Symbolism showing Erik as King of Music- part 1

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

Symbolism showing Erik as King of Music- part 1

Postby honeyphan » Fri Sep 20, 2013 6:25 pm

**Symbolism List A: Erik
usage of symbolism pointing to Erik as King of Music, and Count (Part One)

Note: For anyone new to the board, or new to the whole idea of a deeper story told through symbolism (and the creators admitted they used a lot of symbolism), you might prefer to check out the scene summaries of the hidden plot first, to get a scope of all that we've found; otherwise this list might sound confusing (and/or very strange! lol).

The following list shows incidents throughout, using color, props, lyrics, actions, and more relating to why I (we) believe symbolism in the 2004 movie & companion book, etc, points to Erik as a king of Music (King Music), and also as a Count (Count de Chagny).

Besides the fact that Erik dresses, acts, moves, walks, and talks like a true member of royalty, (or a nobleman), without having had any obvious training (and that in itself might be a clue) —here are the reasons I feel this is the message they were trying to convey through symbolism and clues of this fantasy story:

That Erik was a king of the opera house kingdom, and later took the title of Count in the world outside it.

****Auction scene/POTO intro****

** Lot 665—a monkey wearing Persian robes and playing the cymbals (the music box is shown to be symbolic of Erik; in libretto, they use the word “royal” robes when Raoul sings to it) … Raoul removes only his right hand glove (not his left) before taking it, which is a symbolic gesture throughout history of acknowledging someone in greater power, and being frank in one’s mind (shown in his question he then sang to the box). From symbolism definition of this act: 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. 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." This symbolic gesture of Raoul’s could relate to both Erik’s being a King in opera house and a Count in the “real world” since he then sings a question to the box in his mind, the box being symbolic of Erik. (Which I will show in another list)

** M. Giry is still a servant to Erik, and stops bidding at his “ahem” from Box 5 (voluntarily clearing his throat at a silent auction). This points to him being of titled birth, with a servant who waits on him.

** Erik’s color—red—is one of three predominant colors that make up the opera house kingdom, the coats of the servants, etc. The others are gold and green-queen/Christine. (I think gold referred to the masquerade/deceit, especially related to the Phantom Spirit—more on that later.).

** The very top and center of opera house bears a statue in a place of honor—a man with a woman beside him, like a king and queen presiding over their kingdom—a blue line goes through his heart at the same time it runs through her head as the camera pans down. (These lines are on the exact areas of the body where blue lines appeared on Erik and Christine throughout movie, and the picture of the statue with the blue lines through it is also shown in the companion book.) Blue lights or “rays” like this in symbolism mean divinity and truth.


The sun is the huge arc against the building. Pindot of light by blue ray appears deliberately put there so blue ray would form on statue. Right hand is raised at “the level of the eyes” and blue ray goes through his middle—heart/spirit. Instruments (and research) point to this as “Music” (Apollo, god of Music—shown with symbolism regarding Erik). The statue of this man symbolizes Erik as King of Music and Christine beside him, as his queen (blue line goes through her head)

** The blue lines—two of them—that appear on the chandelier as it rises could be reminiscent that both Erik and Christine left the darkness and came into the light. Their use of the blue lines appear to symbolize “music”, and they were the incarnation of music. (More later…)

*****Hannibal scene*****

All songs in the operas they perform are shadows of real story and what’s to come in the movie—Hannibal is no different. Using 2 lines as an example:

** ”This trophy from our saviors, from our saviors, from the enslaving force of Rome!”


** ”The trumpets of Carthage resound, hear, Romans, now and tremble, hark to our step on ground Hear the drums! Hannibal comes!”

The way they time this last part looks as if they’re showing Raoul as Hannibal—riding chariot-style in a carriage and now entering the opera house—and that he has come to bring salvation, and save the opera house from the enslaving chains of Rome—Erik being king there and influenced by the phantom spirit. The song is about a kingdom under slavery of a great power—Rome. (The most fearsome, mighty power in its time and the home of the emperor, who ruled it—opera house is where Erik lives, with clues saying it’s “his” opera house and he rules it). The chains they refer to (and wear) seem to symbolize how they are slaves to Erik’s mandates, since he rules the kingdom (but really slaves to the phantom spirit, who is also symbolized by chains throughout the movie.) This song seems like another nod to Erik’s kingship—as a fearsome ruler over the people who are in need of a savior.

****Think of Me****

** Madam Giry acts in her role as priest (servant), and serves Erik as a king, acting as a mediator between him and the people. The envelope with the red skull seal (used to show the bearer of the missive) also points to death—the skull—Phantom spirit (Angel of Death) and it’s red—Erik’s color. The king is about to speak to his people, but this “death” envelope with the black rims and the skull shows that the Phantom spirit influences him. Madam Giry’s red buttons and red necklace—the only break from black—seem to show she serves the king, and these are his colors. Many in the kingdom wear a splash of red on or as part of their clothes, and I feel this is to show they are subjects to the king, just as in every actual kingdom those who serve in the palace often wear part of the kingdom colors (those of the king or royal couple).

** MME. GIRY: “He welcomes you to his opera house.” (With the way she says this, it makes it look as if she believes Erik is the power there—the king.)

FIRMIN: “His opera house?” (Firmin is new and doesn’t know the ropes yet.)

** MME. GIRY: “And commands that you continue to leave box five empty for his use and reminds you that his salary is due.” (The word “commands”—is a key word; a king commands, he doesn’t ask. He expects to be obeyed. His “salary” could refer to what the people owe him—all kings require taxes or some sort of offering from their subjects/ peasants in their kingdom.

FIRMIN: “His Salary?”

** MME. GIRY: “Well, Monsieur Lefevre used to give him 20,000 francs a month.” (She swings her long braid around. Symbolically we found a woman’s braid to mean “one who executes justice”—and she does, as if working for a king. Erik.)

** In the movie, at the end of Christine’s TOM song, everyone says “Brava!” the correct term to use for a woman, to give her praise. When they say other things like “Stupenda! Magnifica!” none of this shows up in subtitles—only “Brava” over and over again, even when Reyer only mouths it. (Since they do show “Bravissima” later in subtitles, it’s not a language thing. This was done intentionally.) It’s as if they cut all other words out, just so the viewer could hone in on the “Brava!” after remembering Raoul’s “Bravo!”
They actually doctored the word so that he SAID “Bravo!” but he mouthed “Brava!” In slow motion, this is obvious by the way his mouth drops down and he forms an “a” sound, not an “o” sound. (This from one of our hearing impaired sleuthers who reads lips) The picture in the summary also makes that clear.
Since this is an allegory/fantasy, it appears that Raoul heard the Angel of Music behind Christine (This points to Angel of Music—or Erik—as BEING Music—literally King Music) and Raoul was applauding Music, the king. This is shown in upcoming POTO song as Christine sings, "I am the mask you wear," (translation: you hide behind me) and Erik sings, "It's me they hear." (The people hear him through her.)

***Mirror scene***

***ERIK: "I am your Angel of Music/come to me, Angel of Music." (He calls her Angel of Music, just as she calls him that. Angel, in terms of Victorian symbolism {era of this movie} literally means guardian. They were both the guardians of Music—each other. Whether this was intended when songs for stage show were written, I don’t know. But they could easily have seen the idea here and flown with it in other areas to expand the kingship of music idea or incorporate a new one for the movie…)

** What Christine wanted all her life was for the Angel of Music to come to her and guide her. And that's why they called her Little Lotte. The embodiment of Music was all she ever wanted or asked for.

** She steps up to the mirror, (but no stairs are physically there as shown in picture below, and they show Carlotta standing on a box/platform in front of same mirror in Prima Donna, which wouldn’t work if stairs were there). A symbolism clue that Christine is ascending a throne to her king. Once she enters the mirror, he takes her into the heart of his kingdom, and in companion book, they show it like a golden stairway.


What Carlotta is standing on is a cushioned small box of sorts, to elevate her so they could tie her corset. Again, no physical stairs appear to be there. When her servants are walking through and all over the room to gather her things in Prima Donna, they never step up or down.

From Prima Donna:

** Once Christine takes Erik's hand and steps through the mirror, among other things, her pointed shoes disappear—she is now in stockings. A symbol book shows, among other things, that this as a sign of humility. The only times she is without shoes is when she is with the King—Erik—in the movie. In PONR, he wrote the opera, designed the costumes (seen in NOWL)—and had her barefoot in PONR. Removing shoes when facing a divinity (or a king) has also been shown in history.

** Research shows that the White Rose symbolizes innocence and purity, also silence, secrecy, and reverence. (as to a king) Sometimes called the "flower of light," the white rose also means spiritual love and anticipation of happiness. (The roses turn from pink as they were in Little Lotte w/ Raoul, to white at the mirror scene when Erik appears.)

***Phantom of the Opera***

** The golden-armed candelabra lighting the way each hold five lit candles—signifying Christine and Erik together—her number, 1, plus his number, 4 = 5). The arms move aside to let them pass then bar the way again behind them, as if they’re a royal guard. They move back into place once Christine and Erik have passed. I feel it’s a symbolic clue, showing these arms are a royal guard, letting the king and his intended queen pass, then barring the way again.

** Erik—"My spirit and your voice" Christine—"Your spirit and my voice" both: "in one combined. . ." This also shows he IS the spirit of music.
She is an instrument for him—King Music--to come out and reach the people. At present, he hides behind her—“I am the mask you wear.” But what Music wants is to reach the people. However, because of his face, he has hidden himself away from the world. From “No One Would Listen”:

I learned to listen
In my dark, my heart heard music.
(He heard Christine, who was also Music, his soul mate and his queen—more later.)

I longed to teach the world
Rise up and reach the world
(these lines sound as if they could be from a king trying to reach the people)
No one would listen
I alone could feel the music
(because that is who he was)

** At his lair before they come to it, red and gold curtains sweep away from the portcullis (red and gold are shown as colors of the kingdom, and this is where the king resides.)

***Music of the Night***

** Phantom twirls “king’s cape” (gold lined cape) off of him then sings in a haunting, strange way:
"I have brought you,
To the seat of sweet music's throne."
(key words showing this is where Erik lives; it is the throne room of the king, and an actual throne is later shown)

** "To this kingdom where all must pay homage to music, music." (said in third person, since Phantom is speaking through Erik here-- saying all must pay homage to music, not to "me". All must honor/respect/worship music. Erik, as king, demands the managers’ respect, service, and obedience; he doesn’t ask for it.)

** ERIK: “Since the moment I first heard you sing, I have needed you with me to serve me to sing, for my music, my music”

** These also seem like key words that Erik is king of music. This is his kingdom. He wants her to serve him as his queen, to sing for him, and he uses "me"--first person, showing Phantom is gone. (Kings send a servant {or more} to do their bidding and bring s person to them for an audience, just as what happened when the Phantom went to collect Christine and bring her to the king. The Don Juan song shows that is what happened.)

** When he helps her out of the boat, a long ray of blue light goes across her head, followed by another blue ray of light going through his middle--his heart (spirit). (This isn't just about being a reflection from the light—because if it were it should logically have happened many more times all the times they showed white light, and didn’t. It happens other times in story, and always in the same places on their bodies, sometimes without any white light showing.) Also, as he sings to her "Turn your face away from the garish light of day"--another blue line of light goes across his back (his middle, where his heart would be).


(Again, I believe that this is symbolic to show that when the line is through her head, it's symbolic of her being Music--when it's through the heart, it's symbolic of him. He is in her mind, and has made her Music also, but He IS the heart of Music. The king. Whenever we see the blue ray of light on him—the lighting has been rigged so that the ray of blue shows across his middle/heart. With her, it’s across her head. And one time with him there is no white light to rig it.)

** His lair has the statue of a Chinese phoenix next to the Christine/mannequin chamber—a Feng Huang:
Feng Huang ruled over the southern quadrant of heaven, which represented summer, and hence the sun. Feng Huang is also called the emperor of birds because all the other birds of the sky would follow it in flight in homage to it. (They also show symbolism of sun gods, especially Apollo, relating them to Erik. That the Feng Huang is the emperor of birds is a nod to his kingship.)

** His swan bed is a phoenix—which is a royal mythological bird. (Another nod to his royalty/kingship) From World Book (1973) encyclopedia: a Phoenix is
“A fabled bird of Greek mythology. . .it is always male. It had brilliant gold and reddish-purple feathers and was large or larger than an eagle. The long life of the phoenix, and its dramatic rebirth from its own ashes made it a symbol of immortality and spiritual rebirth.” From Hans Christian Anderson (and they used a lot of symbolism from his works): the poem, “The Phoenix” it says: “…His plumage was beautiful, his song glorious, and his flight was like the flashing of light. . .Phoenix bird! Don't you know him? The bird of paradise, the holy swan of song. . .?


Notice the red and purple sheets –the other two colors of the phoenix, besides gold. In DOM the head is shown at a clear angle—the head of a phoenix, which has also been described to resemble an eagle, though an eagle is smaller.

** Drapes of red and gold—colors of the kingdom—show who is royal there—they only adorn Christine’s mannequin chamber, like a shrine (queen), are draped below the organ area where Erik composes his music and where the crests sit (king), and are draped in the area above the drawings of her (queen), as well as hanging above the final mirror--but only when he exits through it in DOM scene. The red and gold curtain is not over or above that last mirror in this scene, and the mirror is leaning to the side, part of it exposed. (I’m not sure what this all means yet, unless it’s to draw our attention to it because it changes later.) Red and gold tapestries are behind the two crests of a count (further seeming to show these are Erik’s crests), but where the white horse and rider sits beside them—symbolic of Raoul—a black cloth is draped behind it.

** One crest is a family coat of arms pointing to the bearer as the firstborn son of a French count. The other shield shows that the bearer holds the office of a count. The white horse and rider next to the shields seems symbolic of Raoul, who is constantly referred to as having “fine horses” and who often rides/leads a white horse(s) (in companion book, the words WHITE STALLION are capped and underlined when Raoul jumps bareback onto it.) Because this is Erik’s lair, and the red and gold tapestry are behind these crests only—(and not behind the rider on the white horse, which sits right next to them) –this seems to symbolize that these are Erik’s crests, since red and gold are colors of the kingdom and the king’s colors. (Red in particular; gold seems to be the deception/Phantom as his “aide”)

** Because the white horse is symbolic of Raoul and they made a point of putting it next to the family crests in Erik’s lair, I believe this is a clue showing Raoul is a relation (Erik’s brother), and that Erik is actually a de Chagny. Count de Chagny to be exact.

** (if you want the detailed info on the crests, please refer to the MOTN summary. Here are two pics--(the one from which I gleaned above info was in companion book and was easier to see). This shows that each of the crests sit to the LEFT of the lit candlesticks. Left is true (symbolic of Erik). The candlesticks are LIT—Illumination. They are casting light on the truth of the matter. This is the only time we see the crests in this position--each one to the left of a lit candlestick. Later, the candles are not lit and the crests are to the right, horse is missing, etc. The rider on the white horse—symbolizing Raoul—is to the right of the lit candlestick—It is false that Raoul was a count, he was only a vicomte; Christine was not his countess.


Spanish subtitles movie translations:

** You have come here
To this place of blessing
To this special kingdom, my homage to music
(this is all what phantom sings through Erik, as he now delivers the queen to the throne room. Switch to what Erik, the king sings:
Music has come. You have come for my own claim.
In the moment that I first heard you
I wanted you with me to serve me like that
With my music, my music.

He is actually calling her Music—(as it also shows in English subtitles) and again there are more key words that he is king of this opera house kingdom.

** It is your life, and it is better
I caress you
(original line was MUSIC shall caress you, which also seems to show he IS Music, thus the king there, since this is an opera house—the realm of music)
You are fragile, I will protect you

***Meg in Dressing Room & Magical Lasso***

** Meg takes two steps up (on stairs they never show) as if she’s ascending a throne. This mirror is the doorway to the heart of Erik’s kingdom, where the king resides.

**"Those who speak of what they know,
Find too late that prudent silence is wise,
Joseph Buquet hold your tongue!
(Slaps him)
Keep your hand at the level of your eyes!” (chokes him with rope)

Spanish subtitle movie translation:
"They that explain such a lesson lack prudence. They speak of more.
Keep your mouth shut, you lazy idler. And keep the hands well back/behind.”

M. Giry’s actions are like those who would serve their King (Erik), and one who warns of/executes justice. She reminds Joseph to be silent, not to speak against the king; the threatening actions she uses with the rope are warning him what will happen, and to be prepared if he persists. It’s as if she’s prophesying his punishment will be death. (In history, those who spoke/acted against a king in any kingdom were often executed for their treason.)

***I Remember & STYDI***

** A crest of emeralds is on the back of Erik’s robe--seeming symbolic to show that he does have a title. This was a common practice, for the nobility to have one’s crest embroidered on clothing and also engraved on other things. After a lot of research, we feel the top half resembles a Fleur de Leis—a French lily—which in history is the symbol of kings. In the Spanish subtitles of the masquerade song, there is a reference made to “flower of lily”—another word for Fleur de Leis. There are also designs like portions of the full crest (on back of his robe) on the organ pipes and on the boat.


** Erratic lines of blue light run through his middle (his spirit/heart, where the blue lines always show on him). His emotions are in turmoil—and as he walks a row of blue bubbles follow him at the end of those blue lines of light. (Bubbles are symbolic of “negative energy”— as if to show his spirit is deeply wounded.) Again, the blue lines seem to show he is Music (meaning king there.)


**“Come, we must return, those two fools who run my theater will be missing you.” (His theater)

**Spanish subtitle movie translation: “Deviless! Gossip! Bad Pandora! Cruel demon! Only this you wanted to see? Witch! Delilah, false and traitor! (“Traitor” is a key word to his kingship.)


** When Firmin walks in, he hands his walking stick, hat, and coat to the doormen. But he leaves on his outside gloves, which is not proper etiquette for that time period, to keep them on after entering a building (gentlemen usually put them inside their hat). Instead, they make a point to show him remove his gloves and carry them. They are red—perhaps showing he is removing from him anything to do with the king, since red is Erik’s color. (More on this later with Carlotta and her red gloves). Thus, removing himself from the king’s protection and power (what gloves symbolize)—as he then does when he makes a decision to go against the king.

** As Firmin and Andre walk, the workers make a point to bow and the woman earlier curtsied, as if they are lords. Those second in command to a king are treated as such. Green accents are among the red and gold—a green marble table among the red/gold chairs. Green rimming the stairway, at the bases of the walls, green in the floors, etc. The king’s colors are red, the queen’s are green, and the colors of the kingdom would reflect the king and queen. Shells adorn the walls (reflecting shell like bed which Christine arises from in STYDI—Venus—Christine; more on this in the Queen/Christine list.)

** Dear Andre what a charming gala,
Christine was, in a word, sublime
We were hardly bereft when Carlotta left. . .”
(“We” could mean two things; in this instance, it could be Erik speaking royally, as king, since in history, that is often how royalty refers to itself—in first person plural)

**"On that note, the diva's a disaster, must you cast her when she's seasons past her prime?!" (The note sounds like a command, coming from a displeased king)

** Dear, Firmin
Just a brief reminder
My salary has not been paid
Send it care of the ghost by return of post
No one likes a debtor so it's better if my orders are obeyed!”

All throughout history, people were supposed to give a portion of their finances/harvest to their king. A king would expect his subjects to give him what is due, and his managers would be the ones to organize that. That he talks about orders being obeyed are key words that point to Erik as King and also sound as if he’s the one in control

** Your days at the Opera Populaire are numbered
Christine Daae will be singing on your behalf tonight
Be prepared for a great misfortune
Should you attempt to take her place.
(sounds like a king addressing his subjects)

** Gentlemen,
I have now sent you several notes of the most amiable nature detailing how my theatre is to be run.
You have not...”
(fading to the Phantom's voice)
“. . .followed my instructions.
I shall give you one last chance.
Christine Daae has returned to you And I am anxious her career should progress. In the new production of ll Muto you will therefore cast Carlotta as the pageboy, and put Miss Daae in the role of Countess”
(In the play Il Muto, “his Lordship” refers to Erik, a nod that he is the Count. . )

** “The role which Miss Daae plays calls for charm and appeal. The role of the pageboy is silent, which makes my casting, in a word, ideal”

Said in present tense. He's not saying "the role which Miss Daae will play" but the role that she plays. This is a foreshadowing hint that she is/was his Countess in real life. This is an Italian opera, and the correct form of Countess should be “Contessa”—but he calls her Countess. Throughout this movie, only the English term of this title is used, though other French titles are used for other names—Vicomte, for instance. Erik is the only one who wanted Christine to be Countess. Raoul did not want her to play the role, though he didn’t forbid her presence on the stage (just as Countess)—as his words show in Notes/Prima Donna. Another symbolism type nod that Erik was the true Count.

** I shall watch the performance from my normal seat in box five, which will be kept empty for me. Should these commands be ignored a disaster beyond your imagination will occur. I remain, gentlemen, your obedient servant

The king again “commands”, warns them of punishment should he not be obeyed, then calls himself their obedient servant when he’s just commanded them on what to do; this could be part of his dry wit, his nature.

** Also, that he had a miniature stage & dolls is understandable (to keep tabs on what was going on in his kingdom). He was king and they were his subjects, though he ruled them from afar.

** FIRMIN: “Miss Daae will be playing the pageboy -- the silent role...”
ANDRE/FIRMIN: “Carlotta will be playing the lead!”

Carlotta—in her tantrum—no longer has red gloves on. Gloves she had on before. (Research shows that symbolically, the color red = Erik; gloves = protection/power) She refuses the king and what he wants, throws a tantrum, is no longer under his protection, —then when she leaves, they are back. She is doing what he wants—leaving.

P. 94 of companion book—they show a scene from movie of Carlotta coming upstairs waving her note. Her red gloves are missing in picture of book, though she wore them in movie—this and above puts the focus on the gloves and seems to show there is symbolism connected to them and we must find out what it means.

** MME. GIRY: “Who scorn his word, beware to those...” (Sounds almost prophetic, something a priest(ess) would say)
The angel sees, the angel knows...” (Because a king often uses spies, and Erik has spies all throughout his kingdom—such as the one looking through the death mask, shown by the eyes in it—and the ones in statues, etc., he knows everything. So he will learn of what Andre and Firmin said about him. And they will pay. This seems like more symbolism that he is king there.)

** MME. GIRY: “This hour shall see your darkest fears
The angel sees, the angel hears...”
(again sounding like spies throughout the kingdom will tell him)

** From masquerade song: “Flash of mauve, splash of puce, fool and king, ghoul and goose”

Websters New World Dictionary says:
Mauve: "any of several shades of delicate purple" (and just so we’re sure to spot the color and know what to look for, they show one of the dancers in masquerade with a “flash of mauve” on her skirt. Though all the dancers’ costumes had only the colors silver, gold, white, and black. This was the only one that was different.)


"Flash of mauve, fool and king" --
For the first time offstage, Carlotta wears mauve with all her pink (the only one to wear it in movie), and she’s playing a fool and a martyr with her temper tantrum; she’s going up against the king in this scene. The only power she’s going against is Erik and his wishes for Christine to play Countess. So this seems like a direct admission that Erik is king there.

Spanish subtitle movie translation:
**And put Miss Daae in the role of countess
Because Miss Daae will be "The Countess"

"The Countess" is set off in quotation marks and capped in the subtitles, as if speaking of Christine in something other than the role of Il Muto. This is Erik talking, and I believe another clue showing she will be HIS countess. Notice it doesn't say put her in the role--it speaks the statement as fact, saying she will be it as fact. Another nod to him being the Count. He would not sing this with such satisfaction if it were not referring to him.

****Prima Donna****

** RAOUL: “I must see these demands are rejected!” (key words that he’s going against the king and the king’s demands.)

** Where before there have been servants with powdered wigs and blue ribbons—they now show armed soldiers, like a palace guard, (their helmets/costumes/swords show this) with red plumes in their helmets, etc (Erik’s color). This is the only time to my knowledge they ever show these soldiers, except outside at the masquerade ball. They have the uniforms of King’s soldiers and could be symbolic of showing Erik as the king there. These type of soldiers wouldn’t be stationed at an opera house—a palace, yes. An opera house, no. The managers and Raoul have just received the notes—Raoul is just now declaring war. He has not had time to gather his forces (which turn out to be policemen with guns) and there has been no trouble before this—TOM was a success. I don’t think these soldiers are Raoul’s. Four of these king’s soldiers are standing off to the right side. With one standing in the middle, his sword apparent, and two are off to the left. The soldiers are clues that Erik is king.


another version says this:
** RAOUL: "Surely, for her sake . . .I must see these demands are rejected!"
and later:
RAOUL: "Christine plays the Pageboy, Carlotta plays the Countess . . ."

It's odd he would think it would be "for Christine's sake" that she not play the lead and instead play "the silent role" since that would not further her career. This could be more foreshadowing about him against her being an actual Countess to Erik later on—his wife. Raoul is not concerned about her participating in the opera—if so, she wouldn’t have been on stage—he’s concerned that she plays the Countess.

from alternate lyrics of song (OCC lyrics):

** GIRY: "Heaven help you, those who doubt . . .This miscasting will invite damnation. . .Oh fools, to have flouted his warnings! Think, before these demands are rejected!"

Madame Giry serves Erik as king; he will be displeased, and she knows this will cause big problems for all of them.

** PIANGI: "Surely heads will roll" (a statement often associated with rulers in power—kings)
"If his threats and demands are rejected. . ."

Piangi senses something bad will happen and is acknowledging Erik as king.

** PIANGI AND MME GIRY: "Honour must be protected!" (Definition of Honour is "great respect given because of high rank," etc. This sounds as if they are BOTH saying the king should have final say. That Piangi said this shows he knows it's unwise to cross the king. Which means he must know him as king. M. Giry shows she is loyal to the King.)

** PIANGI: "Their game is over!" (“Their" in this context sounds like those who support Carlotta, since Piangi’s words above are clear he’s on the king’s side. It’s as if to say Piangi knows that by doing this, they've already lost since the King is in control and will seek vengeance.)

Spanish subtitles of movie:

** Raoul and the soubrette entwined in a loves duet.
She's very fortunate and never more abandoned
Raoul and her friend get along very well

Christine’s friend getting along with Raoul very well could be a nod that Erik and Raoul are related (and Erik is count)—(or it could mean the Phantom and Raoul. They are saying Christine is fortunate to win the attention of an aristocrat—but never more abandoned or alone, seeming to show that Raoul has his own interest at heart. I think this is where his objective changed from being a savior to the people at the OP and wanting Christine all to himself and getting rid of the king—to hell with the consequences.

** Mm. Giry, C, and Meg:
For if is his curse is on the opera
His disgrace is this opera

English says he’ll bring a curse on it, Spanish subtitles say he will be humiliated by it and it will bring shame upon him. For the managers to be in favor of Raoul stealing the king’s intended queen is shameful to M. Giry, Meg, and others.

** Orders! Warnings!
He gives his orders, and his every whim is obeyed as the law
Lunatic demands! Lunatic demands are regular occurrences!
His every whim is law, and each day the same thing happens

Raoul says his every whim is obeyed like law, the managers say it IS law. These sound like key words showing Erik’s actual rulership there.

***IL Muto***

** Stage curtains are red and gold—kingdom colors (king’s colors)—with crowns on them, and symbolize royalty. I think the “N” could mean Napoleon, but I also think this is a nod that there is another king in existence at the opera house. The letters below could be "O P" OR depending on the font, they could be "O G" - Opera Ghost- Erik. There are fleur-de-lies on the curtains, which is the sign of a king.


** 1st FOP: “His Lordship, sure, would die of shock!”

”His Lordship”—Erik, the king—and here he’s shown as the Count—the highest member of nobility in this play. He alone wanted Christine in the role of Countess. All this appears to be a bit of nifty foreshadowing for the end.

** 2nd FOP: “His Lordship is a laughingstock!”

They mocked the King & his notes/demands in “Notes” and in Hannibal. He was made out as a "laughingstock"

** While they sing Erik switches Carlotta's bottle of throat spray. It is red, his color, and a color of the kingdom. Perhaps it also shows that Erik, the King, was the one behind the trickery. (“Splash of mauve, fool and king…” Carlotta, like a fool, defied the king—and she paid the price for her effrontery.)

** COUNT: “Gentle wife, admit your loving husband. . .My love - I am called to England on affairs of State, and must leave you with your new maid.”

“England” might have something to do with why they used the English title of Countess on gravestone at end of movie--but Erik, as king, is "called away on affairs of state,” by Phantom spirit on matters that concern the opera house, and Erik leaves her in Raoul's company for three months to write Don Juan Triumphant, under phantom spirit influence. (“…helpless to resist the notes I write…”)

** Andre says, “It’s the Countess de Charbourg”—this pretty much proves that the gravestone with “Countess” wasn’t a mistake, since here they are linking the title Countess with a FRENCH name. All they use is “Countess” in this movie—both for Italian, and for the French—and I believe it’s so that viewers can easily connect the truth of their message at the end. In Italian (this play) proper title should be “Contessa.” In French, it should be “Comtess.” But they always use “Countess” as the title of address, though they use proper French salutations elsewhere: Vicomte, and Madame or Monsieur for example.

** COUNTESS: “But kiss me in my husbands absence.”

This is what happens on the rooftop between Raoul and Christine. In history, if a king had chosen a queen and was betrothed to her, even if they weren’t yet legally bound by law yet—(marriage)—she was still considered his and no one could touch her. To do so would cause grave consequences.

** When the Countess and pageboy (symbolizing Christine and Raoul) kiss—his Lordship (the count) hides and watches from behind the door.

In libretto--Count (aside): “I suspect my young bride is untrue to me. I shall not leave, but shall hide over there to observe her.”

All of this mirrors the rooftop scene when Erik hid behind the Pegasus statue and observed Raoul and Christine sing AIAOY. I believe this is another symbolism nod to Erik’s kingship at opera house AND him being a Count in the real world. The entire song shows this, if you would like to see all of it in detail, please refer to the Il Muto summary.

** FIRMIN: “Ladies and gentlemen, we apologize. The performance will continue in ten minutes' time... when the role of Countess will be played by Miss Daae."

P. 105 of companion book: Firmin says, "The role of the Countess will be sung by Miss Daae."

A clue, since they changed that one word for no apparent reason—that the Countess in Il Muto was symbolic of Christine. She played out the role in real life, by eventually becoming the Countess—to Erik, whose crests in the lair illustrate he is a Count.
Erik cast Christine in that role—Countess—(nobility) because she was his chosen one—and his chosen queen in the realm of music. Everything he does with her/to her is always royal—from the dresses, to the roses, to the way he treats her, respects her, and shows her honor. I believe all this relates to the reason for Countess on the tombstone at the end. Because she did become his Countess, just as only Erik wanted her to be Countess, and I believe all the above was symbolism showing it.

** The statue in the rafters (when Erik chases JB) seems noble and appears to be a reflection of Erik—a mirror image, with half its face in darkness (right side), and the left side apparent. A kingdom would have a statue of their king. (This might be the same one Firmin looked up at in Hannibal.) It is in the rafters—hidden from the public’s view—and only the opera house kingdom would know about it. Erik did hide, so that could also be illustrating that it symbolizes him. The statue has a rope linked twice around its chest—like braiding that royalty wears. A king.

** P 102 of companion book: clearly shows a hooded/robed figure (symbolizing Phantom spirit) with a halo (Erik—“Angel” of Music) front and center as part of the gold statuary above the stage. All the statues on the walls are naked—except for this one, and the one next to it: a woman dressed in a gown and holding his hand; she looks to the left--toward the cross she holds with her other hand. (Symbolizing Christine—same statue at cemetery). These two statues are higher than the others and at a place of honor in the middle of stage—as if to honor the king and queen of Music at the opera house—Erik and Christine. They show these statues in a longshot in TOM also.


***Why Have You Brought Me Here***

** As she’s walking fast, Christine passes a white square under a glass dome—it’s lit—and later it’s in Erik’s bedroom in final DOM scene between them. It appears to be a square castle (or maybe the gate of La Feria). In DOM, before he leaves, a candle is lit beside it, but it is not lit. After he leaves, candle is out, and it is lit from within, like when she passes it here. (Perhaps showing a palace and him as king, and that she will be with him, since it’s also lit within when she passes it here...)

continued in another post...
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