Scene Summary of "Down Once More" - part 4 - 2004 movie

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

Scene Summary of "Down Once More" - part 4 - 2004 movie

Postby honeyphan » Fri Sep 20, 2013 3:19 pm

Scene Summary of "Down Once More" (part four)

Paragraph summary: Christine returns to Erik, again showing him her choice and her love, begging him to follow her and also answering his earlier proposal…she then goes to escape the looming mob and the darkness, thus leaving Erik with a huge decision.


Get ready, because you’re about to see this final scene of the main story in a way you may have never visualized it before!


They show Erik with the music box—it has a red/gold base here (same as it does when he comes out of the lair). They now clearly show the head of the bird on his bed—it’s a phoenix, not a swan, BUT the phoenix was called the “holy swan of song” in HCA’s poem “The Phoenix.” And it was mentioned as being black. That they show it now is a clue to the whole smashing of mirrors scene. The phoenix is a royal mythological bird that sets itself on fire and is reborn from the ashes. Erik set his opera house kingdom on fire ... (more soon.)

To see the amazing parallels to Erik/Christine and this poem (even Raoul as the “sparrow with tinsel on his wings”—here it is (and again, his bed is called a black swan bed in the companion book):


from Hans Christian Andersen’s—The Phoenix

The Phoenix bird, dost thou not know him? The Bird of Paradise, the holy swan of song! On the car of Thespis he sat in the guise of a chattering raven, and flapped his black wings, smeared with the lees of wine; over the sounding harp of Iceland swept the swan’s red beak; on Shakspeare’s shoulder he sat in the guise of Odin’s raven, and whispered in the poet’s ear “Immortality!” and at the minstrels’ feast he fluttered through the halls of the Wartburg.

The Phoenix bird, dost thou not know him? He sang to thee the Marseillaise, and thou kissedst the pen that fell from his wing; he came in the radiance of Paradise, and perchance thou didst turn away from him towards the sparrow who sat with tinsel on his wings.

The Bird of Paradise—renewed each century—born in flame, ending in flame! Thy picture, in a golden frame, hangs in the halls of the rich, but thou thyself often fliest around, lonely and disregarded, a myth—“The Phoenix of Arabia.”

In Paradise, when thou wert born in the first rose, beneath the Tree of Knowledge, thou receivedst a kiss, and thy right name was given thee—thy name, Poetry.



Erik has just had his world rocked by Christine’s kiss and the knowledge of her love, then he did the hardest thing he’d ever done—the one thing he never wanted to do and still doesn’t—by telling her to go away. At this point he thinks he’ll never see her again. That she’s now gone. He has reverted to his childhood, as often is the case when people are extremely emotionally upset. The monkey toy gave him comfort as a child, which he later made into the music box, and so he’s turned to it again. At this point he doesn’t care what happens to him. Christine is his life—“you alone can make my song take flight”—without her he doesn’t want to exist and doesn’t care if they find him. He probably wants to die. (A few sleuthers feel the music box is evil and is luring him back into hiding.)

ERIK: “Masquerade, Paper faces on parade ... Masquerade Hide your face so the world will never find you ...”

His countenance appears ten years younger; he looks like a little boy sitting there as he sadly smiles and sings. As the camera pans they show the lit globe with the white square underneath that was in WHYBMH. This could be a clue showing that he’ll choose the heavenly kingdom and light. It looks a lot like a gate I’ve seen regarding La Feria too (Festival of Lights in Seville), but I think it’s a castle … Also, they show a secret passage in the background never seen before—maybe another clue that Erik will escape.

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They show Christine by the wall, probably having watched him for some time before he caught sight of her. I’m sure at this point she is floored. Despite her king’s command that she go, she has come back to Erik, wanting to see him, to get through to him. She knows the mob is closing in and it was for her safety that he ordered her to go but she doesn’t want to leave him without making one final desperate plea. That Raoul let her return to the king, alone, after all that has happened there speaks volumes—the queen has made her choice, she has matured, and Raoul realizes he no longer has any say in her life/decisions. She doesn’t belong to him. He now recognizes who the true enemy is—the Phantom spirit. Raoul heard the king order them to find safety, so he knows he’s not dangerous.

To see Erik so vulnerable probably shakes her up a bit as you can tell from her expression. She hates to see him in pain and realizes from the words he’s singing that he plans to stay in the darkness and hide.

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He sees her and sings, “Christine, I love you.” First she looks shocked, then she gives a little smile, as if his words were just what she needed and wanted to hear.

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Christine wants to encourage Erik to join her in the light. By the anxious way she looks down at the ring, it’s almost as if she’s thinking “I hope this will work” but she looks worried that it won’t, and that he’ll still choose to remain behind.

An unlit lamp is beside her—from http://www.dreammoods.com/dreamdictionary/l.htm
symbolism of Lamps / lampposts:


"...dimly-lit or unlit lamp signifies being overwhelmed by emotional issues. You have lost your ability to find your own way."


Erik lost his ability to find his own way; Christine came back to show him she would help him (by giving him her ring that signified light, healing, protection) And by placing the ring into his hand and folding his fingers over it, she was showing him she was his for eternity and that she loved him. More on that soon.

"...lamps represent guidance, hope, inspiration and reassurance."

***In Spanish subtitles she sings something like “I did this so we can have hope”--she has come back to guide, encourage, and inspire him.

"...someone who you least expect will prove to be a great friend in your time of need."

**Raoul did that when he sang, “say the word and I will follow you”… more soon …


Erik watches her approach, his expression lighter. He may know she can’t stay with him—thinking also that he doesn’t deserve her—but still his heart wishes for it and to see her approach when he thought he’d never see her again gives him gladness. He doesn’t want to see her go. He loves her. She looks at him sadly. Also she keeps looking at the ring, again, I feel it’s as if she’s wondering if her message to him will work. The ring that means light, healing, protection and engagement. The ring that is hers. The ring that she was NOT returning, because it wasn’t Erik’s ring to begin with and there was no longer a choice to be made—on her part. He had set her free.

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He appears to be looking at her ring, as she looks at him, then he raises his eyes to her face after she has looked down at the ring.

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When she doesn’t look back at him, he looks at the ring she’s sliding off her finger, his expression puzzled. His brows even draw in a bit in confusion as he intently peers at what she’s doing before they switch to a shot of her. He has no idea what she’s doing.


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Notice how hard it is for her to get that ring off. If it was bought for her—it would have been custom made to fit her, but her knuckle turns red as she works to get it off--if you look close, it almost looks as if it's cut. Another reason why I believe this was an inherited ring. (The red knuckle could also apply to Erik and be another clue that she belongs to him)


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She holds out her hand as if asking for his, and when he only looks up at her face as if still trying to figure out what she’s doing, she reaches for his left hand, just as he did with her earlier. Left is symbolic of marriage; left is also symbolic of Erik. He looks down at his hand as if he’s never seen it before. It’s as if he’s desperately trying to follow her actions and what she’s doing.


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She lays the ring in the center of his palm, closing his fingers around it AND around her fingers—she leaves her fingers in his palm holding the ring. She then cups her other hand around his—holding his fingers around hers and holding his hand—exactly as he did to her earlier, when he asked her to spend an eternity with him. By giving him her ring—with the 11 crystals, again all of it symbolic of protection, healing, and light—she was telling him, “Now let me be your guardian—your Angel of Music (Angel meaning guardian in this time period)—come with me to the light and let me dry your tears; no one can harm you, my words will warm and calm you (and they did) . . .Let me be your freedom, let me be your light, come with me where you’ll be safe and no one will find you, where your fears will be far behind you . . .”
She was telling him by giving him her ring that things were not all hopeless as he thought, that she didn’t think him unworthy of her, and she still wanted to lead him to the light, also offering to protect him, telling him no one would find him, etc—all that the AIAOY song meant: A song about being led away from the darkness. They even start to play the song the minute she looks down at the ring after he sings, “Christine, I love you.” By putting it into his hand the exact way he did to her, the symbolism is unchanged—she was telling him it was HIM she wanted to spend an eternity with—that HE held her heart—and that she would be his wife.


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And the above picture says it all. Notice how her hand has completely closed around his. Even her pinky from her other hand is no longer up but is lying against his thumb. Notice also that her fingers are still in his palm—she closed his fingers around both the ring AND her fingers. She was holding his hands, a symbolic way of telling him she was his—exactly as he held her hands before when he sang “an eternity of this.” They were fast with this clue—immediately switching cameras. You can only see this last frame if you slow mo or step by step.

This was the foundation for an avvy (signature) I made on the WB board but I’m posting it here because it shows the close-ups of the ring into each other’s hands—exactly being the same—even both of them being the left hand.

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He looks up at her with a disbelieving little smile on his face, and the way he looks at her, he knows exactly what she’s telling him. Again, the man’s a genius. He’s not stupid. He may have had a hard time following what she was doing before, but only because he never expected it. Also his emotions are in turmoil—and he might not have been thinking clearly. But the following pictures are not the look of a man who’s been rejected—the smile (you can see the crease on his right side where it tips up), the expression of awe—this is the look of a man who’s just been given hope.

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In the last shot, he looks all the way up at her, as if he still cannot fully believe it, his expression one of wonder—and she also gives a slight smile, as if to assure him she means it. Her expression softens in love, as if all she wants to do is stay with him, but she turns to go.

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Now she looks very sad—because she knows she has to leave. All this time she’s been holding his hand—because they show her pull her hand away as she walks from him, and they show his other hand, which at some point had moved to cover hers. Her hands were holding his this entire time, as his were holding hers.


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She did all she could to show him her heart, and that she wants him. She has given Erik a choice. Now he must make a decision.

He’s sad to see her go; he cries. Both of them don't want this separation, but they know she must go before the mob arrives because they'e after her too (the king wants her safe; why he commanded her to leave earlier); also she doesn’t want any part of the darkness that is phantom.
Goodbyes are hard; what she’s asking of him is hard—to leave a way of life he’s known forever as his protection, and to go into the light with her. Into the world that shunned him, abused him, mocked him. Yes, he’s always wanted the light, but it’s still hard to leave the familiar. He doesn’t know if he can after all that’s happened. He’s vulnerable—he’s always depended upon the Phantom spirit for protection, for guidance, ever since he was a child. Without the Phantom he doesn’t see how he'll survive, (This is shown in first part of DOM when he sings how people treat him.) Even though phantom has been his jailer and has made it obvious how he’s turned against him, the king is still uncertain of what to do.

A shadow crosses his face—but Christine is in the boat already, because they show that shadow as she sings. It is not Christine’s shadow. Phantom spirit is back and is trying to lure the king to remain in the darkness.
Shadow crosses his face—after she leaves:

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As the king hears her first words of love to him, the shadow dissolves until it is totally gone ... Erik closes his eyes, tears fall onto his cheeks, he swallows. Again, her love—in song this time—has made the Phantom flee. Maybe Erik resisted the evil spirit, after hearing her sing to him. But at the same time, he might be struggling with how she thinks she can help him—and him actually being able to go into the light—due to the entire night’s events and all he’d allowed/done. I’m sure he’s battling many questions and thoughts at this time…

Her love song to him begins—she’s in boat—shadow starts to disappear as she sings:

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Shadow completely dissolves:

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A very important clue about the song: Notice where Christine starts singing it:

CHRISTINE: “Say you'll share with me one love, one lifetime . . .”

This is not the beginning of the AIAOY song. This is the line directly following the lines that Erik sang in PONR when he proposed to her, “Anywhere you go let me go too, Christine, that’s all I ask of (you). . .”

She took up right where Erik left off and is answering the proposal he made in PONR and his plea of her leading him to the light—she is singing to him, and they show even more proof of this later.

When he hears her song of love to him, her answer to his proposal, also underlining to him what she meant by giving him her ring--as she further urges him to change his mind about staying behind and asks him to come to her—his expression/body language is as if he’s being faced with a difficult decision. By his smile he gave her after she gave him the ring, he's amazed by what she’s told him with that silent message, and I think he admires the woman she’s become, but he can’t see her as his guard, his protector. Especially, when he’s always been hers, and even she was susceptible to the Phantom spirit.

But then ...

He hears Raoul. And his eyes flick wider in surprise, as if now he’s fully alert. He never expected Raoul to sing to him in his mind—but Raoul now knows King Music, has seen him, and realizes he truly exists and is indeed a king. In the memory/idea of his childhood he has found a living man. (We know Raoul can do the telepathy, from WHYBMH and also when he runs into the stables before cemetery scene.) He’s seen Christine and the king together in PONR, and then to make it even clearer to him, he’s seen Christine’s decision in how she went forward to Erik and kissed him so passionately—and he realizes that she truly belongs to the king. Her heart is his. Rauol doesn’t have the stance of someone who’s victorious. He seems defeated, resigned, but he’s made a vow to Christine as her priest to always protect her, and now he’s telling the king—

RAOUL: “Say the word and I will follow you.”

It appears that only those who want others to hear them singing in the mind can hear it, since Christine heard Erik sing to her on rooftop but Raoul did not. But now both of them want Erik to hear them, because this song is to him. When Raoul sings the above, Christine is looking toward him then looks away—so she heard him too. He has just promised to serve the king if the king wills it, and I imagine she was surprised to hear that. You can tell Erik is.

One more thing about this line. On the rooftop, Christine sings it; here Raoul does. If it was just him singing to her there would be no reason for him to sing it since it appears she’s going with him. Why should he sing to her—“Say the word and I will follow you”—since she is with him in the boat? What word needs to be said? This was not all about Christine—it was about the king too. The priest of light has just offered to serve the king, and as such, offer his protection. Remember the symbolism of an unlit lamppost, which they just showed— “someone who you least expect will prove to be a great friend in your time of need …”

The below pictures show Erik’s eylids flick up as he becomes alert upon hearing Raoul—it's easier to see in motion--but here it is anyway:


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And NOW Erik comes out of his bedroom, his face a mask of shock. He didn't come out when she was singing—only after Raoul did. He is obviously stunned, as if he cannot believe that Raoul would forgive him, even offer to protect and follow him as king. In Raoul, he has met a worthy opponent. He knows that with Raoul to serve him, he has a chance outside, since Raoul is a protector of those who serve the light—and Erik knows he is his brother. (Some believe that Raoul knew too, and his mission was to help his brother from the moment he came to opera house, but got sidetracked by seeing Christine again and later was deceived by Phantom.)


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To Erik, suddenly the idea of a life with Christine doesn’t seem unreachable. They also show him in picture above cupping the ring.


CHRISTINE: “Share each day with me, each night, each morning...”


When she sings this, she turns around to look at Erik and they show her mouth isn’t moving—it's closed. She is singing into Erik’s mind, as they’ve shown her doing before, in AOM, POTO, and the carriage, etc. And we already know he can sing into her mind. Another clue that this whole song was to Erik. They show twin statues of what looks like could be Atlas carrying the world. Notice also—her sleeves are again up now that she’s with Raoul. She is not yielded to him, because her heart doesn't belong to him, like it does to Erik (which they've shown her sing in foreign subtitles--for some reason my DVD player on my main PC doesn't capture the subtitles in pics anymore, though I'm going to try it with the one on my laptop when we get it working again ... also remember to click on any pictures surrounded by blue dots if you want a bigger picture.)


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Right before they switch to Erik, they show her face and she looks as if she's about to cry. They're about to turn the corner, and she knows she may be looking at him for the last time. She has no guarantee he'll make the choice she wants him to make; her brows sail upward in the middle, her face very sad. It is then that they switch to Erik. This is not the face of a happy woman (this is regular and in two different zooms, since I’ve found that some can see better smaller and some bigger.):

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ERIK: “You alone, can make my song take flight.”


The soothing way he sings this is as if he’s reassuring her. He even smiles the slightest bit, his lips turning up at one corner, as if to say, “It’s all right. Don’t cry. You’re the only woman for me, the reason for my existence. I’m coming to you.” He sings the words in present tense—not saying she’s the only one who could have made his dreams take flight—but that she is the only one who CAN make them take flight. He has a bittersweet expression—he has realized his dream—Christine loves him and wants him for her husband—but the point of him reaching that realization has been very traumatic for all involved.


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He sings the end of MOTN to the AIAOY song—the ending line has the same tune as “Anywhere you go let me go too”—He sang that on the bridge—but he doesn’t sing it now. He already is going to be with her so doesn’t need to ask it of her any longer—now it’s all about reassuring her that he’ll soon be there. But first, he has to take care of some business …

And suddenly Erik doesn’t have the ring in his hands. Judging from what I believe this to mean—when the ring disappeared from around her neck before she kissed Raoul at Masquerade Ball, and when it disappeared from her hands in DOM, and we know she’d planned to marry Erik by her words and actions in clues—the disappearance of the ring means “acceptance of the promise.” and the ring also means protection. So this is a clue that he has accepted Christine’s silent plea—to join her in the light, and by doing so, he will also marry her, as they both want. And we see even more hints of this in a minute. And he now has and has accepted the protection needed to destroy the hold the phantom has over him.

The red and gold throne is very visible now. A king’s throne. Also what looks like a dragon (?) is to the right of it, showing just who ruled the king. But the king has had enough—and they now show FOUR candles lit, when before he went into bedroom there were only three lit. Erik is back, and he’s about to put an end to the darkness of his life—the music of the night is over—because he wants the light and Christine—and from all her actions and her song to him he realizes all that is still possible. He’s angry—at himself for letting it come to this, at Phantom for deceiving him that Christine could never love him because of his face, etc.


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He storms down the stairs and they show the mannequin. We have been shown repeatedly in this movie that it symbolizes Christine. We see it has the veil on—though Christine dropped it on the floor earlier. But one thing—he's not looking at the mannequin. Remember the importance of how they've shown the POVs before. Since Erik never looks at the mannequin, we are seeing it from the mannequin’s—or rather, Christine’s POV. Just as we did when she was looking at him earlier when he sang “An eternity of this before your eyes”—the veil was missing then. She wasn’t ready, because the darkness first had to be broken over his life. But now she’s ready, because he’s about to break the darkness. We’re seeing this through her POV, not his.

He pays absolutely no attention to the mannequin, but as he comes into view, through the mannequin, it’s as if they’re showing us foreshadowing of how Christine will be feeling—what will happen in the future. He’s singing about breaking the darkness over his life, he’s accepted the ring, and when he comes into the mannequin’s view—The mannequin smiles.

It actually appears to go from an unsmiling expression to a smile as he walks by—and I believe this is to show Christine will be overjoyed. Her king is making the decision she asked of him, and she’s wearing HIS veil, waiting for him to join her. Just like the statue of Venus (also symbolizing Christine) seemed to smile at cemetery during sword fight—the Christine mannequin now gives the same slight smile that she always did when they showed Christine (Emmy) in the dress as the mannequin in MOTN and STYDI, and Emmy gave that same slight smile.

First is a picture of what the mannequin looked like earlier—and then a series of pics showing the smile get bigger. When he comes into the mannequin’s view, the smile gets biggest, though it is always slight as Christine's was. But the entire mannequin seems more lifelike—the color high, the cheeks bunched up and blushing—as if showing Christine will be the happy blushing bride and get her wish. Erik is coming to her. Also, this is just like what happened with Isabella bursting out of her bridal chamber in her wedding gown the moment after Robert was freed from demons in the Robert le Diable opera. And Christine was symbolic of Isabella too.

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not smiling:
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starting to smile:
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Erik in full view--smile bigger:
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Here is a side by side to compare a before/after:

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I believe they did this computer graphically--even the angle of the face is different and down more, as if she's staring straight at Erik--instead of up and lofty as it was, as if she looked beyond them. In short, her face looks almost human, lifelike.

As he sings about the music of the night being over, they show a better view of what they hinted at earlier when Christine unveiled the mirror—what looks like part of the phantom’s cloak, as if he’s sitting by the curtain and mirror, and a chain is there. I believe this shows the phantom spirit is there—any reference to “chains” in the movie is about him.


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When Erik sings “Music” they show what looks like a blue music staff zip across both his head and toward his heart only on that one word—“music.” And I believe this is the clue of what those blue lines mean—to show us he IS Music. King Music. As other clues have also shown.
Perhaps it shows up both in his middle and his head because Christine is also Music, and it shows in her head throughout movie—but now they are one and soon will be joined in marriage, so now it shows in the king in both places. And the blue ray of light is thick and STRONG, stronger than it's ever been before. His spirit is now strong—he is overcoming the darkness.


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Where only one mirror was uncovered before, now two are suddenly uncovered. “2” again meaning control/possession (Erik & Phantom). I think this is symbolic of Erik breaking the phantom’s control over him—and he smashes each mirror twice, again pointing to that. But he smashes THREE mirrors. Three = Phantom spirit. So the king is not only breaking the control Phantom had over him, but also destroying the power/hold the phantom had over the kingdom and people there. And the last mirror he breaks and walks through is the mirror that symbolizes the king—red and gold. He is breaking his hold over him entirely.

In the symbols chart/book, mirrors represent magic and were used in divination, and Erik was called a magician. Symbolically, mirrors were doorways for spirits to enter. They showed that shadow approach the moment Christine uncovered the mirror (Victorian symbolism pointing to that veiled mirrors prevented spirits from entering the area), and then they showed the specter between those mirrors, which were suddenly wide apart—and are still wide apart. By breaking these mirrors the king is putting an end to his kingdom of darkness—his music of the night—and to the phantom’s control over him. As he breaks the first mirror, in the mirror’s reflection fire falls from inside the lair—first time they’ve shown it fall INSIDE his lair, the seat of his throne—the central point of the kingdom (the heart of it) because it’s where the king resided. A lot of it begins to fall as he breaks the second mirror—they show it in the reflections of the first mirror. Also, when he goes to third mirror—they show the fire falling in the second mirror.

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When Raoul looked down, down, down that long stairwell, it was stone. When the Phantom/Erik took Christine down the levels below the opera house, it was stone. He is many levels below the opera house. Fire cannot fall through stone, and they showed no wood. The fire that is falling is not from the opera house. (Also, we see proof of this in b&w scenes—the opera house, and its floors, are still intact.)

The fire that is falling is a spiritual fire—IOW, he is putting an end to the darkness—the evil magic—and THAT kingdom is falling. This also fits in with the Phoenix—the royal bird who sets itself on fire to arise reborn. Likewise, Erik’s kingdom of darkness is now falling by his own hand. Before this, the fire fell outside the lair, shortly after the white light entered during his kiss with Christine. (Remember how the Phantom blocked the light out in POTO/MOTN by putting down the gate) But NOW Erik is destroying his kingdom—and the fire falls inside the throne room to show this. Like the phoenix, he will arise spiritually reborn, better than he was—going toward the light—and leave the darkness behind. We see further proof of this in a minute.

And so, he smashes the mirrors—smashing both of them on the left side. Left symbolic of him. As he does, the music is TRIUMPHANT. It is not sad music at all—cymbals crash, it is very upbeat and victorious. The music of a victory—the king is taking the upper hand for the first time in his life and destroying the evil that’s kept him bound in chains. He is not only winning the battle--he's winning the war over the Phantom. He is the only one who could do that. Christine couldn’t do that for him. She could point him in that direction—and did, filling him with hope he never had before—but he had to make the choice. And he has done so.

He uncovers the last mirror—which is covered by red and gold—kingdom colors—HIS mirror. And looks at it a little oddly.


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He hits it twice in one area, unlike he did with the others. The first time he hits it—another mark appears to the right like he’d struck it there too, but he only hit it once. Two marks—one on left, one on right—then he hits it again—the second time he hits it but three marks—destroying phantom control.

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He has only struck it once, but two marks appear:


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From the inside of mirror, before he strikes it, there is a pattern that was not on other side—it looks something like an eye.


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Then he strikes it in what looks like the center of the eye:


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There appear to be faces of screaming skulls and demons if you look carefully and frame by frame it and zoom you can see details—(I think they added those things through CGI—computer graphics) and that makes perfect sense. Because he’s breaking the kingdom of darkness, those kinds of things would be in a mirror that represented evil and magic. The things are screaming because he’s putting an end to their power over him. Also, we see a red devilish face that looks like part of the curtain, to the far left—it has a defeated expression.
Here’s just a taste—not zoomed. It looks like spiders and screaming demon/skull at bottom—one thing reminds me of woman statue at cemetery with screaming severed head in sleeve, pincers over it, etc--but what is really interesting, as this is frame by framed, those round lines that formed the “eye” just disappear into blackness—they don’t implode like the rest of mirror … they're just gone--fade away--which shows me this was graphically done.

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Erik has a “there, now it’s finished” look on his face as the shards of the final mirror splinter—a satisfied look. He’s smiling. And now they show something else, after he’s broken through the last mirror—a ray of white light is shining behind him that was NOT in his lair before this. It is shining into the tunnel, as if to point the way, to encourage.


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He glances back—I feel it was to look once more upon what had been his home for 22 years. It’s natural to look back. He is leaving everything behind—everything that was of the old, including the memory of his childhood symbolized in his music box—and he’s going forward, into the light to join Christine.


Erik walks over the shards, but three important things to note—a) This is a CLOSE-UP. b) light appears at his feet. C) These are not the same tall, snug black boots he wore—these are shoes with bulkier spats (not form-fitting as boots were)—showing he’s changing his footwear/protection. He is no longer allowing the Phantom to guide him. The boots are gone—now he has shoes on.

before:
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So, guess who will now help him? Raoul. Raoul has been shown as symbolic of shoes—shoes protect the feet, and feet are symbolic of an upright spirit in symbolism. Raoul is a priest of light. A priest protects the spirit. Also the Little Lotte song points to him being symbolic of shoes, AND Christine was always barefoot when alone with Phantom/Angel (I believe there are dual meanings for this, but it’s partly because Raoul symbolized shoes and he didn’t want her under Raoul’s protection.).

They showed four close-ups of shoes with the people in them in entire movie—and close-ups are always important in film. First they showed Raoul’s shoes at auction, a few minutes later they showed a close-up of Christine’s ballet slippers with her in them at beginning of movie as if showing he would protect her throughout the movie—and he did. Then after chandelier fell an opera patron running down the stairs ahead of everyone else and wearing pink ballet slippers (symbolic of Christine and how Raoul would save her from the mob) And now, this is another close-up of shoes with Erik in them and the light on them—which I believe shows that Raoul will help him in the outside world. Raoul sang, “Say the word and I will follow you,”—the king heard it and acted upon it. He is going to let Raoul be his priest and protector. All kings have priests (those who serve them), and Erik is switching sides. He has conquered his fear, gained the love of his queen, put to death his alliance with the Phantom, and is now going toward the light and a new life--with Christine.


Link to “Down Once More" (Part 5) - click to read

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honeyphan
 
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