Summary of The Auction - 2004 movie

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

Summary of The Auction - 2004 movie

Postby honeyphan » Fri Sep 20, 2013 3:32 pm

****Scene summary of The Auction****

Paragraph summary: Raoul, despite his very bad health, makes it a point to go to auction for one thing--the very item that Madame Giry is bidding on, for Erik, who has again retreated to the shadows. Erik sees Raoul is there and how much he wants the music box. He stops Madame Giry from bidding, and hears Raoul's plea … through uncovering the chandelier and bringing a part of the past back to life, the phantom is again released.

please note: I am basing all the b & w scenes on clues shown throughout all of movie. When it comes to supposing what happened in those 49 years, I am trying to fill in the blanks with all clues/symbolic meanings shown, and/or things learned from main part of movie, etc.


The title The Phantom of the Opera comes onto the screen; the candle flickers lit.
Perhaps this is more than just a cool way to begin a story (and end it when flame goes out) I feel this could also be a clue to watch candles when they are suddenly and inexplicably lit or extinguished throughout movie.

They show a black and white postcard and before I go any further, in the companion book it says:
“The world of 1919 is quite gritty and quite real, but it is still a fantasy.”

This appears to be more proof that the hidden plot is indeed a fantasy.
Definition per Webster’s II New Riverside University Dictionary: fantasy:
“Literary or dramatic fiction marked by highly fanciful or supernatural elements.”

1919, Paris, France—the whole area—not just the opera house—is rundown, in disrepair. Lights are broken in the streets; the other buildings don't look as they did in their glory years either. There has been a World War that just took place here, and that is likely why. The camera zooms in through gates that are open, as if taking us, the viewers, on a journey through the entrance into a kingdom.

Raoul’s car pulls to a stop and they do a close up of the shield—the same marital shield that was on the coach in the POTO intro. To refresh: According to research in “The Complete Book of Heraldry” by Stephen Slater—a marital shield is the only kind that has a mini-shield in the middle, depicting the wife's side of family. No other shield is like this. If it was just about it being a family shield that has been passed down through the centuries, I feel the POTO creators would have picked a general one—and not used a marital shield. These people did their research, Sir Andrew Lloyd Webber is a British lord; I think they knew what they were doing. . .and I feel this symbolism was important in showing something pertaining to the hidden story.

Because they show the same marital shield in POTO intro, when Raoul is a young man, that would mean it couldn’t have been his; it would have to be his father’s crest. And if it were Raoul’s shield on the car door, they wouldn’t have shown the same shield on the carriage. Instead, his mini-shield would depict his titled wife (also nobility) and show her family crest, as well as part of his mother's in the main shield.
If he didn’t marry a woman of title, then he wouldn’t have the marital shield either—his shield would resemble Erik’s in the lair. This makes me feel, since the shields look the same—that Raoul never married. Again, if it were a different marital shield, and he did marry, then the b&w shield would have changed to show part of the middle shield in the main shield as well. That it didn’t change—and that they chose to show a marital shield both times—same shield—when they could have easily shown a regular family shield instead—speaks volumes to me. These people were meticulous and accurate in all their research…See both pics:

Best way I can clarify this—a driver’s license belongs to one person and one alone. You don’t give it to another or pass it down. Same with a marital shield—it belongs only to that person (or couple—man/wife) whom it describes (by symbols). I apologize for the fuzzy one at the end on the zoom--I included that to show the general outline of the symbols--they did not change; it's the same shield.

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They focus on the driver’s boots as he opens the door and we then see the focus on Raoul’s shoes as he gets out of car. (Some think “boots” could mean phantom—because of both cemetery scene and the ending DOM scene when Erik’s boots change into shoes, and this shows Raoul trapped by him now.) Raoul is helped into his wheelchair, and they do a close-up on his shoes. (In the close-ups of the main movie, it was always shoes they showed, not boots, and Erik changed from boots to shoes in DOM as he walked through the secret tunnel.) And that’s why I feel this is another big clue that Raoul is connected to/symbolizes shoes in this movie—because they made it a point to Erik’s footwear change when he goes through the mirror. There’s also the Little Lotte clue, and the fact that the Phantom/Angel NEVER had Christine in shoes when she was with him. Her pointed shoes disappeared as she went through the mirror and she was suddenly in stockings. In PONR, she was barefoot. Shoes protect the feet, symbolic of an upright spirit. A priest protects one’s spirit. And Raoul was a priest of light in hidden plot. But something happened after DOM, and now he needs help …

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Raoul is now lame. In symbolism, lameness means “weakness of spirit.” Something has happened to this man to change him from the proud, strong man of the past into one who is without hope, who is weak and susceptible to darkness. He has returned to Paris (as the companion book says) to attend this auction. Why? He needs hope again; he needs to release his bitterness. Companion book says:
“…although 15 years younger than MME. GIRY, he does not enjoy her good health.” He's aged quite a bit and looks the same age as her. So what could have happened to weaken his spirit and cause him to give up hope, to leave the light?

A) The woman he loved married his bitter rival. I do believe he served them and helped them and protected them, but I also believe it was very hard for him, perhaps it was more out of a sense of duty than choice, and I feel he did it because he loved Christine. I don't believe he ever loved her as much as Erik though--again through clues shown (i.e.--Spanish translations of the same words used for "Christine I love you" in both Angel's and Raoul's words--Raoul's meant "adore", Angel's meant "love"--the word used meaning the strong romantic type of love.)

B) He lost the title of Count that he always thought he would one day gain—and worse yet, he finds out at some point, during those 49 years after DOM, Erik is the relation who it went to (my strong belief from several clues shown—his brother.) ... At some point in those 49 years, he discovered that Erik was Erik de Chagny, a relation and the firstborn son of the existing Count (Raoul’s father)—the true holder of the title. I also believe ALW/JS read that POTO history website and jumped on this. Because in the POTO film companion book it says that the G.L. book is “faction”—“in which, as they put it:
real characters, events, and places are interspersed with fictional elements of the narrative with such precision that the join between truth and imagination is blurred.” (p. 16)
That they included this in the companion book and gave Erik crests that show he’s a Count, as well as putting the white horse/rider symbolizing Raoul nearby, appear to show that these are clues they wanted to get across. Because upon investigation of that website they showed these “real characters”, in a family tree with two men named Raoul and Erik de Changy, etc. I’m not saying this idea is true and that they really existed—I’m saying JS and ALW could have come across that website when researching and decided to incorporate that same idea in the movie. That Erik was a de Chagny, related to Raoul, and the true Count. And Christine would be the Countess (something Raoul DID NOT want in Prima Donna, making it even clearer through words he sang in libretto, which makes sense since that song was foreshadowing that she would be Countess. It doesn’t make sense otherwise that he wouldn’t want her in the starring role, but instead have only a minor one, where she did not sing.)

C) There has just been a devastating World War fought on his home territory, and the country is trying to recover again.

D) Music has been silent (shocked? More soon. . .)

In the close-up of driver’s boot, a sleuther found what appears to be something that looks like a moon. When they show a moon on wagon wheels in movie, there was a time discrepancy—Raoul getting to the cemetery much later than Christine. I’m not sure that’s supposed to be a moon in driver’s boot, but it doesn’t look like anything to do trousers or boot; I don’t really know what it is or why it’s there.

The driver pushes the wheelchair, the nurse walking with him, but inside it’s only the nurse. This makes sense since the driver left the car parked at the front. Drivers were supposed to stay with the cars, so I'm not sure if this is a clue or not.

From the balcony overlooking the area in which WSS took place they show the scene from some mystery person’s POV as the nurse wheels Raoul inside. I feel this is Erik’s POV, since he is the only one they showed in the flies in the main movie. Erik alive, not in spirit.

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AUCTIONEER: “Sold. Your number sir? Thank you. Lot 663, ladies and gentlemen, a poster of this house’s production of Hannibal by Chalemeau. . showing here. Do I have 10 francs? Five, then. Five I am bid. Six? Seven? Against you, sir, seven. Eight? Eight once, selling twice—sold to the Monsieur Deferre.”

Things are falling apart, but I don’t think it’s all because of the fire 49 years ago, and a lot of the reason the roof has holes could be due to bombings (war) neglect, etc. The opera house is still standing—the floors are still intact. The fire did not affect them, and therefore could not have fallen many levels below to Erik’s lair in DOM. That was signifying a spiritual destruction in a “phoenix” symbolic way—King Music breaking the kingdom of darkness (Phantom control). The camera scans the area, ending with Box 5. The number “5” signifies Christine and Angel together as a couple. This is Erik’s box; I feel he hid here while the auction was going on. More on this soon ...

They show a man in the background walking on for a few seconds and taking a drag off a cigarette. M. Giry takes a deep breath, as if impatient—from her body language she is waiting for something in particular to be auctioned. And so is Raoul. Because he shows little interest until lot 665. M. Giry is there solely for Erik. He wants his music box back.

AUCTIONEER: “Sold. Your number sir? Thank you. Lot 664, ladies and gentlemen, a wooden pistol and three human skulls from the 1831 production of Robert le Diable by Meyerbeer. . .”

When he says this, on the word “Robert,” the little Italian-looking man in back of M. Giry flicks his eyes toward Box 5. That he does it only on the word “Robert”, flicking them back very quickly before "le Diable" (devil) is said--seems to be a hint showing Erik is there, since in that opera, Robert was symbolic of Erik (and Phantom was symbolic of Bertram/devil). In DOM scene summary I showed that the opera Robert le Diable by Meyerbeer is almost a mirror in theme to POTO—and also one of many clues that Erik married Christine.

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“3 human skulls” represents the Phantom spirit (because of the number “3”),so this would show the Phantom is soon to appear. This could also show that the phantom spirit was responsible for the three deaths (3 human skulls) in the movie—the gypsy at carnival, Joseph Buquet, and Piangi. Yet they only show two skulls. I believe when two candles are suddenly lit it means possession, but here it’s not Erik who is controlled.


AUCTIONEER: “Ten francs for this. Ten, thank you. Ten still. Fifteen thank you, fifteen I’m bid.”

As M. Giry notices Raoul, the man behind her has his eyes flicked all the way toward box 5, keeping his gaze there all this time, and he looks stunned, as if he sees evidence of Erik there.

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Here’s a picture of box 5 in position with where they are standing. Auctioneer is a little to the left of M. Giry:

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AUCTIONEER: “Going at 15.” (Raoul now notices M. Giry.)
“Your number sir.” M. Giry looks at Raoul, as if now a bit anxious, definitely looking more alert--and the man in back is still looking toward the box 5 area, then he moves his eyes toward us, the viewers, his eyes very wide. A man walks by smoking a cigar and holding something up in his left hand. The man in light tophat appears all throughout the first of these scenes in the oddest places. Question is, who is he? And there are a lot of references to smoking (and an ashtray shown in close-up in TOM--to show smoke? Phantom? Also of interest—he is not listed in the credits/cast.

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AUCTIONEER: “And now, lot 665, ladies and gentlemen: a papier-maché musical box, in the shape of a barrel-organ. Attatched, the figure of a monkey in Persian robes, playing the cymbals. This item, discovered in the vaults of the theatre, still in working order.”

Raoul grows more alert, signals his nurse. M. Giry sees and also grows more alert—they are both there for the same thing. I read on a website that 665 is considered a number of man—this fits, since this music box symbolizes Erik, the man.

PORTER: “Showing here.”

In "I Remember" red/gold design: Image
In DOM solid black: Image
Here—w/ same design as when it was red:
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When the monkey plays--all by itself (again, Erik is there), and porter moves it back and forth, we can see the design is back—meaning the red must be on the box too. Because when the box was just black, there was no design. I think this is yet another clue showing Erik is the one at the opera house, at this time. He is there since this is what it looked like when he was there in STYDI and DOM. When the music just suddenly begins to play, (without the porter winding anything), Raoul looks a bit surprised, and M. Giry looks a bit worried/moved. My feeling is because this shows that Music has not played for some time. Hearing it again, not only brings back the past, but shocks them to hear the King’s song again.

AUCTIONEER: "May I commence at fifteen francs?”

When he says this, in the longshot, the ray of light is now shining down on the music box, where no ray of light had shone before. To me this shows Erik is now in/of the light since the music box symbolizes him. I'll try to get a picture soon--I tried to take it to day, but my laptop dvd is acting up--so it might have to wait til I have my main computer back before I can post it...) They show the light shining on it in the longshot for these few seconds; afterward its gone. (like the clue with the brief ray of light in PONR and DOM

AUCTIONEER: “Fifteen, thank you. Yes, 20 from you sir, thank you very much.” (Raoul makes a bid.)

AUCTIONEER: “Madame Giry, 25. . ."

As he says the first part, she flicks her eyes to Box 5 and then back again and gives a little nod, exactly as she did when she looked at someone viewer couldn’t see in Hannibal/TOM as Christine went up to sing. She did the same in Notes. I believe it was Erik with whom she was doing this silent interchange since she served him.

watch her eyes:

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AUCTIONEER: “Thank you, Madame. Twenty-five I’m bid. Do I hear 30?. Thirty. . ." (Raoul’s nurse lifts her hand.)

AUCTIONEER: “And thirty-five?”

We clearly hear an “a-hem” –a voluntary action of a man clearing his throat at a silent auction, different from the coughs before--and a signal to M. Giry to stop bidding. We know this because we see the man behind her again flick his eyes toward Box 5 immediately after hearing the man clear his throat. . .then M. Giry again looks toward the Box 5 once, before shaking her head no to the auctioneer. When she does this, the man behind her again flicks his eyes to Box 5. This seems to be strong evidence Erik is there, on top of all the other clues they've shown. Erik wanted Raoul to have the box, probably curious to why he wanted it. He soon finds out …

watch their eyes:

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AUCTIONEER: “Selling at thirty francs, then. Thirty once, thirty twice. Sold, for thirty francs to the Vicomte de Chagny. Thank you, sir.”

The auctioneer knew Raoul by sight; he therefore knew he was a vicomte, and not a count, and addressed him as such. Raoul did not appear upset--which he would have been if he had been addressed wrong. IF Raoul were a count, they could have easily fixed it in movie so the viewer would know that this old man is the same young Raoul. They showed it with the similar crests, and with his voice, when he sang in his head to music box, sounded like the young Raoul (Patrick Wilson)--so I do not think that they had the auctioneer call him vicomte just so that the viewer would know it was him. That would be a sloppy reason for the movie industry to keep the name vicomte and have Christine become a countess.
If it was that important that they kept it as vicomte ONLY so viewer could know it was Raoul--then Christine's title would have been different on the gravestone too—the wife of a vicomte would be a vicomtesse. Sir Andrew Lloyd Webber is of the aristocracy; he would not make such a mistake. The title would have matched Raoul’s, if she had been married to Raoul--there was no reason to change it to Countess unless they were trying to show something else: that her husband was a Count. This was all added in for movie (wasn’t in stage play), and I believe for hidden plot, they did this to imply she did not marry Raoul, but did marry Erik.


Once the auctioneer says the above, Raoul takes off his right glove, preparing to receive the music box, but he doesn’t take off his left one. Why only his right glove and not his left too?

This is from symbolism chart:
"The right hand glove has often been given a special meaning, as it is a custom to remove the glove when approaching a person of higher rank, or an Altar or the Lord – it symbolizes disarming oneself before one’s superiors, and since the right hand pertains to the voice and to the rationale side of Man, it is a custom which suggests candor and the frank disclosure of one's mind."

In Opera kingdom, Erik was king, and higher in rank than Raoul—and music box symbolizes Erik. In “real world” Erik is also higher in rank than Raoul—Erik was a count, and Raoul was the viscount (vicomte). Rauol was paying respect to a superior, and now Raoul is going to be sincere—he will be truthful and disclose what is on his mind. Just as the symbolic meaning for this gesture shows. All of what he does, all of who they are in hidden plot (king/priest; count/viscount), fits the symbolism for removing only his right glove.

Madame Giry watches, inclining her head a bit as though curious.

RAOUL: (sung in head) “A collector's piece indeed... every detail exactly as she said... Will you still play, when all the rest of us are dead...?”

*Two very important things about this—He is asking a question, and in a movie, a question is always answered. Not to do so would be to leave a loose end. More later.

*The music box symbolizes Erik, as shown many times in hints in movie. They showed the gold décor on the front just now, which was shown only when it was red. NOT when it was black. They have shown other clues that Erik is there—and he is watching. Raoul sings to the box in thought, the music box symbolizing Erik—and Erik hears him. Just as both Christine and Raoul sang to Erik in DOM, through telepathy, Raoul telling him “say the word and I will follow you”—Raoul is singing to Erik here; he knows he has retreated, etc, and why. He is asking King Music a question.

Music has been silent, possibly withdrawing into the shadows once his beloved Christine died two years before. She was the only one to care about him, the only one to LISTEN. (Very important to remember.) A clue to this is when Erik sang “You alone can make my song take flight. . .” And now, she is no longer there, no longer with him. He no longer has his beloved companion and wife. His song has died because he is empty.

I feel, and this is just where I am with this (after putting together all the clues/symbolism they showed), that when Erik took what Raoul thought one day would be his title, and Erik became Count, as well as having Christine as his wife—Raoul grew bitter, which later affected his health, etc. I feel at some point in those 49 years, he stopped following the king and stopped following the light. But now, he is old, he is tired, and he desperately wants to know happiness again. He needs closure; he needs to forgive and be forgiven for falling away. At one point, he helped Erik, when he followed him/protected him in his role of priest of light, and that is why he would call the box “old friend” (as he does in libretto) and why he would gently touch the robes of the monkey with reverence.

That he remembered what Christine told him about the box isn’t surprising—in the French translations of TOM Raoul says “I never forget.” The translator said this was an odd way of showing the verb tense for the song at that point, that to fit, it should be “I have never forgotten.” I feel it was purposely done; a clue to show Raoul always remembers--as he's remembering here. And notice something else—he’s crying. You can see the tear near his eye. This is very hard for him.

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AUCTIONEER: "Lot 666, then"

666—in literature/movies has long been a symbolic number for evil—this represents Phantom spirit, and the item to be auctioned is what Phantom spirit was responsible for destroying. a chandelier in pieces. Some of you may recall the strange affair of the Phantom of the Opera, a mystery never fully explained. We are told, ladies and gentlemen, that this is the very chandelier which figures in the famous disaster. Our workshops have repaired it and wired parts of it for the new electric light. Perhaps we can frighten away the ghost of so many years ago with a little illumination, gentlemen?”

Many lines in this seem to be clues telling us there is a mystery to be solved, giving us an idea where to look, how, what for, etc. I underlined everything I think fits with that. Illlumination brings light to the mystery—and the key to finding that mystery is in pieces—in movie, in companion book, in subtitles, in lyrics, in soundtrack, etc. "Frightening away the ghost of so many years ago, with a little illumination"—could be a clue that this is exactly what did happen—the phantom spirit retreated due to the light and Erik’s decision to follow it and break the darkness, etc. Also, once the chandelier is lit, the Phantom spirit returns, but he does not remain . .(some believe he goes into the music box that Raoul holds. I'm not sure because of something shown later), Raoul is now susceptible to the darkness since his spirit is weak--lameness being the symbolic meaning for that.

The cover comes off the chandelier—it lights up—and the cool music starts. They show a statue, but it doesn’t fit with any of the statues they have formerly shown in that area in the main part of movie, which were for the most part nude. THIS STATUE IS IN A CLOAK. The only statues that wore hoods and cloaks were the ones flanking the stage, but this one isn't near the stage. And the only other statue in a cloak is the phantom specter at the top of stage. When we see this statue again, it doesn’t look the same, and appears more like an actual figure in a cloak, I think symbolizing the specter/phantom spirit. They show this only after the cover comes flying off the chandelier—the one the Phantom spirit caused to crash to the ground.

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As the chandelier rises, a wind comes from nowhere, and both M. Giry and Raoul stare in horror. I feel this shows that the phantom spirit has been released by the raising of the chandelier. They even focus on a chain hanging down from chandelier when it's first raised, and then immediately switch to the cloaked statue—last picture—another clue showing Phantom spirit has to do with chains—each time they mention chains or show chains in movie, it relates to Phantom spirit. They were all in chains (bondage) to him.


The opera house appears to be blown by the wind into what it once was, and they show that when the wind hits the statues, the curtains beside them immediately turn red—but in the companion book they remain black. (Perhaps a clue showing that Phantom is again active and there, or a two showing two ruled the kingdom. We know he wasn’t in the music box, because of the pretty gold décor on the front—again, only shown when Erik was there. This also could be a clue that the colors red/black are important and to pay close attention to when they are suddenly used.)


**COMPANION BOOK CLUES**

In companion book the following sentence is capped and underlined:
P. 60:
“. . .but as we MOVE closer to the open main doors we then HEAR the AUCTIONEER’S GAVEL.

Also, in the b&w pictures of companion book the porter holds the box— and it looks black and plain. No gold décor—perhaps a sign that we need to look closely at the box, and when we do, they show Erik’s colors—a sign he IS there at auction. Hiding in the shadows, but there. I’ll get the companion book pics soon and add them here.

Raoul’s right hand is in a different position in the scene shot than it is in the movie. In movie it’s on side of box, in scene shot it’s on top of the mat monkey sits on. Maybe showing we need to see his hand is bare and learn the importance of why his glove is off.


Here’s the picture of the auctioneer—notice in CB pic there is no design on the box.

1st picture: (in companion book)

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2nd picture: (movie)


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Spanish translations of Raoul’s song to music box:

A collector’s piece indeed,
Es la pieza de que habló
It is the piece of which it (she?) spoke

Every detail, exactly as she said
Sus detalles
Exactos ella dio
Its details
Exact she gave


Will you still play when all the rest of us are dead?
Aún Sonora
Cuando muramos todos ya
Still audible
When we all already die


French Translations of Raoul's song to music box:

A collector’s piece indeed,
La couleur ou le vernis,
The color or the varnish,

From honey: could be a clue that sometimes the music box is red with gold designs (the color) and sometimes solid black (the varnish)—and to watch for it and learn why. Varnish is used to cover, so it could be used here to show that the box “hides” things (the color--truth of who Erik is...)

Every detail, exactly as she said
Tout est bien tel qu’elle en parlait naguère
All is well such as she spoke about it at one time


Will you still play when all the rest of us are dead?
Sauras-tu jouer
Lorsque nous tous serons sous terre?
Will you be able to play
When we all are under ground?


THE SPOKEN WORD:

All of it is spoken, but since I don’t think the clues of “the spoken word”—where they break away from song to speak one or two lines, etc—come into effect until after the actual opera begins—after TOM (when they start singing in dialogue (I don’t think this scene applies to the hints for the spoken word.


Because I forgot the overture in the POTO intro, I’m going to go ahead and put it all here since auction scene goes into that…

**SOUND SIMILARITIES by Redrose**


Prologue
I Remember for both instrumental.
Masquerade when music box is played.
I Remember for Old Raoul’s song.
I Remember for talk of chandelier.

Overture
POTO throughout




**MUSICAL ANALYSIS by Phantom’s Star**

Note: I think this is what the sounds stand for.
Flute: a calling
Harp: thinking of Erik (Angel of Music)
Cymbals: Erik is there, or near?

Overture

1.) Flute/Cymbals (if lyrics with melody):
Those who have seen your face
Draw back in fear (cymbals crash twice before the flute. We hear the flute on the image of where the face of clown will be in PD)
I am the mask you wear
It’s me they hear (cymbals again crash twice before the flute. We hear the flute as we see M. Giry in the crowd)

I think we are called to pay attention throughout this overture to spot things (as we have )

2.) Harp - brush of harp strings – man lights candle in orchestra pit. If the lyrics were with the melody, it would we be “The Phan – harp – tom of the Opera is there.” I think this is a foreshadowing shot. Angel will be shown the light.

3.) Cymbals:
As the person who lit the candle shakes the match, we hear the brushing of cymbals. We hear this brushing of cymbals two more times as the conductor comes in. “The Phantom of the Opera is there.” On the word “there,” we hear the second sound of cymbals. Then, the bass does that “dun-dun” still on the word “there” which is followed by the third sound of cymbals.

Because it’s 3 sounds of the brushing of the cymbals before the crash, I think this shows Phantom’s power will be released (as it will be in Hannibal). But if you relate these sounds to the sound of the harp we heard on the candle, this could be a foreshadowing of how the Phantom’s power will be released from Erik by him coming to the light. This is just a thought though.

4.) Cymbals:
-We then hear the crashing of cymbals. If the lyrics were there, it would be “Inside my mind.” On the word “mind” is the crash.
-“He’s there. The Phantom of the Opera. Beware. The Phantom of the Opera.” If the lyrics were there, on the word “beware” is the next crash.
-We then hear a slight crash in the shot of M. Giry standing near the lion, holding the book and goblet. The sound of the crash happens as the camera turns the corner.
-As the camera is moving on the chorus girl to the spiral staircase, we hear a crash of the cymbals.
-As we see the shot of the pointe shoes on the stairs, we hear the crash of the cymbals.
-As Meg and Christine take their place at the bar, we hear the crash of the cymbals.

I think all these crashing sounds just show that Angel is near since rehearsal is about to start. He will want to watch. Because these sounds aren’t as big or triumphant sounding as TOM and DOM, Erik still relies on Phantom (as we soon see when he drops the curtain on Carlotta).

5.) Flute – As Meg and Christine take their place at the bar and position their arms in a high fifth (which is the ballet technical term ), the flute plays for a few seconds with the melody. It stops when we switch to the next shot of Raoul. They are called to take their places and practice.


Raoul's Ride to Cemetery - click to read

*
Image E/C manip made by me
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