Phantom of the opera 1943 ending relationship

Non-Review Review: The Phantom of the Opera () | the m0vie blog

phantom of the opera 1943 ending relationship

Then, towards the end of the film, Erique plays this same song for Christine, and she questions how he knows it. When Raoul asks Christine if. Inspired by editingroom. The question at this point is whether "The Phantom of the Opera" is even intended to be frightening. It has become such a product of modern.

Everybody there must have known that old folk song. It sounds too much like a tenuous denial, an attempt to justify the answer they want to give her. After all, who wants to deal with the revelation that her father might have been romantically drawn to her? It seems like an attempt to spare Christine the horror implicit in such a revelation.

The music of the night!

Phantom Of The Opera (1943) - Trailer - Nelson Eddy

It feels somewhat ironic that the attempts to destroy an incest subtext only served to enhance it. Indeed, Christine is surrounded throughout the film by older men, who seem to act in a paternalistic fashion towards her. Her two potential romantic leads — Raoul and Garron — are both considerably older than most would-be romantic leads in similar monster movies.

Nelson Eddy, playing Garron, was forty-two at time of filming. Edgar Barrier, as Raoul, was thirty-six years of age. In fact, the romantic subplot at the end of the film goes completely unresolved, as Christine refuses to identify either man as her lover. Bringing down the house… Everybody treats her like a child throughout the film, not just the Phantom. But they are docile.

Come later tomorrow, say midday.

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Staying on top of things… Claude Rains is grand as Erique, but he never seems an especially compelling character. The movie tries to convince the audience to pity him, and he initially seems relatively sympathetic. The artist has a special temperament, and he must live his life exclusively with those who understand it.

And, so, being fired, it makes the sequence especially touching.

Phantom of the Opera ( film) | Phantom of the Opera | FANDOM powered by Wikia

So to be fired and only receive a season pass in compensation is particularly devastating. His devastation at losing his job is understandable, but the movie never really convinces us that he goes from that point to a mass-murdering lunatic with relative ease. His sanity seems to collapse not because it makes sense, but because the movie is winding down and the ending is close. Rains does the best he can with the material, but the character never feels as well drawn as any of the other monsters here.

Phantom of the Paradise Nothing about Phantom of the Paradise should work. Eventually, it became the cult classic it deserved to, with figures like director Edgar Wright and electro legends Daft Punk citing it as an influence. There are major changes to the source material — this is another version where the Phantom is scarred through circumstance rather than being born with it — but Paradise has the strongest understanding of the mania of creativity.

Here, the Phantom is a songwriter named Winslow whose musical masterpiece — a cantata of Faust — is stolen by the nefarious producer Swan and bastardized into whatever musical trend is popular that day. The layers to this story are never-ending: Sorry, Andrew Lloyd Webber. Video of Phantom of the Mall: Surprisingly, there wasn't a rebirth of classic monster stories during this period, or at least not in the expected ways. Vampires became metaphors for the decade's ills The Hungerwerewolves got funny An American Werewolf in Londonand the video nasties pushed boundaries with the genre that created international scandals.

Of course, there was also a lot of shlock during this period. Horror could be made quickly, cheaply and with a guaranteed appeal to teenagers looking for easy scares.

Phantom of the Mall: Here, Eric with a C is a former high school jock whose family and home were destroyed by evil property developers who wanted the land to build their new mall on.

In-between killing people and working out, he plans to blow up the mall on the eve of its grand opening. However, it remains astounding that this pitch ever made its way out of committee. Were the hip young teens of the s really all about The Phantom of the Opera, even after the musical became a smash hit?

However, by the end of the decade, Freddy himself had gone through a few changes, moving further away from the full-on terror of the first film to a more comedic approach. Think of the daft one-liners and winks to the audience over how silly proceedings have gotten. That Freddy is all over Englund's take on Phantom, which is a nasty horror time travel mish-mash that still finds time for a few death puns.

His Erik is a composer who sold his soul to Satan in exchange for everlasting adoration of his music, but the deal left him disfigured, so he kills people and sews their flesh onto his face as a mask. His Christine has traveled through time to London of but might actually be dreaming or having a past life regression the film isn't really sure either. He plays the Phantom with such scenery-chewing gusto that you can practically see the teeth marks on the furniture. However, the overall production is oddly lifeless and unsure of its own concept.

It seems to struggle with whether it wants to be a gleefully grizzly bloodbath or a more deftly drawn piece of phantasmagoria. Everyone and their mother have seen Phantom. Some fans have seen the show literally hundreds of times and still go back for more. Lloyd Webber managed to tap into something embedded in the source material and amplify it in ways that have inspired millions of ardent fans.

That basic formula is actually very simple: He is a tragic character but still clearly a villain. For Lloyd Webber, the character became a full-on misunderstood sex god, one who is clearly positioned for large portions of the show as the more interesting romantic option than Raoul.

The parallels between the show and the composer himself have bypassed absolutely no one Lloyd Webber wrote this show for his then-wife Sarah Brightman, a young soprano and dancer whose career he tried to boost at every turn.

This is a mega show with mega emotions. The appeal is simply easier to grasp when the story is streamlined, the themes made more concise and banging electric guitars added.

May it run for another 30 years. Phantom of the Megaplex If you thought a s slasher version of Phantom was weird, how about a Disney Channel movie one?

phantom of the opera 1943 ending relationship

The kids are all about Gaston Leroux. During the s, the Disney Channel made a lot of original movies and the chances are, if you're of that age bracket, you remember a hell of a lot more of those titles than you're willing to admit.

phantom of the opera 1943 ending relationship

These films covered a surprisingly wide array of genres, so why not go for a horror inspired Phantom remake? Phantom of the Megaplex moves the action to a multiplex cinema haunted by the ghost of the old theater that once inhabited the land of the new Megaplex. As with many films from the Disney Channel oeuvre, the jokes are very broad, the acting highly suspect, and the tone knowingly and unashamedly silly.

Phantom of the Opera ( film) - Wikipedia

Like Phantom of the Mall, its weirdness is more in the fact that it even exists. Love Never Dies Making sequels to musicals is a bad idea. If nothing else, Andrew Lloyd Webber should at least get kudos for having the nerve to sequelize the biggest show of his career, one with a gargantuan and intensely dedicated fandom.

Alas, arrive on the West End it did, and the reviews were abysmal.

Phantom of The Opera Adaptations Ranked

Her young son is with her, as is the now drunken waste-of-space Raoul, and the Girys now work for the Phantom as spiteful confidants who are ever so jealous of Christine. Oh, and her son is his son. It only gets more soap opera weird from there. The story of The Phantom of the Opera is already camp but Love Never Dies inflates it to absurd levels then plays the whole thing completely straight-faced.