Symbolism showing Christine as Queen of Music, etc- part 1

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

Symbolism showing Christine as Queen of Music, etc- part 1

Postby honeyphan » Fri Sep 20, 2013 8:02 pm

**Symbolism List B: Christine
usage of symbolism pointing to Christine as Queen of Music, the Rose, and Bringer of Light

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 Christine as Erik’s queen, the rose, the bringer of light, and also the embodiment of Music and Erik's other half (soul mate).

Forgive me if there are any repeats from other lists; some of the clues were multi-faceted involving more than one character, and I want to show every instance that I know (so far) of how they symbolized Christine as Erik’s queen of this fantasy, and also as the embodiment of Music: what Erik, the spirit of Music, made her—a part of himself.


~*Auction scene/POTO intro*~


** 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 residing 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…they also show the chandelier in its full glory—TWO rays of blue light going across it, one thicker than the other. Music’s domain—and perhaps a hint on the illumination/light Erik will have because of Christine. Two lines—could mean both Erik and Christine. Blue means truth as well as symbolizing the divine and in the case of this movie means “Music”. Perhaps these lines of light through them signify truth and that they are also royal.

Since Erik draws her into a blue ray of light in PONR when the Spanish subtitles show he is asking her to see the light--and the light is not white like it always is when she brings it--I think the blue light must be symbolic of him--Music.


Anywhere you go let me go too –
Déjame aprender
A ver la luz
Let yourself understand, and to see the light.

When he sings this, he draws her into a ray of blue light that was never there before nor is it there after—it’s only there for these few frames.

And here is further reason I believe the blue light means "Music"--


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.” He is king there, Christine is queen, and the blue rays of light only show on them, on their musical kingdom, and on the dancers which symbolize them in the Don Juan opera.

~*Think of Me*~

**From the moment scene transforms, showing Christine in a white gown at her opera debut, a ray of blue light goes through her head, and seconds later one goes through her middle (heart) as if to show to whom she belongs (with Erik, the blue ray of light is always through his middle, except during kiss and after, when it is through his head too—showing perhaps that they will always belong to each other). They chose to set up the white light, when they used white light, to cause the reflections to hit this way—and it happens throughout all of movie (sometimes without a light source). I feel they used these blue light rays as form of symbolism to convey that Erik and Christine were Music and as such, the true leaders of the opera kingdom.


(Note: In above picture, a faint blue line of light is directed to her head. Before this shot, same angle, they showed no blue line—this is only when she’s singing about being silent and resigned—a key clue who that verse is directed to.)

**In this opera house with voluptuous nude statues of veiled and blindfolded women everywhere on the walls--at the very top center, above the stage in a place of honor (as if to show the rulers)--on the left is a robed/cloaked figure with halo and without a face (symbolizing both Erik and phantom spirit—looking as they often depict the Angel of Death in movies) --and he is holding the hand of a dressed woman holding a cross and looking toward it, symbolic of Christine. This same statue of that woman with cross is at cemetery (a green statue), better seen in companion book. In Robert le Diable (opera mentioned at auction) in act three (which is the same as this act of TOM in Hannibal) the heroine sings a solo onstage and clutches a cross, etc. Many of us believe that with the way all of this fits so well with Robert le Diable, with the statues, and with the Elisabeth musical too (Christine's Empress Elisabeth dress) that this is much more than coincidence and the statues are instead a symbolic clue showing who the true rulers are, that there is evil there, that this evil is what I call the real Phantom and his minions, who are deceiving and controlling Erik and others, and that Christine will be fighting that darkness to save her king. (for more on Elisabeth, see TOM summary)
The statue depicting her is top and center—as if she is a queen of the opera house kingdom. Here’s the picture at opera house followed by the one at the cemetery—note the statue is green at cemetery (the only statue that color), which is the color of the queen in the masquerade song. (“Green and black, queen and priest”) She bears a cross which she holds and looks toward—they show Christine as religious—and she is the only one fully dressed and holding the robed figure’s hand. King and Queen. (if you zoom and pause this shot in movie, it’s easier to see the details)


And here is the statue in the cemetery—same statue that appeared gray in movie, as all of them did—shows it is really green in companion book (green = queen and this seems a symbolic clue pointing to Christine as queen)


**This is a painting of the actual Empress Carlotta in her dress with diamond starbursts in her hair (she was a true empress of Austria) and ALW admitted he wanted a copy of the dress and hairstyle for Christine in this scene, a costume that had nothing to do with ancient Carthage (Hannibal).


Erik designed the "Empress" dress, as we see later when he takes her through his lair that same night and they show her doll in the white gown on the mini stage. This isn’t the dress Carlotta was to have worn—it wasn’t finished in time. Erik always treated Christine as his queen. That she is wearing a dress intended for royalty is another clue she was the queen in this fantasy.

**In the entire scene from when Carlotta starts TOM to the end of it when Christine is in the chapel, they show four things underlined and capped: FLIES twice (meaning the rafters), WHITE ENVELOPE RIMMED IN BLACK and this: In
THE ROYAL BOX sits EMPEROR LOUIS NAPOLEON III. (A lady sits with him, who I assume to be his empress. Perhaps these three words are underlined as another symbolic hint to show that Erik is royal—the king in the opera kingdom, and Christine is his queen.)

Those were the only sets, props, etc, underlined and capped in that entire scene.

~*Angel of Music*~

** first here is a shot of the Angel painting in the chapel when the girls are talking of Christine’s AOM


Here is the same painting afterward, as they are leaving, when Christine looks back and they do a close-up—it has changed in appearance and this was something that had to have been deliberately done. The hair is longer and a lighter brown—angel now looks much like Christine. And she, too, is an Angel of Music (guardian of Music)


CHRISTINE: ”Angel of Music, guide and guardian, grant to me your glory. . .” (He cannot grant it unless he owns it—therefore the glory is his; he is that spirit of Music… and this probably belongs in the king/music/count thread and was something I overlooked. Oh, well. Lol—I’ll put it there too.)

~*Little Lotte*~

** The rose symbolized Christine to Erik as shown in later scenes. In Greek mythology/symbolism, the red rose was also the first flower created especially for the goddess Venus. This makes sense that he sent this flower to her, though the actual act of sending a single rose meant something else entirely in 19th century Europe...

**Raoul steps up to Christine at the dressing table, but there are no stairs in later long shot of mirror scene and in close-up of Carlotta standing on a box. Floor is level. Raoul kneels at Christine's feet (as if ascending to a throne and kneeling before a queen. Also, she is wearing the Empress Elisabeth dress here.)

**P. 81 of companion book: In Little Lotte song in movie, Raoul sings ". . .or of riddles or frocks"—but companion book says, ”. . .or of riddles, of frocks"

I feel this is a clue that the frocks--another word for dresses--in the story are actually symbolic riddles to help us see the bigger picture of the story. Christine’s dress was a clue (as other dresses are too)—the entire musical of Elisabeth (about the famed Empress and the love triangle in her life, mirroring the POTO triangle between Christine, Erik, and Raoul) etc. The “of” could be a typo, except for one thing--the info we found about the Empress Elisabeth dress in TOM was a major symbolic clue to story--and that is "a riddle of a frock." Everything fits, so I don’t think it was a typo, but instead a hint.

~*AOM/The Mirror*~


This dressing room mirror was created for Christine; often they show her as symbolizing Venus/Aphrodite—the goddess of love and beauty. An open clamshell is above the mirror—with what looks like two angels flanking it/holding it. The clamshell is symbolic of Venus (more on that soon) and the mirror is symbolic of beauty (reflecting it)—this mirror is the entrance into the throne room of the kingdom, so it seems like the Queen’s entrance to the King. Carlotta never knew about it because it wasn’t intended for her—Erik opened the mirror door to Christine on the night she took over the opera/dressing room, and the symbols on the mirror reflect her as his Queen {Venus/royal}.

**The Phantom/Erik unleashes his anger toward Raoul in song: “Insolent boy, this slave of fashion, basking in your glory. Ignorant fool, this brave young suitor, sharing in my triumph!” (Her glory—key words relating to her being Music; his triumph—key words to him being Music and King.)

**PHANTOM/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. (And he does this throughout movie). She is also Music. They are both Music. She is in training from the “Master”- the King - and is still an apprentice, his student. But she is Music too. They are one. It's what she wanted all her life - 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.

**PHANTOM/ANGEL: ”Come to me Angel of Music”

She steps up to the mirror, (but there are no stairs), as if she’s now ascending a throne to her king.

**Once she takes his hand and steps through the mirror with Erik, the pink roses on her clothes disappear, and her dress sparkles white in those places. Also the pointed shoes are suddenly gone--she is now in stockings. A symbol book list one member posted shows this as a sign of humility. Another clue that all pride has vanished.

She was “under the Angel of Music’s wing. . .” as he wrote in later note, and that symbolized safety. Her lips tremble, and they are now glossy and different color than what they looked like seconds before—her face looks as if it has come alive. She goes through a transition throughout her entire journey to the seat of the king’s throne, looking more and more like a queen.

~*Phantom of the Opera scene*~

**The golden arms each hold five lit candles in the candelabra—signifying Christine and Erik together—her number, 1 plus his number, 4 = 5) and 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 clue, showing these arms are a royal guard, letting the king and his intended queen pass, then barring the way again.

**Her robe acts as a long train--such as royalty would have. I think it changes into a completely different robe/gown. She is riding a horse (exactly like a member of royalty or a queen would be treated. A queen never walks—she rides. Once the way is traversable and they leave the circular stairs, Erik has a horse there to take her the rest of the way to the gondolier. Her hair is now down and wild. And now only ONE candle is lit in candelabra behind--Signifying her. (They show the symbolic clues of the threefold rulership of the opera house with candles/flames all throughout the movie within seconds of each other—4 (Erik-King), 3 (Phantom spirit who has imprisoned king), 1(Christine-Queen)—and they do this here too. First showing candelabra on a back wall with 4 candles lit, then within seconds same candelabra has 3 lit, then next corridor shows only 1 lit as Christine rides the horse. (More on that with the number symbolism list…)


**Spanish translations:
P: "My power over you grows stronger yet"
My grand power can grow and my influence over you

P: "It's me they hear"
Your genius is mine

I think these are key clues that they are both Music and rulers there.

~*Music of the Night*~

**"To this kingdom where all must pay homage to music, music." (third person {since King is not talking here--to understand this, please refer to Phantom of the Opera scene summary}--saying all must pay homage to Music, not to "me". All must honor/respect/worship Music. She is also Music, so the subjects must pay homage to her, and he is also telling her that.)

**In subtitles:
he sings: "To this kingdom where all must pay homage to music”
next line shows:
“Music, you have come here . . .” as if in direct address—like he’s talking to her. . .see pic below:


Why separate words that clearly go together?? Why start new subtitle with ending word of last sentence, show a comma and go into next sentence? It would have been more logical to write: "To this kingdom where all must pay homage to music, music” And start next line with: “You have come here”
They capitalize first letter of beginning of all subtitles, but it’s odd to separate that sentence when they didn't do it in similar situations. I haven't seen any phrases done like that in film, especially ones that have a comma separating them. It's not as if they didn't have enough room to fit the word "music" there--they often used longer subtitle lines. And I've also seen where they go right into a line they sing, and switch it fast with subtitles, so it's not about him immediately singing the next phrase either.
It's as if he's calling her "Music" and I feel it’s another clue that she is also Music. They are both Music in this allegory. He created her into it, since it’s all she ever wanted (why Raoul called her Little Lotte). But Christine is of the light (and is a bringer of it), while Erik is trapped inside darkness. Since she is also Music, all in the opera house must pay homage to her, as well--and Raoul does kneel before her after ascending two "invisible" stairs (like a throne) in Little Lotte. (They never show physical stairs, and if they were there, Carlotta wouldn’t have been standing on that box.)

** When he helps her out of 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 it being a reflection from the light—because if it were it should logically have happened all the times they showed white light, and didn’t.) As I wrote at beginning I believe this is a symbolism clue showing Music--showing who the rulers of it are--and Christine is his queen. … (When the line is through her head, it's symbolic of her--when it's through the heart, it's symbolic of him. He is in her mind, making her Music now also, but He IS the heart of Music.)


The color “blue” is symbolic of “divinity” “truth” and “heaven”—and the line being blue could be another clue that both are royal. Also, I found a definition on a website that a line(s) of light is indicative of their personal “spiritual energy” or “aura” --since it’s only about them, this fits. Again showing they are one spirit. Music.

** The Christine doll on his mini stage wears a white dress - Erik arranged for her to wear the EMPRESS Elisabeth dress, again showing how he treats her as royalty, his intended queen. They show a drawing of her in a dress - showing he designed the costumes. (This is the same night as her performance. He couldn't have known about the dress unless he'd arranged it, since Carlotta's wasn't finished in time.)


**When he smooths his hand down her bodice, it sparkles white everywhere - even in the lace below, where it never sparkled before, and this is not just because of lighting, because they were in a well-lit candlelit hallway after mirror scene, when it should have sparkled just as much. Gown/robe has changed looking like something a queen would wear. Even her skin sparkles ... She didn’t start to “sparkle” until after she went through the mirror, a little bit at a time, starting in the places the rosebuds were. When they went down the spiral staircase, her bodice was a flat white - no sparkle to it at all, though other parts of her gown sparkled, and then in next scene a bit of sparkle showed in bodice too. By the time he takes her to the mannequin, the gown has undergone a remarkable change. Her gown sparkles all over the bodice and in the lace as he takes her up the stairs, even though they are in the dark - no candles to shine on it - this is a different gown than what she wore at the mirror scene in a candlelit room.


**In Hans Christian Anderson poem, “The Phoenix” it says: “Beneath the tree of knowledge in the garden of paradise stood a rosebush. And here, in the first rose, a bird was born. (Erik, symbolizing the Phoenix, sings to Christine, who he thinks of and who symbolizes the rose, “you along can make my song take flight ...”) HCA’s poem goes on to say: “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 ...?”

**The rose symbolizes Venus - it was first created (in mythology) for Venus (Aphrodite), goddess of love and beauty (in upcoming scene Christine takes on that role and they show symbolic props in movie relating Venus to Christine).

*** Feng Huang (the bird statue they pass when going to the Christine mannequin)- is a Chinese Phoenix. Most tales say that its head and body is that of a pheasant, and it's feathers are like a peacock ... with the body of a tortoise ... and that fits this bird.

From a website: “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. Feng Huang is in fact two birds. Many Chinese names for a creature are the combination of the male name and female name. Feng is the male bird and Huang is the female bird. The male is the yang and represents the solar cycle and summer, while the female is the yin, the lunar cycle, and a symbol of the Chinese empresses ...

More of a clue that Christine is a queen, as well as more sun god clues regarding Erik … they showed symbolism with Erik/ (sun god - royal), and Christine (moon - also royal) and notice the Feng Huang is a royal bird: Phoenix was symbolic of Erik, but also Christine when paired in the Feng Huang - King and Queen of opera kingdom - if not yet in marriage, in intent.)


You have come here
To this place of blessing
To this special kingdom, my homage to music
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 speaking directly to Christine and is calling her Music, just as the English subtitles did.

** 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 - who and what he is. Also the red and gold tapestry is behind where his crests sit (king), and it is draped in the area above the drawings of Christine (queen), as well as hanging above the final mirror--but only when he exits through it in DOM scene. (King’s secret exit)

~*I Remember/STYDI*~

**Christine raises the protective black cover that Erik lowered around bed. It seems to sparkle more than it ever did - and she then rises from it. Her white stockings are missing. We think this is because
a) She doesn’t need protection from Erik
b) She is in reverence to the one she’s with (the king)
c) It more strongly suggests the role she is about to play.

I feel part of the reason her stockings are missing is because of who she is symbolizing when she arises from the clamshell bed that the Phoenix surrounds (Phoenix symbolizing Erik), as if protecting the person sleeping on it with its wings (from Notes: “The Angel of Music has her under his wings”) ... but why use the symbolism of a clamshell bed inside a Phoenix???



description of picture from website: "Venus, the Roman goddess of love and beauty, was often identified with the Greek goddess Aphrodite. Sandro Botticelli's painting The Birth of Venus from the mid-1480s shows the goddess rising from a seashell."

In the story of the Roman goddess Venus, she is symbolized as being born, rising from a clamshell, naked (perhaps why Christine’s stockings were missing, to suggest that. They couldn’t totally disrobe Emmy for a PG-13 movie.). When Venus arose, she immediately went forth to bring love and beauty to those who needed help. In MOTN, Christine was like a wide-eyed, awestruck young girl, enjoying listening, watching, and following her Angel and being with him. But now, as she arises from that clamshell bed, much like Venus did, she immediately takes on the role of Venus. She tries to bring light and hope to her Angel.

Also, Venus/Aphrodite is royalty, a Roman/Greek goddess. Another royalty clue that Christine is queen. It's as if she has been spiritually reborn (remember her fainting and the lone candle going out in MOTN - all symbolic of death in a symbols website found.)

**CHRISTINE: ”Whose is the face in the mask?” (Speaking of Erik.)

Companion book screenplay says it like this:
“She lovingly caresses his face. He responds deeply to her touch. Almost like a lover, removing a veil, Christine takes off the mask.

Taking on the role of Venus, she is showing Erik love and trying to bring him light and beauty. Trying to help him. She didn’t remove the mask out of cruelty, and her expression didn’t change when she saw his face. Companion book says: “Christine is near tears. Her heart is moved by this poor man.” It’s sympathy that leads her to give him the mask, though she doesn’t yet realize what it symbolizes. She’s new at her role of showing him light and needs to mature (as many movie characters must do throughout movie) … and like Venus did, in bringing love, she tried to do what she thought was right at the time by giving him back his mask.


**There are green accents among the red and gold—a green marble top table among the red/gold chairs. Green rimming the stairway, and at the bases of the walls, green in the floors, etc. The king’s colors are red, the queen’s are green, gold is the Phantom’s as Erik’s “companion” (when he is masquerading as his friend), and the colors of the kingdom would reflect the rulers there.
Clamshells adorn the walls (reflecting clamshell bed - Venus - Christine)

~*AIOAY reprise:


"I gave you my music..."
You are my music

He is calling Christine Music


**“Green and black/Queen and priest”

Green/Queen; Black/Priest (color, subject, color, subject)

Each line relates to Erik in some way, because this song is all about him - it’s his signature song, the kingdom song about the king - which the music box (symbolizing him) plays. In the chapel at the end, Christine wears both green and black - a dark gray-green skirt almost deep forest green at times) with a black ribbon in her hair (the only time she wears green or a black ribbon in the movie, and the only time any woman wears green.) This shows who these people are in relation to Erik in this scene. Christine is his queen, Raoul is her priest, but becomes Erik’s too. (meaning helper/servant)
In pictures below, compare the skirt to the ribbon in her hair to see how much blacker ribbon is - that skirt looks like a murky green, not black or gray):




**If pride will let her return to me, her teacher, her teacher. . .
If she returns to me humbly. She is worthy, worthy...

This sounds like the king telling his subjects that she is worthy to be his queen, that she is valuable to him, and should be adored—and given homage. The way many stare at her afterward is almost as if they are in awe by what they have just heard.

**Your chains are still mine. You belong to me!
Your destiny is to depend on me.

From me: If it’s her destiny, then it was ordained beforehand, another possible clue showing that when her father was alive he arranged with the King the marriage between Christine and Erik, perhaps in return for the favor of teaching her to sing and be an opera star. But he did more than that - he touched her as the Angel of Music tale with Little Lotte - and blessed her by giving him part of her “glory” and making her into a part of himself and thus forever changed - Music. (Just as her father promised her would happen)

**Your chains are still mine - you belong to me!
Tes chaines sont le miennes-nous paierons le prix!
Your chains are mine - we will pay the price!

We will pay the price refers to her and Erik, and I feel it means that since they are the rulers, they will pay the price to the Phantom spirit, since they are both in chains to him. Maybe suggesting her act of betrayal will cause them both to be punished.

~*M. Giry’s Tale:*~

When M. Giry lights the lamp, she turns at the same angle as that white bust and pauses for a bit--they have her profile “match” the statue. Much like Meg did at the mirror ... I think they are trying to have us focus on the statue ... Erik and M. Giry have busts in their rooms, which has been shown from what I read about them that spirits can temporarily reside inside them as spies. Three books sit in front.


This bust is of Venus (the goddess of love and beauty):


Statue above is called: "Venus Bathing". In later scene they focus on this full statue...

(in French subtitles of Masquerade song):
Curl of lip, swirl of gown
Coin de lippe, seins de Diane,
Corner of lip (thick lip), Diane’s bust,

I think that is a clue that we are supposed to see her bust (statue) and realize it symbolizes Christine, and perhaps Madame Giry is symbolized as Diana: some information about the goddess Diana from website:
The moon goddess Diana, know to the Greeks as Artemis, is the twin sister of the god Apollo, the handsome young god of the sun ...The moon goddess is unapproachable and mysterious, preferring the solitude of the woods and mountains, playing with the wild beasts whom she can calm just by her presence. Diana myth says that she danced with Nymphs, playing the lyre, and could speak to the animals. It is her power that brings healing properties to mineral springs...another website said she is known as the goddess of fertility and was thought of as a “mother” goddess, especially to young girls and women.
This all fits with how they symbolized Madame Giry: She danced, she had the moon around her/with her (i.e. when she was a child and came down the stairs flooded in moonlight to help Erik—where the moon shouldn’t have even been, since they showed that area twice that there were no windows there...), she raised Christine and Erik and was in charge of the other girls, she seemed to have a mysterious affinity with Erik that was never explained ... she was unapproachable and mysterious … she could calm the wild beast (Erik was called a beast) and she was obviously close to him…

Of the frame of her picture - (Ha- to those who read earlier, I had it all wrong. We were researching those things individually, when the clue was the ENTIRE frame. as I was researching something for Phantom Christmas Carol- I found who these are....)

Hades (King of the Underworld), Persephone (wife to Hades and Queen of the Underworld), and Demeter....

Demeter: She presided over the harvest and a sheaf of ripe wheat was her primary symbol. She was the mother of Persephone (this is the figure on the left of the frame below) This figure seems symbolic of Madame Giry, who thought of Christine as a daughter.
Persephone is invariably portrayed robed. She may be carrying a sheaf of grain and smiling demurely (The sheaf of grain was later passed to Persephone by her mother, I learned - but this woman, who is robed, is carrying over her shoulder what looks like could be the flowers Persephone was collecting in the meadow when Hades rose from the earth and abducted her - (something like the basket of flowers Christine carries as Amnita) This is the figure of the woman on the right side of the frame above) This figure also seems to be symbolic of Christine. QUEEN of the Underworld

The sun is above the frame- in the middle, above the earth, and below, where Persephone is standing, is the firebird, (another name for a Phoenix) both symbolic of Erik, who is also symbolic of Hades in that he is KING of the Underworld. Persephone symbolic of Christine is standing on firebird (Erik), and he took her to his Underworld, the first living visitor to go there (MOTN) just as Hades took Persephone to his Underworld as his first living visitor.

This frame and that they chose to use these figurines (Hades, Persephone) is just another symbolic clue, to me, that Erik was King, Christine his Queen, and they did become husband and wife.


here she is with the moonlight surrounding her, where there should be no moon.


So, all that to say, Diane’s Bust in foreign subtitles of Masquerade appears to be Madame Giry’s bust - which they show as Venus, symbolizing Christine and whom Madame Giry also serves. And seems another clue that Christine is a ruler there - Erik's Queen.

~*Journey to the Cemetery*~

**Christine goes outside - but this isn’t a blanket thrown around her for warmth or modesty - as she threw it around her shoulders on stairs. This is worn very much like a stola, the Roman/Grecian form of dress, and how they often depicted royalty, goddesses. I’m not even sure this is the same fringed blanket she threw around her shoulders on the stairs. I researched this time period once; the way such a shawl is fastened, it takes a lot of wrapping and tucking to hang just right - you cannot achieve this look by throwing it around your shoulders. If the shawl were meant for warmth or cover, why then is her front, side, and back bare? Instead it appears only to be used as an ornamental piece of clothing. Suggesting symbolism.

The way she wears it is a hint to her being queen. It’s over the left shoulder, drapes low across her back, to be tucked over right arm. This is not worn for modesty or warmth.


~*Wishing You Were Somehow Here Again~*

**Except for the towering effigies on the wall, no two statues are alike in all of cemetery unless they face one another, and there are only two sets that do … the “twin” statues with their arm clasped across their breast in the old Roman/Greco way show a greeting, as in homage - paying respect, giving a pledge to royalty - like to a queen. And Christine passes between them. One other statue has a twin facing it…but later, it appears alone in every shot - and then again in a place where nothing was there before…

**We have found that this statue is of “Venus Bathing” - Venus the Roman goddess of love and beauty - an odd statue to have at a cemetery, as many of these are. We believe the statue is symbolic of Christine, not only because of "I Remember" (where they depicted her as Venus rising out of the clamshell bed), or the red rose (symbolic of Venus) or the turtledoves, (which French subtitles of Masquerade song state “donkeys and turtledoves” - and a symbolism website said this: Turtledoves reinforce the symbolism of Venus, the goddess of love and beauty), but because of what happens in this entire scene. This “Venus Bathing” statue follows her... (from French subtitles translation: "Masquerade! Statuaries, these shapes that move/wait for you" - I looked up the word “esquisses” (shapes) in a French dictionary - it also means “ghosts”. So this could also mean - statues - these ghosts that move/wait for you…)

Masquerade! Stop and stare at the sea of smiles around you!
Mascarade! Statuaires, ces esquisses n’attendant que vous.
Masquerade! Statuaries, these shapes that move or wait for you

Four different areas they show the Venus statue:


website with Venus statue:
(click on "statues" and it's the 2nd page, 4th one down)

**Christine leaves her father’s grave, walks under an arch and down some stairs, much like in a slow processional, carrying the roses like a bride does her wedding bouquet. A second time we see the twin statues, seeming to pay homage with right arms clasped across their breasts, a scroll in one hand, heads slightly bowed - as if to a queen in passing. They were in first scene where she passed too.


~*AOM/Wandering Child*~


** CHRISTINE: Turning from true beauty
sempre avrò il tuo amore
Always I will have your love

ERIK: Turning from true beauty
Sempre avrai il mio amore
Always you will have my love

CHRISTINE: Angel of Music, My protector
Angelo, più non ti respingo
Angel, I reject you no more

ERIK: Angel of Music, do not shun me
Angelo, più non mi respingi,
Angel, reject me no more,

CHRISTINE: Come to me strange angel
aprimi il tuo regno
You open to me your kingdom

ERIK: Come to your strange angel
Apro a te il mio regno...
I open to you my kingdom…

This is also in the king list - but he tells her she will always have his love, to reject him no more, and that he opens his kingdom to her. To me, that’s how a king would speak to his intended queen and seems symbolic that she is important to the kingdom - the queen of it.

~*Swordfight at Cemetery*~

When they fight, and they show the Christine statue, only during this time that they show the bottom of what looks like a black robed figure does the music change (the creepy organ music that always played when Phantom spirit suddenly appeared, as he did in M. Giry’s tale) and they show the black cloth/ robe of someone standing on the base of the Christine statue with the cross and watching the fight. Though one sleuther figured out how they set this up, I feel it was also symbolic - another clue showing that statue was supposed to symbolize Christine (Queen), since that time and place is the only instance where they chose to make it look like area Phantom was standing - beside statue resembling Christine - and they show them as a trio throughout movie: Phantom, Erik, Christine...


continued in another post...
Image E/C manip made by me
User avatar
Posts: 795
Joined: Mon Sep 16, 2013 3:17 pm

Return to Board index

Return to Hidden Plot

Who is online

Users browsing this forum: No registered users and 1 guest