Laverne 2022-07-05 14:33:59

?Very unique adaptation, I think this version of The Phantom also has a lot of room for digging, a passionate suitor in his late 50s, a depressed but talented composer, trapped in poverty, hope He sought a way out through his own works, but he could not gain the approval of others, and even his whole life was stolen. When a strong corrosive liquid was splashed on his face, his life as a normal person came to an end. It's a pity that the movie didn't give him much shape, Christine didn't have a musical resonance with the Phantom, and after getting out of trouble, she only expressed her sympathy for him lightly. The interaction between Christine's two suitors, who are happy friends but tacit understanding, also dilutes the tragic color of Kedan (The Phantom). The musician was finally buried in the ruthless ruins, and it all seemed like the ending he deserved. His sincere love, the natural desire of the flesh, was talked about and ridiculed by those young men who were full of youth in their prime. He was so denied, as if a person should not have fantasies about love and desire when he is fifty years old. A young and beautiful body seems to turn into a rotten and uninteresting rotting wood at the age of fifty. His burst of vitality was crushed under the slate, destined to bring about an explosion. (Christine is still beautiful, unmelted cream in a china dish, caramel blush, fresh cherries from a can of fruit. Although the love between Phantom and her seems often Interpreted as a spiritual resonance, but I think the Phantom loves her, and to love her as a mortal must first be seduced by the appearance of her youth, beauty, youth, purity.)

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Extended Reading

Phantom of the Opera quotes

  • Signor Ferretti: [FERRETTI is telling CLAUDIN that if he can no longer pay for CHRISTINE's lessons, FERRETTI will have to stop teaching her] I'm sorry, Claudin. Really sorry. If I had the time- But my expenses are great, and you must remember that many who can pay are waiting to study with me. Well, I'll let her come a few times, and, uh, then I will tell her she no longer needs me.

    Enrique Claudin: B-But that isn't true.

    Signor Ferretti: As a matter of fact, if you had the money, she might be launched on a career very soon. I assume that Mademoiselle Dubois has not the means to pay for her own instructions.

    Enrique Claudin: Why, her month's salary wouldn't be enough to pay for one of your lessons. But, uh, I have written a concerto. Now, will you trust me if I can arrange to have it published?

    Signor Ferretti: Every violinist has written a concerto! Come, come, my dear Claudin.

    Enrique Claudin: But I have faith in this one. As much faith as I had in Mademoiselle Dubois when I came to you three years ago. Now, I was right about her, Signor. And I'm right about this. Pleyel and Desjardins are certain to publish it, and they'll give me a substantial advance. You'll see!

  • Villeneuve: You must choose between an operatic career and what is usually called "a normal life." You can't do justice to both.

    Villeneuve: The artist has a special temperament, and he must live his life exclusively with those who understand it.