nothing. But the “triangle” candelabra now shows 4 candles lit at bottom (when before there were three lit)—Erik is all there.

ERIK: ”Take the boat, swear to me, never to tell, the secrets you know of the angel in hell!”

Secrets: As the spirit of Music in human form, a king of his realm, he desired love and beauty, but was chained to an evil spirit who had the real control over his life. Perhaps also the secret was that he was music (as the clue of the “solar exalted” in the Exalted game—when the identity of those god-like beings was discovered—as well as the identity of the one to whom they gave a part of their spirit—they were hunted down and killed)…Again, by saying this, Erik is letting her know he’s given up. Because if he’s worried about them revealing secrets—sung in present tense—he plans to remain behind in darkness. He doesn’t feel redeemable or worth saving. He’s giving them his boat but he’s staying behind. At this point, he doesn’t care what happens to him. But she does, as they soon show.

Three candles are still lit, not four ... Phantom’s on his way back, and we’re about to see him.

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MOB : “The Phantom of the opera is there deep down below.”

The mob’s voices grow louder. Christine frees Raoul from his ropes—but throughout the entire time, if you frame by frame it, she doesn’t look at all happy. She looks as if she’ll cry. She moves her arms to his neck to hug him, glad he’s now safe. He grabs her to him roughly, as if in an effort to hold on to what he never had—and she lets out a gasp at the suddenness of his act that sounds like a sob. (That he grabs her to him is really apparent if it is played in slow motion) Erik hears the mob closing in, their voices getting even louder. He looks to see Christine in Raoul’s embrace instead of escaping as he’d told them to do.

ERIK: sings out in loud, tearful command: “Go now - GO NOW and leave me!”

He wants Christine safe and out of there. She pulls her arm from Raoul’s neck and places her head on his shoulder, as Raoul looks Erik’s way. I think she might be crying. Erik turns into his bedroom, about to fall apart; he doesn’t want to lose her but sees no other way. Neither of them is happy at this moment.

Switch to mob—Meg is no longer there—(she got away, maybe symbolic that Erik will do the same); the man who chased her, grabbing her arm, is now holding a dagger instead of a stick as he was before. He turns to his right, pointing to the right with his torch. They show three policemen (Phantom’s number) and cut to next scene just as they show a hint of a fourth jumping in water. Next they show people run down the stairs—and beside the girl in the white shirt, a black-cloaked figure hurries past. You can only see it well if you slow motion or step by step this. All of the mob wear white or bright colors and no robes or cloaks—except for this lone figure—and all of them go slowly or stop to stare—except for this figure who hurries past, looking straight ahead ... another clue showing Phantom spirit is the ringleader of the mob and is now leading them to the king and his queen.

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Now, thanks to one sleuther’s research, here’s a key clue to the end of story. Remember how I said many masks are in this opera, and when you uncover them, you learn pieces to the puzzle of the “mystery never fully explained.” Robert le Diable by Meyerbeer—mentioned at the auction at beginning of movie—and also in companion book it says the TOM stage should be a Meyerbeer stage—is just one of the many, many masks to be unveiled in this hidden story. Here’s a portion of the summary, with my comments interspersed of how this so strongly relates to POTO, it could almost be a mirror—one of those symbolic clues that points to what happened after DOM in the hidden plot:

In this opera, Robert is Erik, Christine is a blend of Alice and Isabelle (just like they blended M. Giry’s character into one from the two that were in G.L.s novel), and Bertram is Phantom spirit. Comments from me are in parenthesis:

Summary of the opera-- Robert le Diable:

“. . .This is an opera in which the demonic is incarnated in Bertram who has the power of a necromancer and calls up phantoms ... This is a world of legends where the barriers between the mythical and the actual, between the corporeal and the spiritual, are broken down and the whole array concerning the classic struggle between good and evil is unrolled before the eyes and ears of the audience in the manner of the Medieval miracle plays ... The struggle is for the souls of men and women in an ageless battle between the forces of heaven and hell who contend at every level in supernatural manifestations, but most particularly by the surrogate agencies of those who are for God and those who are against him. Satan, the dark master, is active through the demon Bertram
(in POTO it’s Phantom spirit); the heavenly forces operate principally through the pure girl Alice (Christine) who places herself directly under the patronage of the Virgin herself in Act 3, and clings on to the great cross that dominates this central act literally and the whole opera figuratively ...” (They show the statue depicting Christine above stage holding a huge cross in Act 3—TOM—also in cemetery.)

”It is she who, through her purity and alignment with the divine, has the instinctive power to see through Bertram's veneer of humanity to his demonic self.” (Christine recognized Phantom spirit in song POTO, she also called him what he was in WHYBMH, etc)

“She holds the sacred mission to redeem Robert by keeping him to the right path and enabling him to choose the way of life and light ...”
(Christine was always trying to get Erik to see the light and come to it by removing his mask and in other ways. In Spanish subtitles she called him to the light also.)

“Thus Robert, a symbol of poor humanity, is caught between Alice and Bertram, representatives of the centrifugal forces of heaven and hell, of the spiritual ideal and the earthly reality, which pull him in either direction in the struggle for his soul on its earthly pilgrimage.” (Erik was caught between Phantom wanting to keep him chained to darkness and Christine wanting to bring him into light, and he struggled with both, as both Christine and Phantom also struggled for his soul.)

***Here’s the end of this opera—final act—this is just so much a mirror of DOM, it’s unreal …

“The reading of his mother's testament only intensifies his agony” –(sounds to me like “This face, which earned, a mother’s fear and loathing ...”)

“. . . And his salvation comes as an act of grace: Alice causes the signing of the pact to be delayed until the fatal hour has struck, and the power of darkness is broken ...”
(Christine delayed in giving an answer and sealing the agreement with Erik until she felt the time was right. Ever wonder why she didn’t say anything ahead of time, when she’d already decided—(we know this because of the disappearing ring, the wedding dress she wore, her words in lyrics, etc)? Because the fatal hour hadn’t yet struck—in order to break the darkness, it had to be there, and it came into power over Erik only after Phantom had arrived to the lair shortly before Raoul approached the gate.

“. . .leaving Robert free, liberated, open to the flooding of light. . .” —(white light flooded the area when the darkness was broken and she kissed Erik—he was freed by her act of unconditional love—he cried real tears as she got through to him and phantom left him for a time as she acted and “signed the pact”—but more light had to come ...)

And here is just one of many clues showing how we know what happened after DOM

“. . .leaving Robert free, liberated, open to the flooding of light and the celebration of romantic love sacramentally in marriage, blessed by Heavenly chorus. Meaning Robert married Isabella (also symbolic of Christine), so that seems yet another clue that Erik married Christine. In the Robert le Diable opera, after the light has flooded the area—Isabella bursts out of her bridal chamber dressed in her wedding gown to marry Robert. (Much like how they did the mannequin with veil, but we’ll get there in next installment ...)

". . .Robert is the recipient of grace freely bestowed and channeled through Alice. The true and desirable world order is established and celebrated: darkness is dispelled, human nature is redeemed and faith is triumphant."

And you just can't get any better than that for an ending resolution to the main story in an epic movie of this nature! Again, I feel this is no coincidence that they used the mention of the Robert le Diable opera in a story that mirrors it so strongly. By doing this, they gave us a clue of what happened after DOM, and I believe the Elisabeth musical love triangle (Empress Elisabeth dress she wore in TOM) also was a clue to that—that Christine married Erik.



**COMPANION BOOK CLUES**

This is underlined and capped in companion book:


And he runs up into the BLACK SWAN bedroom.
{black swan is the phoenix)

He turns and sees the MOB with their torches approaching along the CANAL.
(could be because of the secret passage, which they DON'T show in picture of the book. . .)

p. 136 pic shows Raoul at gate with three ropes around him—perhaps a clue to watch that, and when you do you see Erik never wrapped them around him.

p. 137: In PONR, on a predominantly red set, with no green—the companion book picture with Christine and Erik had a tinge of green. Here, in DOM on a predominantly green set with no red—it is red. I think this is yet another clue that red is his color, and since she is red too, that she belongs to him. Notice the upper lip kiss—different than movie. I think that’s a clue to watch the kisses (and those with Raoul) so as to figure out what it all means, and to whom she really belongs:

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movie:

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**TRAILER CLUES**


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They show Christine with what looks like a listening device in her ear in the above pic—and they make no effort to hide it. Maybe a clue to really listen to the sounds and the words, to find the deeper story… notice also her eye shadow is a shade of red (wine) and green. King and Queen—perhaps another clue showing they are a couple and she belongs to Erik since she didn’t wear these two colors together in movie.

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

ERIK:
Wait! I think, my dear, we have a guest, Sir...
Ven, asómate
Tu amigo es
Come, look over here, it's your friend


Sir
Raoul
-Sí
Yes


...This is an unparalleled delight
Por Dios que es él
Un auténtico placer
By God, it is he, what an authentic pleasure


I had rather hoped that you would come
Yo ansiaba ver
Su aparición
I was anxious to see your appearance


And now my wish comes true
Y usted siguió el guión
and you followed the script

from honey: the script—Don Juan, the phantom’s opera


You have truly made my night!
Esto empieza a prometer
This is starting to look promising


RAOUL:
Free her, do what you like, only free her
¡Libre!
¿No ve que debe estar libre?
Don't you see that she should be free?


Have you no pity?
¿No tiene alma?
Don't you have a soul?


ERIK:
Your lover makes a passionate plea
Tan loco amor jamás you lo vi
I never saw such crazy love


CHRISTINE:
Please Raoul, it's useless.
Todo es inútil
Everything is useless


RAOUL:
I love her!
La adoro
I adore her!


Does that mean nothing? I love her!
¿No importa nada?
¡La adoro!
does that mean nothing? I adore her!


from honey: the word they used here is not the same one they use for when Erik claims his love, which is the romantic, deep “love”—the word they use for Raoul saying it is more for an honoring, familial love.

Show some compassion!
¿Jamás se apiada?
Have you never taken pity?


ERIK:
The world showed no compassion to me!
¡El mundo no se apiada de mí!
The world never took pity on me!


RAOUL:
Christine, Christine
Let me see her

Christine, Christine
Quiero verla
I want to see her


ERIK:
Be my guest, sir...
A sus pies

At your feet, yes


Monsieur, I bid you welcome! Did you think that I would harm her?
Monsieur, sea beinvenido
Yo a ella nunca le haré daño
Monsieur, welcome, I will never harm her


Why would I make her pay for the sins which are yours?
¿Por qué iba a pagar
Los pecados de usted?
Why would she pay for the sins of you?


Order your fine horses now
¡Busque los caballos ya!
Look for the horses already!


Raise up your hand to the level of your eyes!
¡Ahora mantenga
Esas manos bien atrás!
Now keep those hands well behind you!


Nothing can save you now except, perhaps, Christine
Nada lo salvará
O quizá tú, Christine
Nothing will save you
Or perhaps you, Christine



Start a new life with me!
¡Compra su libertad!
Buy his freedom!


Buy his freedom with your love!
Paga el precio con tu amor
Pay the price with your love


Refuse me and you send your lover to his death!
¡Recházame y así sentencias su final!
Reject me and you sentence his end!


This is the choice
¡Es tu elección!
It is your choice!


This is the point of no return!
¡Ėste es el punto más crucial!
This is the most crucial point!


CHRISTINE:
The tears I might have shed for your dark fate,
Si lástima sentí
Por tu niñez
If I felt any pity for your childhood


Grow cold and turn to tears of hate!
¡Oh, Dios!
Es odio
Esta vez
Oh, God! It's hate this time I feel!


RAOUL:
Christine forgive me, please forgive me
Chrsitine, perdóname
Perdona
Christine, Pardon me…
forgive



I did it all for you and all for nothing
*Por ti lo hice todo y fue por nada
For you (him) I did everything and he went for nothing

From honey: the word “lo”—is a masculine or neutral pronoun. Not feminine. So it appears as if Raoul is talking to the Phantom here.


CHRISTINE:
Farewell, my fallen idol and false friend
Adiós, idolo falso de papel
Goodbye, false idol of paper


We had such hopes, and now those hopes are shattered...
Las esperanzas
Ya están agotadas
The hopes are exhausted


PHANTOM/ERIK:

Too late for turning back, Too late for prayers and useless pity!
Es tarde, no supliques más
No más llamadas
It's too late now; You may not beg further
No more summons


from honey—the word used here—supliques—is second person singular—the formal word “thou,” instead of the informal you.


RAOUL:
Say you love him, and my life is over
Di que aceptas
Que mi vida acabe
Say that you accept him and my life is over


PHANTOM/ERIK
All hope of cries of help, No point in fighting!
No hay esperanza ya
Tú bien lo sabes
There is no more hope! You know this well!


For either way you choose, you cannot win!
Aunque apuestes tú, yo gano al fin
Although you gamble, I finally win


RAOUL:
Either way you choose, he has to win...
Aunque apuestes tú, él gano al fin
Although you gamble, he finally wins.


PHANTOM/ERIK:
So do you end your days with me?
O vives siempre junto a mí
Do you live forever at my side?


Or do you send him to his grave?
O tú su muerte vas a ver
Or do you see his death?


RAOUL:
Why make her lie to you to save me
No va a mentir
Por defenderme
She is not going to lie to defend me


PHANTOM/ERIK:
Past the point of no return
Pasa el punto más crucial
Past the most crucial point...


CHRISTINE:
Angel of Music...
Ángel, te ofuscan tus demonios
Angel, your demons are blinding you

From honey: That’s telling it like it is—she’s come to an understanding of who’s behind all of Erik’s actions.


RAOUL:
For pity's sake, Christine say no!
Por caridad, Christine, di no
For charity, Christine say no!


CHRISTINE:
Who deserves this?
¿No hay vuelta atrás, Ángel?
Is there no going back, Ángel?


PHANTOM/ERIK:
The final threshold...
Ya no hay retorno
There is no going back


RAOUL:
Don't throw your life away for my sake!
No tengo nada más por perder
I have nothing more to lose!


PHANTOM/ERIK:
His life is now the prize which you must earn!
No es un trofeo más en tu mural
It’s not one more trophy for your wall (Or possibly, He's not one more trophy for your wall.)

From honey: this seems to make it look as if he’s accusing her of having used him, and saying that Raoul is not a trophy as well.


CHRISTINE:
Why do you curse mercy?
Siento que estés sufriendo
I feel that you are suffering...


PHANTOM/ERIK:
You’ve passed the point of no return
Pasaste el punto, es su final
You passed the point, it’s at its end


CHRISTINE:
Angel of Music, you deceived me.
Ángel
Supiste engañarme
Angel you knew to deceive me.


I gave you my mind blindly.
Te di mi mente a ciegas.
I gave my mind completely without knowledge to you.


PHANTOM/ERIK:
You try my patience. Make your choice
Estás acabando con mi paciencia.
Elige de una vez.
You are ending my patience. Choose at once.


CHRISTINE:
Pitiful creature of darkness, what kind of life have you known?
Mísero
Trágico Ángel
Cuán grande es ya tu aflicción
Miserable, tragic, Angel, how great is your affliction


God give me courage to show you, you are not alone!
Nuestra es tu canción
Óyeme, tú no estás solo
Your song is ours
Listen to me, you are not alone



From honey: She hurts for him and calls him Angel, tells him they share the song—it’s not just his, it’s hers too—and she makes it clear she'll be with him always ... Since they are both Music, they are connected, and she’s telling him that she belongs to him ... Perhaps the “song” is love, so could be labeled “their song” since from what I've seen, "Music" in the hidden plot is also symbolic of love.


Mob:
Track down this murderer, he must be found
Al asesino ya hay que encontrar
The killer it is necessary to find


ERIK:
Take her, forget me, forget all of this
Llévatela, olvídame
Olvida todo esto
Take her away, forget me
Forget all this



Leave me alone
Dejadme solo
Leave me alone


Forget all you’ve seen
Olvidad todo lo que habéis visto
Forget all you have seen


Go now, don’t let them find you
Marchaos ya
No dejéis que os encuentren
Go already
Never let that (?) find you



Take the boat, swear to me never to tell
Llevaos la barca
Prometedme que no contaréis nada
Take the boat
Promise me that you will not tell anything



The secrets you know of the angel in hell
Los secretos que sabéis
Del ángel del infierno
The secrets you know of the Angel in hell


MOB
Too long he's preyed on us, but now we know, the phantom of the opera is there, deep down below
Fantasma de la Ópera
En tu infierno vas a arder
Phantom of the opera, in your hell you will burn

From honey: that's telling it exactly how it is!

ERIK:
Go now, go now and leave me!
Corred
Volad, dejadme
Hurry, vanish, leave me!

From honey: this seems another clue that she must hurry before the mob gets there.



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


ERIK:
Wait, my dear I think we have a guest
Tiens! Aurions-nous donc de la visite?’
Why! Would we thus have the visit?


Sir
Monsieur
Raoul


This is indeed an unparalleled delight
C’est pour nous deux
Un bonheur sans parallèle!
It is for us both a happiness without parallel!


I had rather hoped that you would come
Je vous espérais
Sans trop y croire.
I hoped for you without too much believing in it.


And now my wish comes true, you have truly made my night
O joie, mon voeu s’exauce!
Quel plaisir exceptionnel!
O joy, my wish is fulfilled! What an exceptional pleasure!


CHRISTINE:
Let me go!
Lâche-moi, non!
Release me, no!


RAOUL:
Free her
Laisse-la!
Leave her!


Do what you like only free her
Tue-moi, d’accord, oui, mais laisse-la!
Kill me, of agreement, yes, but leave her!
another translation: Kill me, okay, yes, but leave her!

from honey: The first translation looks as if Raoul previously arranged with the Phantom for a favor, but he now knew he would die per "agreement" ...


Have you no pity?
Laisse-la donc partir!
Leave her thus depart!


ERIK:
Your lover makes a passionate plea
Le pauvre a l’air un peu aux abois.
The poor one has little breath left to yell.


CHRISTINE:
Please, Raoul, it’s useless
A quoi bon, Raoul?
What good is it, Raoul?


RAOUL:
I love her
Je n’aime qu’elle!
I don’t like it!


Does that mean nothing, I love her
Je te répetè que
Je n’aime qu’elle!
I will repeat myself that I don’t like it!


Show some compassion
Pitié pour nous deux …
Have pity for us both ...


ERIK:
The world showed no compassion to me!
Personne n’a de pitié pour moi!
No one had pity for me!


RAOUL:
Christine … Christine … let me see her
Christine … Christine …Puis-je la voir mieux?
Christine... Christine... can I better see her?


ERIK:
Be my guest, sir
Mais bien sûr, monsieur …
But of course, Sir...


Monsieur I bid you welcome
Monsieur, je vous salue!
Dear Sir, I salute you!


Did you think that I would harm her?
Aviez-vous peur que je lui fasse tort?
Were you afraid that I would do wrong?


Why would I make her pay for the sins which are yours?
Pourquoi donc paierait-elle
Pour les fautes qui sont vôtres?
Why should she be punished for the faults which are yours?


Order your fine horses now
Où est-il, ton beau carrosse?
Where is it, your beautiful body?


Raise up your hand to the level of your eyes
Garde la main à la hauteur du regard!
Hold the hand with the height of the glance!


Nothing can save you now, except perhaps Christine
Rien ne te sauvera plus,
Non, rien, sinon Christine …
Nothing more can save you, no, nothing, except Christine…


Start a new life with me
Reste vivre avec moi.
Remain to live with me.


Buy his freedom with your love
Il est libre si tu m’aimes!
He is free if you love me!


Refuse me and you send your lover to his death
Refuse et tu envoies ton amant à la mort!
Refuse and you send your lover to death!


This is the choice, this is the point of no return
Voici le choix,
Voici le point de non-retour!
Here is the choice, Here is the point of no return!


CHRISTINE:
The tears I might have shed for your dark fate
Les pleurs que m’inspirait
Ton coeur en peine,
The tears which your heart in sorrow inspired to me,


Grow cold, and turn to tears of hate!
Soudain,
Se changent
En cris de haine …
Suddenly, change Into cries of hatred...


RAOUL:
Christine, forgive me, please forgive me
Christine, je t’en supplie.
Pardonne-moi …
Christine, I beg you. Forgive me...


I did it all for you and all for nothing
J’ai fait cela pour toi, et rien n’y a fait …
I have done this for you, and nothing happened…


CHRISTINE:
Farewell my fallen idol and false friend
Adieu, mon Ange déchu, mon faux ami.
Good-bye, my fallen angel, my false friend.


We had such hopes and now those hopes are shattered
Nos grands espoirs maintenant
Tombent en cendres.
Our great hopes now fall into ashes.


ERIK/PHANTOM:
Too late for turning back too late for prayers and useless pity
Trop tard pour les remords,
Pour jouer les héroïnes au grand coeur.
Too late for the remorse, to play heroines in the large heart.


RAOUL:
Say you love him and my life is over
Cède-lui et c’en
Est fait de ma vie.
Yield to him and it (he?) will take my life.

from honey: another clue showing that Raoul will die no matter what.


ERIK/PHANTOM:
All hope for cries for help, no point in fighting
Passe toute notion d’espoir:
Pourquoi se battre?
Past any concept of hope: Why fight?


RAOUL:
For either way you choose he has to win
Car quel que soit ton choix, tu as perdu …
Because whatever your choice, you are lost...


ERIK/PHANTOM:
For either way you choose you cannot win
Quel que soit ton choix, tu as perdu!
Whatever your choice, you are lost!


So do you end your days with me or do you send him to his grave?
Alors, vas-tu vivre avec moi,
Ou l’envoies-tu dedans sa tombe?
So, will you live with me, or you send him within his tomb?


RAOUL:
Why make her lie to you to save me?
Tu veux qu’elle mente
Pour me sauver, moi!
You want that she lies to save me, me!


CHRISTINE:
Angel of Music who deserves this?
J’étais ta muse et
Ai-je mérité ceci?
I was your muse and do I merit this?


ERIK/PHANTOM:
Past the point of no return, the final threshold
Passe le point de non-retour,
Past the point of no return,


CHRISTINE:
Why do you curse mercy?
Toi mon maître.
You my Master.


RAOUL:
For pity's sake, Christine, say no
Je t’en supplie, Christine, dis non!
I beg you, Christine, say no!


Don’t throw your life away for my sake
Ne gâche pas ta vie pour moi seul!
Do not only waste your life for me!


ERIK/PHANTOM:
His life is now the price which you must earn
Te voilà maintenant son seul recours,
You see now only I can rescue him,


RAOUL:
I fought so hard to free you
J’ai cru pouvoir le vaincre.
I thought I could overpower him.


ERIK/PHANTOM:
You’ve passed the point of no return
Après le point de non
Retour
After the point of no return


CHRISTINE:
Angel of Music you deceived me
I gave you my mind blindly.

Tant de promesses,
Rien n’était vrai.
Moi qui vous croyais pleinement.
So many promises, Nothing was true. I believed you fully.


ERIK/PHANTOM:
You try my patience.
Make your choice.

Ma patience est à bout!
Maintenant, choisis!
My patience is at an end! Now, choose!


CHRISTINE:
Pitiful creature of darkness What kind of life have you known?
Pourquoi faut-il que tu sois né
Dans ces ténèbres profondes?
Why did you have to be born
Within this profound darkness?


God give me courage to show you
You are not alone

Comment te prouver que jamais
On n’est seul au monde?
How to prove to you that you are never alone in the world?


MOB:
Track down this murderer he must be found
Traquons ce meurtrier.
Let us track this murderer.


ERIK:
Take her! Forget me; forget all of this
Prends-la, oublie-moi, oubliez-moi vite.
Take her, forget me, forget me quickly.


Leave me alone
Laissez-moi seul,
Leave me alone,

Forget all you’ve seen … go now don’t let them find you
Oubliez tout ça.
Partez,
Qu’on ne vous trouve pas!
Forget all this, leave, don’t want them to find you!


Take the boat, swear to me never to tell
Vite, la barque!
Jurez-moi toujours de taire
Hurry, the boat! Always swear me to conceal


The secrets you know of the Angel in hell
L’infâme secret
De cet Ange de l’enfer!
The infamous secret of this Angel in hell!


MOB:
The phantom of the opera is there deep down below
C’était un prédateur, Mais c’en est trop.
Ces horreurs n’ont que trop duré!
It was a predator, But it is too much. These horrors lasted only too much!


ERIK:
Go now ... Go now and leave me!
Va-t’en!
Va-t’en et quitte-moi!
Go now! Go now and leave me!



**ITALIAN TRANSLATIONS by Angelofdarknss & Co.**


fantasma: Wait, I think my dear we have a guest
Ehi, c'è un uomo là..guarda chi è!
Oh, there is a man there…look who it is!


Sir, this is indeed an unparalleled delight
Sì, in fede mia, è un piacere averti qua.
Yes, in my heart(faith), it is a pleasure to have you here


I had rather hoped that you would come
Ti ringrazio poi di questa idea...
I thank you then for this idea…


And now my wish comes true, you have truly made my night
perché, in verità, l'accoglienza preparai!
Because, in truth, the reception I prepared!


RAOUL:
Free her, do what you like only free her
Cedi! Lascia che lei vada via!
Surrender! Let her go away!


Have you no pity?
Non ha più pace...
She doesn’t have anymore peace…


Fantasma: Your lover makes a passionate plea
Lui parla della pace con me!
He speaks of peace with me!


Christine: Please, Raoul it’s useless
Ma è tutto vano!
But all is useless!


RAOUL: I love her, does that mean nothing I love her
Io l'amo! Sarà importante, io l'amo!
I love her! She will be important(significant), I love her!

From honey and AOD: A clue to her being countess, maybe …


Show some compassion
Un gesto umano...
A human gesture…


Fantasma: the world showed no compassion to me!
Il mondo non fu umano con me!
The world was not human with me!


RAOUL: Christine, Christine, let me see her
Christine, Christine...
Che le parli!
Let me speak to her!


Fantasma: Be my guest, sir
...benvenuto!
…welcome!


Monsieur, I bid you welcome … Did you think that I would harm her?
Christine non corre rischi … lei in fondo non ha colpe …
Christine doesn’t take risks … After all she has no faults


Why would I make her pay for the sins which are yours?
lei è sempre con me … qui l'intruso sei tu!
… She is always with me … Here you are the intruder!


Order your fine horses now
Chiama la carrozza, vai!
Call the carriage, go!


Raise up your hand to the level of your eyes
Alza il tuo braccio davanti agli occhi tuoi!
Raise your arm in front of your eyes!


Nothing can save you now, except perhaps Christine
Nulla ti salverà, se non la mia Christine...
Nothing will save you now, if not my Christine…


Start a new life with me
Dimmi che tu sei mia!
Tell me that you are mine!


Buy his freedom with your love
Dì che mi ami e lui vivrà
Say that you love me and he will live


Refuse me and you send your lover to his death
se tu mi dici no, lo sai, lo ucciderò!
If you tell me no, you know it, I will kill him!


This is the choice, this is the point of no return
Dimmi chi vuoi: è questo il ponte fra di noi!
Tell me who you desire: This is the bridge between us!


CHRISTINE: The tears I might have shed for your dark fate Grow cold, and turn to tears of hate!
Il triste pianto che versai per te cessò! Io odio quel che sei!
The sad cries that poured for you stopped. I hate what you are!


RAOUL: Christine, forgive me, please forgive me
I did it all for you and all for nothing
Christine, potrai mai perdonarmi? L'ho fatto solo per noi ma ho fallito!
Christine, can you ever forgive me? I have only done for us but I have failed!


CHRISTINE: Farewell my fallen idol and false friend
We had such hopes and now those hopes are shattered
Addio, miraggio, falso amico mio! Hai infranto tutte le speranze nostre!
Farewell, mirage, my false friend! You have shattered all our hopes!


Fantasma: Too late for turning back to late for prayers and useless pity
E' troppo tardi ormai, è tardi ormai! Io non ho pena!
It is too late now, it is late now! I do not have pity!


RAOUL: Say you love him and my life is over
Dì che l'ami e morrò comunque!
Say you love him and I will die anyhow!

From honey: another clue that makes this more clear—that no matter what, Raoul would have died.


Fantasma: All hope for cries for help, no point in fighting
No, non puoi lottare più! Non hai speranza!
No, you cannot fight anymore! You do not have hope!


RAOUL: For either way you choose he has to win
Scegli tanto lui ha vinto già!
You choose he so much has already won!


Fantasma: For either way you choose you cannot win
Tu scegli tanto io ho vinto già!
You choose I so much have already won!


So do you end your days with me or do you send him to his grave?
Tu vuoi appartenere a me, o condannare a morte lui?
Do you want to belong to me, or condemn him to his death?


RAOUL: Why make her lie to you to save me?
Ti mentirà se vuol salvarmi!
She will lie to you if she wants to save me!


CHRISTINE: Angel of Music who deserves this?
Angelo, il buio ti ha ghermito, e [???] tua [???]
Angel, the dark has seized you, and [???] your [???]

from translator: I will have to get back to you once I get the DVD, but I thought the first part of what she said was interesting!

From honey—the dark has seized you again tells it like it is.


Fantasma: Past the point of no return, the final threshold
Passa il ponte fra noi due, non c'è ritorno!
Cross the bridge between us, there is no return!


RAOUL: For pity's sake, Christine, say no Don’t throw your life away for my sake
Per carità Christine, dì di no, tu non dovrai soffrir per me!
For Heaven’s sake Christine, say no, you will not have to suffer for me!


Fantasma: His life is now the price that you must earn
O lui non avrà mai la libertà!
Or he will never have freedom!


RAOUL: I fought so hard to free you
Speravo di salvarti...
I hoped to save you…


Fantasma: You’ve passed the point of no return
Tu passa il ponte fra noi due!
You cross the bridge between us!


CHRISTINE: Angel of Music you deceived me
I gave you my mind blindly.

Angelo, come puoi tradirmi? Io ti ho dato tutta me stessa, mi fidavo di te!
Angel, how can you deceive me? I have given you all of myself, I trusted you!


Fantasma: You try my patience. Make your choice.
Metti alla prova la mia pazienza, prendi una decisione!
You try my patience, make a decision!


CHRISTINE: Pitiful creature of darkness
Mesta creatura lontana,
Sad distant creature(being),


What kind of life have you known?
quale esistenza è la tua?
What existence is yours?


God give me courage to show you
Tu non sei più solo al mondo...
You are not alone in the world anymore…


You are not alone
Non ti lascerò!
I will not leave you!

from translator: "I think this clearly states her intention!"
from honey: I agree. :rose:

MOB: Track down this murderer he must be found
Prendiamo il demone [non ha pietà?]
We catch the demon [has he no mercy?]


The phantom of the opera is there deep down below
Fantasma dell'Opera laggiù soccomberai!
The Phantom of the Opera down there will succumb!


ERIK: Take her! Forget me; forget all of this
Basta...andate! tu portala via!
Enough…go! Take her away!


Leave me alone
Io resterò, lasciatemi qui
I will stay, leave me here


Forget all you’ve seen
Forza, vi troveranno!
Go on, they will discover you!

From honey: the above two lines make it clear that he is telling her she’s in danger just as he is, but he has chosen to remain behind.


go now don’t let them find you
Sono già quasi qui!
They are almost here already!

From honey: another clue that the mob mustn’t find her


Take the boat, swear to me never to tell
La barca è laggiù...
The boat is down there…


The secrets you know of the Angel in hell
e non dite mai chi vedeste quaggiù!
And never tell who you saw down here!

from honey: I think this means the phantom spirit, since he knows the mob is almost there so will find him (Erik).


Go now ... Go now and leave me!
Va' via! Va'via per sempre!
Go away! Go away forever!



**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—

sung: "And now, my wish comes true you have truly made my night." spoken: “Let me go!” (said to Phantom/Angel of Music--him--about her)

sung: "Angel of Music you deceived me." spoken: “I gave you my mind blindly” (said to and about Angel of Music--him--about her)

You try my patience--make your choice” (said about and by Phantom/Erik to Angel of Music--her)

“I love you.” (Although this was mouthed, it could be considered the same as spoken, and this would mean that the pattern of the spoken words wouldn’t change regarding hidden plot. . .especially since he said that about choice and because of what her next action is.)

“Take her--forget me--forget all of this. . .leave me alone--forget all you’ve seen. . .Go now, don’t let them find you! Take the boat--swear to me never to tell the secrets you know of the Angel in hell.” (First part spoken by and about the Angel of Music--him--to the Angel of Music--her--then leads into song.)


And that’s it for the main movie. :rose:
As this has shown throughout all the past summaries, when they break away from singing to speak, it's always about Erik or Christine--he Angel of Music. And when it's related to her, it's still about him, because he sings through her and has made her Music too.



**SOUND SIMILARITIES by Redrose**

Unique during Raoul’s arrival
STYDI when Phantom welcomes him
Raoul I’ve Seen Him when Phantom ties him up
PONR from Christine’s tears of hate to ‘I gave you my mind blindly’
Track Down This Murderer
WHYBMH/POTO



**MUSICAL ANALYSIS by Phantom’s Star**

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


DOM (Continued)

6.)As Raoul approaches the gate and Angel sings to him, we hear the brushing of cymbals 3 times. Angel is near but because it’s 3 times we hear the cymbals, the Phantom’s power will be seen soon.

7.)Harp – “I had rather hoped that you would come” – After this line, we hear the brush of harp strings going down in notes. I think it is Christine thinking of Angel but not approving of what he is doing, which is taunting Raoul (since the scales go down).

But

8.) We hear no harp on “Let me go.” We hear a pluck of strings but it’s too low and not angelic enough to be a harp (sounds maybe like a cello to me). So therefore, Christine may have known something was up and Angel wasn’t acting like his self.

9.) Harp – “Your lover makes a passionate plea” – On the word “lover,” we hear the harp. I think Christine is thinking of Angel, but not angry because it sounds like more than one harp string being played. She is also looking at him (Angel) as we hear the harp.

10.) Harp – “The world showed no compassion to me” – On the word “world,” we hear the harp. Again, Christine is thinking of Angel, maybe to show she still wants to try and works things out as she was getting to him before. And again, she looks at him when we hear the harp.

11.) “This is the choice” – We slightly (almost faintly, not even there) hear the brushing of cymbals after this line. The Phantom spirit has almost completely taken control of Angel.

12.) We hear NO harp when Christine sings “The tears I might have shed for your dark fate grow cold and turn to tears of hate.” I think this is further proof that she did not truly mean what she said since she was not solely thinking of Angel. She was angry at his actions, not his self.

13.) “His life is now the prize which you must earn” – We hear the cymbals crash once (not big though) on the word “life”. I think this shows that there is still hope for Angel because he is near despite the Phantom spirit overpowering him.
Note: We also never hear the cymbals during the whole sequence of Phantom forcing Christine to make a choice, except for this one part. I think this shows this was Phantom most of the time and not Angel.

Ready for the kiss?

14.) Harp – The harp starts playing on the lines “what kind of life have you known?”– The harp continues to play as Christine walks in the water. Christine is thinking only about Angel at this point, focusing her attention on him.

15.) Flute/Harp – “You are not alone” – The flute plays during this line. Christine is calling to Angel. We also hear the harp on the words “You are.” She’s thinking of Angel. Her kiss is for him alone.

Note: This is the tune of AOM as Christine is singing. This is all for her Angel!
And now, on the kiss, the music is as triumphant and climatic as ever! Trumpets sound (literally :D )

16.) Crashing cymbals on the kiss! Very much like the ones we heard in TOM, but I think actually bigger and louder! The cymbals are also emphasized here, unlike other points where we heard the cymbals where another instrument was emphasized. We again hear the cymbals crash on the second kiss! This is completely Erik here, as Christine kisses him.

17.) Harp – leading up to the second kiss and as Christine’s lips touch Erik’s, we hear the brush of harp strings going up in scales. Again, Christine is thinking solely of Erik!

18.) Flute – as the melody comes to a close, we hear the flute. To better describe it, if the lyrics were there, it would be “Come to me strange angel.” On the word “angel,” we hear the flute. I think Christine is calling to him, hoping she has shown him that she does love him.


Link to “Down Once More" (Part 4) - click to read

*
Image E/C manip made by me
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