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Mystery Angel
Thu Aug 31, 2006 12:16 pm
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:heart: The Hidden Plot :heart:
SUMMARY of Don Juan Triumphant
paragraph summary: This song is chilling, the Phantom’s opera—a foreshadowing of everything he and the king have planned…in this song we see that “one” is really “two”—Erik and Phantom spirit. This song details what his plans were for everyone there and is a foreshadowing of what is to come…
At beginning of scene, they show the box next to Raoul’s. The statues engraved on box are two skeletons (symbolizing death)—one on each side—both with hands out to what looks like could be a sun god. (symbolizing Erik)They also show it in trailer with a shadow creeping across it. (shadow—phantom) Upon looking at pictures in companion book, each of these boxes has this carving of the two skeletons reaching to the "sun god"--who looks tortured. In the trailer, they show half of the face on the right (the Warner Brothers logo is in the place where the sun god is in movie)
from trailer:
movie:
They show the musical score--"Don Juan," instead of Don Juan Triumphant--could be foreshadowing that his plans won't be triumphant...The audience cringes finding the music hideous—I think it's off key, chaotic, etc, because the Phantom spirit wrote all of the opera through Erik...they’ve shown it's the "Phantom's opera" through former clues and what Christine sang in last scene. (In libretto, the rehearsal is chaotic, no one getting it right, the piano suddenly magically starts playing—no one there—and all of a sudden the cast is singing perfectly, but like automans under a spell…I think this is a key clue to show that they are all controlled/bound by phantom, just like the girls screaming—spinning—then screaming again in Il Muto.) Also, the skull is back on Box 5. Notice as you look at the stage again, the flames in those stands is exactly like the one that was outside the chapel in TEW... (that makes three changes it had throughout movie).
The following was the original plan. Some of it changed in PONR. Phantom/Erik wrote this and it reveals exactly what they’d planned to do to all of them, including Christine. You might want to toss out everything you've ever thought about this scene, and PONR, for a moment...and walk into this with an open mind...some of it is a bit shocking...
CHORUS: “Here the sire may serve the dam...”
A “sire” is an address for a king—yet another clue Erik is one; a “dam” is a damsel—a maiden; they are saying the king may dish up or give to Christine whatever he feels she deserves.
CHORUS: “Here the master takes his meat!”
This term means the king will take what is rightfully his.
CHORUS: “Here the sacrificial lamb utters one despairing bleat...”
A sacrificial lamb was supposed to be without blemish—pure. In biblical history, a sacrificial lamb was always male. Phantom/Erik knew all that was happening; he knew a trap had been set for him...Some believe Christine is the sacrifice, some Erik—some both—but with this English translation and the way they present the words—I believe one sacrificial lamb here means Raoul. (The Spanish translations make it clearer; other translations show a broader scope, focusing on others—more soon.) When Raoul was tied to the gate in DOM, he sang out “final” words of despair. (utters one despairing bleat).
CARLOTTA AND CHORUS: "Poor young maiden! For the thrill on your tongue of stolen sweets, you will have to pay the bill—tangled in the winding sheets!"
“Poor young maiden” is Christine—“thrill on your tongue of stolen sweets” refers to her three months spent with Raoul, and perhaps her being treated with more respect because she was with their patron. “Tangled in the winding sheets”—because she’d gone with Raoul and left her Angel (or so he thought), the Phantom/Erik was going to make her pay by taking her and making her physically his own. (You will curse the day you did not do all that the Phantom asked of you…Now, let it be war upon you both!) The way this song is sung --“Poor young maiden” “Pay the bill”—he planned to bed her with or without her approval. She was his intended queen and he was going to make her his completely, so no one could ever try to take her from him again.
When they sing “You will have to pay the bill”—they show what looks like a gold eye flashing on and off and 3 policemen. (Eye of gold—true is false—(masquerade song) yet a third instance pertaining to “eye of gold.” 3—Phantom.) Might relate to Italian translations…since they talk of conspiracy at this point--and they show three policeman/gold eye--and I think this shows Phantom spirit was involved in the conspiracy to capture the king or that he soon will be (he was deceiving Erik, and wanted to destroy him too) ...more soon.
This picture shows two policemen, but the eye keeps flashing, and camera moves to show the other policemen walking in above them.
CHORUS: “Serve the meal and serve the maid!”
“Serve the meal”--And now, let the plans commence... “Serve the maid”—another word for “maiden” or innocent/virgin. IOW, give to the queen what’s coming to her...
“Serve the master so that when, tables, plans and maids are laid, Don Juan triumphs once again!”
Serve the king, do his wishes, and I don’t need to tell you what the rest means. Don Juan was a ladies’ man who had numerous affairs. From everything they have shown, Erik didn’t want anyone but Christine. But by taking on the role of Don Juan, he was likening himself to someone women thought irresistible—and he wanted to be thought of as that. To Christine.
When they sing: “Don Juan triumphs, once again!” Carlotta has her right hand lifted w/ fan; While the others point elsewhere. A man w/ black mask in back of her points to audience with his right hand. I believe it’s to show that all of them in the opera house—the audience included—are all doomed by the phantom. Split second next shot she points ahead with left hand. Her right arm with fan is suddenly down and she is having a struggle with the man behind her who has removed his black mask and before was pointing to it and waving it around, perhaps as a clue to the viewer to find out what it means (phantom). Now they have a sort of power struggle, trying to vie for top position with their hand on top of the other. Notice how Carlotta is dressed. She is wearing red and green flowers on her dress similar to ones on Erik’s cape in PONR, and 4 red roses in her hair go to the left. (4, red, and left—all symbolic of Erik) She has a green underskirt. (Queen’s color)
Again, the man behind her is now unmasked (a few lines earlier he’d been pointing to his black mask and waving it around)—I think this is symbolic of the struggle between Phantom spirit and Erik to get upper hand, (perhaps Christine too, because of the green underskirt) or of Erik (and Christine) to get free of Phantom. Carlotta and this man are the only ones who continue to point forward, struggling, while the others turn their arms to the stage.
Here, Carlotta holds a red fan—red—color of Erik, the king; fan—symbolic of authority. The guy behind her waves his black mask around, pointing to it…
Next, the guy with black mask in back thrusts arm through and is first one to point to audience—she still has red fan pointed to right.
Suddenly a split second later in next shot, her arm is down, red fan no longer in evidence (authority gone), her hand pointing with his to the audience, everyone else pointing there too, telling them they are soon to meet their destruction—(you’ll see) and the power struggle begins…the blurs are where they are fighting for top position.
This whole song and the way they acted it out—as well as the discordant music—reminded me of a scene with the phantom and his minions, as if they were now having a ritual in their underworld—ceremonial goblets, the way they danced, acted, leered, all of it…
Many of them who symbolize Phantom w/black masks have a vine of leaves on their costumes, and I think some of the women do too, but am not sure. Symbolism website said this—vine: eternal life Meaning they cannot die…spirits.
Earlier they showed Passarino in embrace with a woman under the stairs—(Passarino is symbolic of phantom). Now he runs his hand along her upraised hand in a strange way, (as though giving her power? Putting spell on her?) And she dances out from under stairs…
Meg comes running out of curtain—notice all the women wear single red roses or other red flowers on the right side of their heads (also sometimes flowers or ribbons in back). All except Meg and Christine who wear a single red rose on the left side of their heads—and Carlotta who has 4 going down her left side. (left—Erik; right—Phantom)
I believe this is to show that Christine is for the king, which we already know—but so is Meg. Meg also serves and helps Erik. Notice also that she’s wearing more red than the others, who have more black. (And with Carlotta and the roses/fan, I feel they did that to foreshadow the symbolic struggle of Erik and the Phantom yet to come… )
When she waits for the coins—off to the right, they show 3 men (Phantom’s number), who all seem to symbolize Phantom at one time or another—the guy with black mask, the guy with red cape (more to come on that) and another with black mask all in a huddle—suddenly they break apart as if shocked, looking toward Carlotta. (Carlotta is further up the stage ahead of them…) This could be to show Phantom’s shock at Erik’s change of plans…more on that later.
Piangi, as Don Juan (symbolizing Erik), throws Meg a sack of coins—the other two girls look upset, and one seems to shoo her as we see her smile and dance off stage. Perhaps to show Meg is secretly working for the King, and will be rewarded. The other girls are for Phantom, since they were with him (Passarino) letting him fondle them under the bridge. And later, Meg does work for Erik (more on that later) They call her a "gypsy whore" in the companion book, but I don’t think that means Erik has any sexual aspirations for Meg—she is something to him, but not a love interest.
They show Carlotta curtsy, and one of the 3 who was in a huddle and also seems to symbolize Phantom spirit (more soon)—walks off stage but suddenly looks over his shoulder at her, his look strange, as if he’s keeping an eye on her. Since her costume seems to show she symbolizes the rulers of the kingdom at this early point of song--the ones in authority (Erik & Christine), before Don Juan as Erik takes stage—it makes sense. Once Don Juan enters, she leaves stage.
Everything that has happened in this song so far is all foreshadowing of what’s to come…
Okay, now it gets trickier. Remember: Phantom spirit wrote this opera through Erik:
Don Juan= Erik, the King
Passarino= Phantom spirit
They even made it easy to tell who is who, remembering clues from other scenes. Passarino wears a black mask and has a dark cape—no lining. Don Juan wears a long red and gold lined cape—you can see that part hanging down is actually part of his cape as he swings around—and he has red bows in his beard—on his person himself. His cape is lined in red, and his hat is lined in red. Red is the king’s color from all clues they’ve shown. Also notice the sword is on his right side—that would make him left-handed. (Another interesting thing—he’s wearing green eyeshadow.)
The DJT set is red and black—Erik, the king (red) and Phantom spirit (black) who serves him—but they are a team. To try to make this easily understood, I’m going to translate the parts first, and then explain what they’re saying:
DON JUAN (PIANGI) ”Passarino, faithful friend, once again recite the plan...”
Phantom spirit, faithful friend, once again recite the plan...
The king is asking his servant, who he thinks is faithful and a friend, to recite their plan in capturing Christine. This friend reference reminds me of Masquerade—“you can fool any friend who ever knew you...”
PASSARINO “your young guest believes I'm you- I, the master, you the man...”
Erik’s young guest believes Phantom spirit is Erik—Phantom spirit the master (king), Erik the man (servant)...
The "young guest" here is Christine, and they are planning this so she’ll believe that Erik is the king’s manservant—the messenger. The companion book makes this clear: The PHANTOM, disguised as Don Juan pretending to be Passarino, is standing downstage. Exactly what they did at the Mirror scene. But there’s a difference, which I’ll show in a bit. He says the last part wittily, as if it’s a big joke. Phantom, the master—he makes light of it as if telling the king that king is really the master—and Erik the man (a shortened form of “manservant.” A manservant served and waited on his master, and the master often called him “his man.”—in Spanish subtitles they make this line much clearer.)
The Phantom spirit will hide behind the cloak of the master, the king (the one in authority), and Erik will approach her as the king's servant. Erik doesn’t realize that Christine knows who his manservant is—the Phantom spirit. He doesn’t know that she fears the darkness. He still thinks it’s only his face she fears, so he feels he has to masquerade as the phantom—the one she met and followed at the mirror—to get her to come to him. The last Erik overheard her say anything regarding darkness was on the rooftop with Raoul, when she spoke about “a distorted face”—and then she went with Raoul. So Erik has no qualms about approaching her as his messenger/(phantom), like he did at the mirror, because that plan worked. She went with him.
In the real Don Juan story, the servant and master switch places to get the girl to come to him. And just like in the mirror scene of POTO, they have again planned much the same thing.
DON JUAN(PIANGI) “When you met, you wore my cloak, she could not have seen your face...”
When Phantom spirit met Christine (at the mirror), he wore the King’s cloak, she could not have seen Phantom spirit’s face...
This is the only part of the song that is sung in past tense, so it is something that’s already happened in story. This describes the mirror scene to a T. Phantom/Erik wore the light-lined cloak when he met Christine face to face for the first time and tricked her into believing he was fully her Angel—she "could not have seen his face." But she soon saw through him because of the light inside her, and she immediately called him Phantom of the Opera in her song (not Angel of Music as she did at the mirror). Immediately after that, his cloak lining changed to dark in next well-lit corridor, candles went from 4 lit to 3 lit—but then she grew alarmed and looked back when his power grew stronger, so he went back to the King’s cloak—gold lining, realizing he'd alarmed her. She did see him, but only briefly—so in a sense, she did not get a good glimpse at phantom to know who he was. (“Who was that shape in the shadows?”) And in the boat, when his lining went black again, she was not facing him. He was behind her.
DON JUAN: “She believes she dines with me in her master's borrowed place!”
They want Christine to believe she’s with the king’s manservant in the king’s place they borrow—there on stage.
DON JUAN: “Furtively, we'll scoff and quaff, stealing what in truth is mine, when it's late and modesty starts to mellow with the wine...”
Furtively--(slyly or secretly)--we’ll scoff (mock) and quaff (drink), stealing what in truth is mine (The King has ordained that Christine will be his queen, so technically she’s his), when it’s late and modesty starts to mellow with the wine (“we” is Phantom and Erik together. Wine is a symbolic/poetic word used to describe “love” or “passion”—so what he’s saying is they will slyly or secretly scoff and quaff (Phantom probably scoffing while Erik and Christine drink of their passion)—which is exactly what Erik sets out to do when he first comes on stage. Modesty more than “started to mellow” on Christine’s part with the wine (love and passion) he showered on her—she not only enjoyed it, but something unexpected happened...more on that later.
*Another reason Erik, the king, is masquerading as messenger/phantom now is they want to deceive her in to believing the darkness can be an exciting, wonderful thing…they almost got away with it in MOTN before STYDI happened. Now they’re trying again—so he tells her how wonderful it will be for them when she joins him in his “hell”…telling her of how he will make love to her, etc…but she knows who’s really behind the disguise…more soon…
PASSARINO “you come home! I use your voice- slam the door like crack of doom!”
Erik comes home—becomes fully Erik—Phantom spirit uses the king’s voice—slams the door like crack of doom!
Once they cross the bridge, Phantom spirit leaves for a bit. And something unexpected happens—not in the original plan—because of what happened in the PONR song. More later…but this DJT song was their original plan—Erik meets Christine in middle of bridge, Phantom spirit again takes over, acting as Erik, using his voice (authority)—and “slams the door”—cuts down the chandelier—like “crack of doom”—a term used to describe the advent of disaster—the intended death to all in the opera house.
Phantom spirit planned to cut down the chandelier all along—all former clues relate to him doing it, not the king...it was not because Erik was unmasked or the police/mob were after them, and yes, I mean them. (More later) He wanted revenge on the whole opera house for disobeying the king, but really, for disobeying him. He—phantom spirit—was the “black Angel of Death”—and ultimately wanted their spirits for all eternity, to burn with him. The fire on mini stage was a clue to that, as were the underlined words in companion during that scene: FLAME, THE MOLTEN FIGURES
DON JUAN (PIANGI): ”I shall say, "come hide with me! Where oh where—Of course my room!"
Erik shall say, come hide with me! Where oh, where—of course, my room!
Notice Erik says “come hide with me,” as if she, too, needs to hide from the mob…Erik escapes with Christine in DOM and takes her with him to hide in his lair. His room. From how this line shows it, Phantom spirit wasn’t at the lair at first…and he wasn’t. He was up to other tricks (more later).
PASSARINO “poor thing hasn't got a chance...”
Phantom is assured of their victory.
DON JUAN(PIANGI): "Here's my hat, my cloak and sword. Conquest is assured, if I do not forget myself and laugh
If he laughs, she’ll know it is phantom spirit in control and not Erik’s, “manservant”—whose face she wasn’t supposed to see (“she could not have seen your face”.) She’ll know it’s phantom spirit who has her—they think they can trick her, remember. Phantom laughs maniacally—he is evil. In companion book, they heard him laugh in Il Muto. In WYWSHA French translations, she sang: “…without evil /pain, you would have laughed”—she’s singing this part about Erik, so this shows he doesn’t laugh—he’s trapped, unhappy…But Phantom does laugh…and she's heard him before.
"Hat" is a symbol of authority and power, so is a “sword” in symbols chart. Erik is temporarily giving over his authority & power to Phantom spirit. Cloaks and veils hide or mask the body, symbolically, and also mean protection, as does a sword. Don Juan (Erik) and Phantom switch capes—something they don’t show as they pan to audience expressions. When Passarino first walks to the back, it almost looks as if there is red at the bottom of his cape then, but I slow-moed it and frame-by-framed it—that is the reflection of the red around him, because it doesn’t show all throughout—just at edge and at times as the cape moves it goes to black again.
They show Christine’s expression as she looks in the flies, expecting the Phantom to be there, since that’s where he’s always been when he’s done his dirty work. When they cut back to scene, the Passarino (Phantom) is wearing the red-lined cape (color of Erik) which almost makes it look as if he was doing so the whole time. (Like I said, they did this sneaky. Pay close attention to those capes and you’ll see what I mean).
Passarino’s cloak is dark—with flowers on the outside edge, like Erik's in PONR. You can see the trail of flowers a bit more in this pic. The red is the gap between his legs showing the flame scenery. Don Juan’s is red & gold lined: (colors of the kingdom, and red is the color of the king)
If you look at shadow on curtain, and look very fast, you can see Passarino (phantom) taking off his dark cloak as Don Juan (Erik) sings.
Next—notice the red lining of hat—(only time they show a hat)—and he hands hat and sword over, sings here’s my cloak—but cloak is already on Passarino, and it looks like he just takes what Passarino offers him. They don’t make it obvious a switch has been made in visuals…
Now Don Juan (symbolic of Erik) takes Phantom’s black cloak and adjusts the black mask over his eyes--all symbolic of Phantom spirit. They are showing on stage what is now happening in the real story.
Erik has just taken on the Phantom’s power/aid to kill Piangi, and get his girl. Notice his cape is dark on inside.
Instead of the Phantom spirit taking the king’s cape and going as a servant to bring the queen to the king, (like in Phantom of the Opera scene), Erik, the king, is taking Phantom’s cape to pretend to be a servant. What I think this might mean: here Erik understands what’s going on—whereas in MOTN, he looked almost stunned to see her when he “came home” after POTO and those two lines Phantom/Erik sang. Throughout PONR Erik is aware of what’s going on—this was their plan.
I feel he’s more Erik than Phantom here. Just as in POTO he was more Phantom than Erik. The differences in the cloaks they wear—Phantom wearing king’s cloak in POTO (King didn’t wear phantom’s—he was fully Erik in MOTN) and now king wearing Phantom’s cloak in PONR—lead me to believe this.
Piangi—who dared to stand up to the king at the masquerade ball and even approached him in a threatening manner when King ruffled Carlotta’s feathers with sword—now dies. The Phantom spirit planned to kill all of them except Christine. He wasn’t going to kill Erik bodily, though he was going to take total control of him. This is apparent in Seal My Fate when he sets fire to the stage with the figurines. That Piangi died now or later made no difference to him; they were all going to die anyway.
CHRISTINE: “No thoughts within her head but thoughts of joy…no dreams within her heart but dreams of love…”
Notice the way she sings this—it is sung the same way as a line she sings later, and I feel there is a strong reason for this. More on that soon…
Look in the below picture: The flames now don’t appear as high as they did before—because the back ones are obliterated by a bright white light within the flame pit that wasn’t there before. As always happens when she’s in view—white light follows her or is around her in some way.
Notice she is barefoot. Erik planned it that way.
A) Because he wants to be her sole protector and not have Raoul anywhere near her (The priest of light Raoul symbolizes shoes which guard the feet—and feet are symbolic of upright spirit),
B) because bare feet shows reverence and humility for her king. (symbolically)
And the shoulders of her sleeves are up; one thing about those sleeves—they never stay up when she’s with Erik, or looking at him; but with Raoul, she either pulls them up or they go up next scene without them showing it… Symbolic that she is completely yielded to Erik…but with Raoul, she’s not.
Notice in above picture one sleeve is down--Erik has just entered from beyond the curtain. She’s pulling thorns from the rose . The symbolic meaning for that in the symbols guide on roses: Rosebud with leaves; no thorns--"I fear no longer; I hope" (she is the rose, red is Erik’s color—which makes the red rose a symbol of their relationship—so this shows that she now hopes and no longer fears being with Erik ... I feel it’s because she’s made her choice (Spanish translations of PONR show this). She looked up at Raoul earlier and he nodded as if it would be all right, but she didn’t acknowledge that nod with a smile or anything. She didn’t want to be there—didn’t want to go through this difficult testing, this “ordeal by fire” that the others have forced her into…and she also doesn’t know Erik will be on the stage with her and take the part of Don Juan.)
Passarino: “Master” (he calls him this because he is king)
Phantom/Erik: “Passarino…go away for the trap is set and waits for its prey…” (Erik is telling the Phantom spirit to leave--but at the same time he’s wearing his cloak, (symbolic of hiding) so as to pretend to be Phantom. The king is approaching his prey--IOW, let the plan unfold...)
ERIK: “You have come here, in pursuit of your deepest urge…”
Next split second shot of her as she turns to see him—both her sleeves are far down—her shoulders bare. She is already completely yielded to him. Because Erik is who she wants—she never dreamt he would come on stage and sing to her/ be with her…she had probably thought he would attack someone from the flies as he’d always done before when he was displeased…
ERIK: “…in pursuit of that wish which ’til now has been silent, silent…”
Here they make eye contact and he puts his finger to his lips as he sings silent, silent. He is telling her to obey the kingdom rule: do not speak of what you know, that I am here with you. And she now knows that her Angel, the King, is there. She’s not fooled by the disguise, as you’ll see in next scene. Her "deepest urge" and "wish" is to be with him—as every scene thus far has shown. (Masquerade—red petticoat, 30 second stare between them/smile she gave, etc. Cemetery--song sung to him, four red roses in bouquet, Spanish subtitles of love, etc. Chapel scene, red book she was hiding, translations showing she thought plan contemptible, etc.—and more) Notice, he's not wearing black gloves. He’s wearing Phantom’s unlined cloak though, (because they just showed the switch). This is sung in the same way that he sang, as the Phantom: “I have brought you to the seat of sweet music’s throne…” in MOTN)
About his costume--in a previous ebay auction RUG held with items from movie, the outfit that Erik was described to wear was as follows:
Cord and hessian underjacket in maroon and moleskin claret coloured jacket with black edging, high collar and detailing on cuffs. As worn by Gerard Butler in the Don Juan sequence.
I apologize for low quality of picture—in being transferred to a word document, then to paint, then to my computer harddrive so I could host it to post here, it lost a lot of color/clarity—but this is the picture they had with the auction.
In dictionary maroon (how RUG describes the jacket) is defined as: "dull, dark red"
They also say the jacket itself is claret--claret is also a shade of red.
Red being Erik, the king’s, color ...
black edging—perhaps showing Phantom bondage…
ERIK/PHANTOM: “I have brought you, that our passions may fuse and merge...”
Her eyes flutter closed as if she's deeply imagining what he's singing and she takes a deep breath. He's telling her that he plans to make love to her. Raoul sees and begin to look a little alarmed, as he notices the sudden change in Christine. If she was acting according to any plan, he wouldn’t look so startled all of a sudden; the only plan was for her to be on stage.
ERIK/PHANTOM: “In your mind you’ve already succumbed to me, dropped all defenses completely succumbed to me...”
She has imagined them together often, probably since MOTN, and she has also thought of surrendering completely to him. She almost gave herself to him in cemetery. They showed her turn to him in MOTN, as if to kiss him, but he pulled away and told her to take it slowly (to savor each sensation)—Now he's telling her those days are over. She's his and he will also physically make her his.
ERIK/PHANTOM: “Now you are here with me, no second thoughts...you’ve decided, decided.”
And she has. Now that he’s come into view, she has an eager look in her eyes, a slight smile on her face…She made the choice to go through the test and be on stage to lure the Phantom/Erik into the theater—what they wanted—so they could capture him and put an end to the darkness and his reign as king. But now that he’s actually there with her, and they’re together, attuned as one—she has decided. And it’s not to help capture him. More later. Still, she's conflicted—her head at war with her heart as they soon show (because she doesn’t want the darkness). But now Erik is there with her, on stage (something she never expected) and that makes the draw toward him even stronger...
**COMPANION BOOK CLUES**
P. 129 says: He (Piangi) strides upstage and disappears behind the scrims. BUT HE IS NOT ALONE. (these are the only words underlined and capped in this scene, and I think this refers to Phantom spirit being there, with Erik.)
P. 126—not sure if this is anything, but they show an off camera shot of a makeup artist fixing Gerry’s mask with Emmy looking on. A small canister sits above a piece of equipment in the background, painted green on one half—on the side “Christine” is standing on. And red on the side “Erik” is standing on. Could be still another clue as to their colors—green/queen, red/king.
P. 127--They show a picture of Carlotta from Don Juan—position she’s in show only three red roses in her hair, not four as she has in movie. Could show that this is important—and that she symbolizes Erik/King there, while guy in back w/mask symbolizes phantom spirit. Making the power struggle between them make sense. (with the hands) Both men on either side of her symbolize Phantom in Don Juan—and to the side of the one on left is what looks like a woman in a red/black skirt—but where’s her face?? It almost looks as if she’s wearing a black veil to cover all of her head (and I didn’t see this skirt bottom/hemline on any of the girl singers/dancers…)
This wasn’t in the companion book, but it was in the ebay auction for one of the drawings that was part of the Don Juan set:
Notice the color of the bed—red & green (king and queen)
**SPANISH SUBTITLES TRANSLATIONS BY Phantommyangel & Promiseme & Co.**
Here the sire may serve the dam, here the master takes his meat,
El señor aquí estará
Y a la dama hará sufrir
"The man will be here, and will make the lady suffer..."
from honey: “Man”—“manservant”, meaning Phantom, not king masquerading as Phantom. The Lady is Christine. Phantom will come and will make Christine suffer…
Here the sacrificial lamb utters one despairing bleat.
Al cordero tomará
Y su grito se ha de oír
"He will take the lamb and will hear her cry of pain..."
from honey: He "will take" the lamb and "will hear" her cry of pain—two different things. With the context of these beginning lines, the lady and the lamb they are talking about here are separate.
The manservant, or Phantom, will make Christine suffer by taking the lamb (Raoul) and hearing her cry of pain. This is everything that happens in DOM. This line says she will cry in pain. I see this as when Raoul is “taken” (he is tied with ropes to the gate and hurt). And she does cry out—that is when they show a huge clue showing the Phantom is the one doing this. (more on that later)
Poor young maiden for the thrill of your tongue of stolen sweets
Oh, doncella
Por probar lo prohibido
Sin pensar
"Oh, maiden. You must pay a high price for him to taste what is forbidden, without thought..."
from honey: Christine must reap the penalty of what she’s done—“to taste what was forbidden” or stolen sweets (her time with Raoul on rooftop and later) and what she did without thought to the consequences...it was forbidden because she belongs to the king.
You will have to pay the bill, tangled in the winding sheets
Alto precio has de pagar
Y entre sábanas llorar
"And between sheets to cry..."
from honey: I think this means she will cry once Raoul is dead and Phantom forces her to be his. Between sheets—in bed. Remember, this is Phantom's opera—he is the one behind this—not Erik. Erik is as trapped as Christine into believing the Phantom’s lies (more later)...the Phantom spirit only wanted to kill, steal, and destroy...)
Serve the meal and serve the maid
Sírvase el banquete ya
Sírvase el banquete ya
Serve the banquet now.
from honey: Let the plans commence.
Serve the master so that when, tables, plans and maids are laid
Las viandas, la embriaguez
Sin remedio occurrirá
The food, the intoxication, without remedy will occur.
from honey: Another word for remedy is cure—I think this means nothing will stop this from happening according to plan.
Don Juan triumps, once again!
Don Juan triunfa
Otra vez
Don Juan triumphs another time!
Passarino, faithful friend, once again recite the plan,
Passarino, amigo fiel
Otra vez repite el plan
Passarino, faithful friend, once again recite the plan. (No difference)
Your young guest believes I’m you, I the master, you the man…
Su invitada cree que vos
Sois criado
Y yo Don Juan
Passarino/Phantom: Your guest believes you are the servant and I, Don Juan.
from honey: That’s certainly clearer than the English version!
When you met you wore my cloak she could not have seen your face…She believes she dines with me in her master’s borrowed place.
Ella nunca vio tu faz
Pues mi capa te presté
Cenaremos y caerá
En la trampa, yo lo sé
Don Juan/Erik: She never saw your face; I lent you my cloak. We eat, and she will fall in the trap, I know it.
Furtively we’ll scoff and quaff stealing what in truth is mine
Y pasando yo por ti
Lo que es mío he de robar
Don Juan/Erik: And I will pass for you. I must steal what is mine.
There’s another clue that he’s disguising himself as Phantom/manservant to win Christine over to him and take her.
When it’s late and modesty starts to mellow with the wine
La modestia huirá de aquí
Cuando el vino empiece a actuar
The modesty will flee from here. When the wine starts to take effect,
from honey: Wine—love/passion.
You come home I use your voice, slam the door like crack of doom
Llego y digo en alta voz
“¡Oh, qué osada situación!”
Phantom: I arrive and say in a high voice, 'Oh, what a bold/daring situation!'
A high voice is interesting—regarding the Phantom--perhaps "high" means climactic...he “arrives” when he cuts down the chandelier and takes her—and that was a bold daring situation…also, for Phantom to say he arrives means he wasn’t there at that point…
I shall say come hide with me, where oh where, of course my room!
Yo dire: “¡Te escondo aquí!”
“¿Dónde? ¡En mi habitación!”
Don Juan/Erik: I will say, 'I am hiding you here. Where? In my room!'
Poor thing hasn’t got a chance
Y perdida ya va a estar
Phantom: And she will already be lost
Here’s my hat, my cloak, my sword, conquest is assured, if I do not forget myself and laugh
Mi tremenda seducción
La va a conquistar
Que no hay que reír, no he de olvidar
Don Juan/Erik: My tremendous seduction, I am going to capture her… It is not necessary to laugh, I do not have to forget.
From honey: Don Juan tells the Phantom it’s not necessary for him to laugh…that he, the king, doesn’t have to forget…almost like saying to the phantom, “Don’t mock me—she’s mine.” Here’s why I feel that way: This reminds me of Raoul’s “I never forget” in TOM, as he was singing about Christine and memories—which the professional translator said was odd in that sentence how they used the verb in the present tense instead of past, because it didn’t go with sentence before it—("I never forget." instead of I’ve never forgotten) “I never forget” means—I always remember. She asked him to always think of her fondly, in TOM, and he did. If someone always remembers, it’s always a memory. Here, Don Juan (symbolizing Erik) sings, about Christine “I don’t have to forget.”—Erik doesn’t have to make himself forget memories, because his life with her wasn’t a memory. It became real. But to Raoul, Christine was always a memory. And I feel these two key clues—phrases about forgetting and not needing to forget--that so clearly don’t fit with what Don Juan (symbolic of Erik) sung here at the end, or with what Raoul sung in TOM—are further clues to show that she became Erik’s wife.)
No thoughts within her head but thoughts of joy
No dreams within her heart but dreams of love
Con gozo
a ver a aquel buen mozo voy
Del sueño del amor
Cautiva soy
I go to see that one great joy,
to see the dream of the love that holds me captive.
From honey: This is admitting Erik is her love, and she is captive to that love. She said much the same in TEW translations, about how he stole her heart.
Master
¿Amo?
Master?
Passarino, go away for the trap is set and waits for its prey..,
Passarino, Vete ya que aquí está
Y usar la trampa sabré
Passirino, go now, here she is. And the trap will work, I know it.
Erik/Phantom: You have come here in pursuit of your deepest urge
In pursuit of that wish which till now Has been silent… Silent.
No te asombres
Si buscando has venido aquí
Un anhelo secreto
Que no sabe nadie
Nadie
You are not astonished. Yes, you were searching. You have come here with a secret wish of which you yet know nothing…nothing.
another translation: You are not astonished. You have come here looking for a secret yearning that nobody knows…nobody.
I have brought you
That our passions may fuse and merge,
In your mind you've already succumbed to me,
dropped all defenses completely succumbed to me
Now you are here with me,
no second thoughts…
You've decided. Decided.
Se han unido
Mi ansiedad con la tuya así
Y tu mente obediente
Sucumbe a mí
Y hasta tu immense
Defensa sucumbe a mí
Tu alma se rinde a mí
No hay elección
Tú lo sabes
Lo sabes
My anxiety and yours have been the same. Your obedient mind succumbs to me, and your vast defense will succumb to me. Your soul surrenders to me. There’s no choice. You know it…know it.
**FRENCH SUBTITLES TRANSLATIONS BY Phantomrose07 & Co.**
Here the sire may serve the dam,
C’est ici que l’âme tombe,
It is here that the heart falls,
Here the master takes his meat.
Que l’on meurt dans les Abysses.
That one dies in the Abysses.
another translation: That one dies in the Abyssals zone.
I found this when doing a search for Abyssals—apparently the name is from Exalted--a popular high fantasy role playing game published by White Wolf Game Studio (interesting name, huh?) , but look how it so strongly parallels POTO (http://en.wikipedia.org/wiki/Exalted): The central premise of Exalted is that gods have the ability to infuse ordinary mortals with a shard of their divine soul, exalting the individual into a demigod. The Solar Exalted derive their powers from the strongest of the gods, the Unconquered Sun [b]...Abyssals cannot draw essence from creation as other Exalts do and can only replenish their essence in the underworld or with powerful artifacts. The only way for an Abyssal to restore their essence away from their dark realm is by feeding on the living…The Solar Exalted are the greatest of the Exalted and during the First Age, they were the rulers of the world. Their achievements were a beacon to humanity, and their power flows from the sun. The Dragon-Blooded murdered the Solars at the fall of the First Age. However, it was not possible to destroy their essences and they continued to reincarnate again and again through the ages. Each time a Solar re-emerged into the world, they were hunted down by the Wyld Hunt and killed. Considered to be Anathema to the rest of the world, the Solars are considered to be monstrous demons and are feared by anyone with the knowledge of who and what they are.
I bolded those areas relating to POTO. This doesn’t mean I think this is a clue that Erik is a “solar exalted” and the phantom spirit and his minions are “Abyssals,” which went on to say they were like demons from the abyss—or that I think the hidden plot is really a high fantasy role-playing game—not at all. BUT I do feel it’s yet another clue showing evil spirits/forces are at work against the king and his kingdom, and that this is a “high fantasy.” Just like the clue with Robert le Diable and how that paralleled POTO, and Elisabeth musical and other clues too—the Abyssals clue seems to do this also—a clue that Erik is the spirit of Music, and shared a part of himself—his very essence—with Christine, making her into music too, a companion for him, and no longer a mere chorus girl, but a queen…
Definition of a “high fantasy”, from wikipedia: (http://en.wikipedia.org/wiki/High_fantasy) : These stories are generally serious in tone and often epic in scope, dealing with themes of grand struggle against supernatural, evil forces. It is one of the most popular subgenres of fantasy fiction…One of the main concepts of the high fantasy storylines is the main hero's storyline. Most of the main characteristics revolve around his heritage. (POTO revolved around Erik, who he was, etc) In many novels the hero is an orphan, or an unusual and strange sibling, often with some incredible ability or abilities and skills in a particular area (usually either magic or skill with a weapon) (Erik was an orphan, he was unusual/strange/mysterious, he used magic, he had an incredible ability—Music and more—he was a genius)… In most stories, the hero, considering his dark and vague heritage, slowly gains knowledge of his past, through legend, prophecy, lost-and-found-again family members (he learns Raoul is his brother as in French subtitles masquerade line: “Beneath this wolf, your brother knows that it’s you”), or from more mysterious encounters. With that knowledge comes power and self-confidence. (parallels end of DOM) In many books there is a love interest surrounding the main character. (Christine) Usually, she is as selfless and good as the main character. The plot of the story often depicts the hero's fight against the forces against him (his fight against the Phantom spirit controlling him) ...In the beginning of the storyline, there is one important twist or event in the life of the character. He is threatened by the unknown force. (if you consider the beginning of the storyline to be when he was caged by the abusive gypsy—the twist M. Giry helping him escape to opera house, it could be then, or if beginning of movie, itself, when Raoul came to the Opera house.) Many times, the character is destined to destroy the evil force, or to be a threat himself of some importance. (Erik did both—destroyed its hold over him, and he was also a threat, himself.) In many books there is one mystical persona who provides the main character with advice and help. (Madame Giry was mysterious, a servant to Erik) Mostly he is a formidable wizard or warrior. (from clues showing her to be Diana, this would fit; she was into things magical—touching the wheel in M. Giry’s tale, etc.)
Here the sacrificial lamb
C’est ici qu’un jour succombent
It is here that a day succumbs (yields)
Utters one despairing bleat
Les agneaux du sacrifice.
Lambs of the sacrifice.
from honey: Here they talk about more than one lamb; could also be the king as sacrifice; also it means Christine but not in death. He wanted her alive. But it is definitely Raoul…
Poor young maiden
Pure et vierge, folle aussi,
Pure and virgin, insane also,
From honey: Insane—she was mad to do what she did…
For the thrill on your tongue of stolen sweets
Honte à toi s’il t’a séduite.
Shame with you if he allured you.
another translation: Shame on you if he seduced you
From honey: Shame on her if Raoul allured/seduced her.
You will have to pay the bill
Tu devras payer le prix,
You will have to pay the price,
Tangled in the winding sheets.
Dans ce lit où il t’invite.
In this bed where he invites you.
From honey: She will have to “pay for her sins” in the king’s bed. I find the word invite interesting…as if she still has a choice
Serve the meal and serve the maid…Serve the master so that when tables plans and maids are laid
Son souper et sa brebis,
C’est vraiment soirée
De fête.
Tout est prêt pour qu’aujourd’hui
His supper and his ewe,
It is really night
Of festival.
All is ready so that today
His supper and his ewe—female lamb—Christine,
Don Juan triumphs…once again
Don Juan triomphe
Dans sa quête.
Don Juan triumphs
In his quest.
Passarino, faithful friend, once again recite the plan
Passarino, allié fidèle,
Notre projet, s’il te plaît.
Passarino, faithful ally,
Our project, please.
You’re young guest believes I’m you, I the master, you the man.
La donzelle me prend pour vous,
Moi, le maître et vous, le laquais.
The young miss takes me for you,
Me, the Master and you, the lackey.
When you met you wore my cloak she could not have seen your face,
Elle t’a vu portant ma cape,
Elle n’a pu te voir en face.
She saw you carrying my cape,
She could not see you opposite.
From honey: Opposite—on the other side.
She believes she dines with me in her master’s borrowed place
Chère enfant, elle ne sait pas
Qu’elle est prête pour la chasse.
Dear child, she does not know
That she is ready for the chase (hunting).
Furtively we’ll scoff and quaff, stealing what in truth is mine
Nous vidons d’abord ma cave,
Spolions ce qui m’appartient.
We empty first my cellar,
Let us despoil what belongs to me.
Cellar—wine cellar; wine = love/passion
Original plan—to despoil her, ruin her, take her virginity
When it’s late and modesty starts to mellow with the wine,
Dès qu’enfin sa pruderie
S’amollit avec le vin,
As soon as her prudery finally
Melts itself with the wine,
From honey: As soon as her primness mellows and she accepts him…
You come home I use your voice, slam the door like crack of doom,
Vous rentrez, je suis Don Juan.
Je crie fort, il faut qu’elle gobe.
You return, I am Don Juan.
I cry loud, she must hear
I shall say come hide with me. Where, oh where, of course, my room!
Je dirai: “Partons, suis-moi!”
“Mais où ça?” “La garde-robe!”
I will say: "Let us leave, follow me!"
"But where?" "The wardrobe!" (cloakroom)
Poor thing hasn’t got a chance. Here’s my hat, my cloak, my sword
Pauvre enfant, aucune chance.
Tiens! Manteau, chapeau, estoc!
Poor child, no chance.
Take this! Coat, hat, sword!
Conquest is assured, if I do not forget myself and laugh
Si elle entend soudain que je m’esclaffe.
If she hears suddenly that I laugh.
He doesn’t want her to hear him laugh, because then she’ll know it’s phantom spirit, not a messenger.
No thoughts within her head but thoughts of joy
Ne font vibrer son âme qu’amour et joie.
Only love and joy make her heart beat.
No dreams within her heart but dreams of love
Ne priment dans son coeur
Que de beaux rêves.
In her heart only beautiful dreams precede.
Master
Maître?
Master?
Passarino, go away for the trap is set and waits for it’s prey
Passarino, Laisse-moi,
Car mon piège est prêt
Et n’attend que sa proie.
Passarino, Leave me,
Because my trap is ready
And awaits only its prey.
Erik/Phantom: “You have come here in pursuit of your deepest urge
In pursuit of that wish which till now Has been silent… Silent.
Tu es ici
Là où tout est folie des sens,
Là où bien des brebis
Sur l’autel s’offrent sans lutte,
Sans lutte.
You are here
Where all is madness of the senses,
Where many ewes on the altar offer themselves without struggle,
Without struggle.
from honey: l’autel (the altar) also had the definition of: “furnace bridge.”
I have brought you
That our passions may fuse and merge,
Tu m’as suivi
Pour m’offrir d’impossibles danses.
You have followed me
For my offer of the impossible dance.
In your mind you've already succumbed to me,
dropped all defenses completely succumbed to me
En toi-même déjà tu
Succombes à moi.
Sans résister,
Tu te livres et succombes à moi.
In yourself already you
Succumb to me.
Without resistance,
You give yourself and succumb to me.
Now you are here with me, no second thoughts…You've decided. Decided.
Ta volonté faiblit.
Ton corps se tend,
Tu te donnes,
Te donnes.
Your will weakens.
Your body tightens,
You give yourself,
Give yourself.
Wow, um, okay… And it gets even more so in PONR…
**ITALIAN TRANSLATIONS by Angelofdarknss & Co.**
CORO (Chorus):
Here the sire may serve the dam, here the master takes his meat!
Finalmente lei cadrà / e la vittima cadrà nelle mani del padrone
Finally she will fall / and the victim will fall
into the hands of the master
CARLOTTA e CORO:
here the sacrificial lamb utters one despairing bleat.
L'innocente morirà senza
via di scampo è lei
The innocent will die,
Without chance of escape she is
*The innocent and how they will die refers to everyone there—not to Christine. But she won’t be able to escape what the master—the king—has for her.
Poor young maiden! For the thrill on your tongue of stolen sweets, you will have to pay the bill-
Tu, fanciulla, nella corte i suoi baci [???] già sconterai i peccati tuoi
You, maiden, in the court his kisses [???] already you will serve your sins
tangled in the winding sheets! Serve the meal and serve the maid!
e punita ti vedrem Il complotto che tramò
and we will see you punished
the secret plans (conspiracy) that he plotted
The chorus sings this—and they symbolize the phantom and his minions. They will punish Christine. It was the Phantom who sang: “You will curse the day you did not do, all that the Phantom asked of you.” And it was him who said, “Now, let it be war upon you both.” A conspiracy is usually something unlawful—and since Raoul is going against the king with his secret plans—treason—this makes sense that it applies to him. Here we see the gold eye/policemen, perhaps suggesting Phantom had a hand in it all...
serve the master so that, when tables, plans and maids are laid
[muta tutto] al suo voler e suo pranzo, è pure lei
[everything changes] to his desire and his reception, she also is
Everything the king wants changes to his desire—he gets what he wants. And he gets Christine as well.
Don Juan triumphs once again! [i]
Don Juan sempre trionferà!
Don Juan always triumphs!
DON JUAN (PIANGI)
[i]Passarino faithful friend, once again recite the plan
Passarino, mio fedele trarrà ancor l'inganno a me
Passarino, my faithful, still she will gain the deceit in me.
from honey: The “deceit” is Phantom, so maybe that means that’s who she’ll get.
PASSARINO
your young guest believes I'm you- I, the master, you the man,
Lei mi crede Don Juan, voi mio servo ed io messer
She believes me Don Juan, You my servant and I the sir
DON JUAN(PIANGI)
when you met, you wore my cloak, she could not have seen your face..
Lei che non ti ha visto mai penserà di star con te
She who has not seen you will never believe I will be with you
From honey: He’s saying that he will have the phantom with him.
she believes she dines with me in her master's borrowed place!
mangeremo a casa mia, ruberò la cena a me
We will eat at my place, I will steal the supper to myself
Furtively, we'll scoff and quaff, stealing what in truth is mine
alle spalle del padrone gusteremo il vino insieme
From behind the master, we will enjoy the wine together
If he’s acting as messenger/phantom—under control by him—then he is not acting as king, so he will do this behind the master, the king--what he wants her to think.
when it's late and modesty starts to mellow with the wine.
lei così già mia sarà, dopo un po' l'amor godremo
Thus she already will be mine, afterward we will enjoy a little love
PASSARINO
you come home! I use your voice- slam the door like crack of doom!
Io la voce vostra fò: "Son tornato in casa già!"
I fabricated(made) your voice: “I am back home already!”
DON JUAN (PIANGI)
i shall say, "come hide with me! where oh where? of course my room"
Noi nascosti resteremo nell'alcova, mia sarà!
Hidden we will stay in the alcove, she will be mine!
PASSARINO
poor thing hasn't got a chance
Molto astuti noi saremo!
We will be very shrewd(sly)
DON JUAN(PIANGI)
here's my hat, my cloak and sword. conquest is assured, if i do not forget myself and laugh *laughs*
Ecco tutto è fatto già lo realizzerò se serio resto e se mai riderò!
That’s it, it’s done already; I will achieve it If I stay serious and if I will never laugh!
AMINTA(CHRISTINE)
"...no thoughts within her head but thoughts of joy. No dreams within her heart, but dreams of love."
Non ho timor di te, mai non ne avrò Nel cuore regnerà soltanto amor.....
I do not have fear of you, I will not ever have any,
In the heart will reign only love….
From honey: This really fits with how she pulls the thorns off the rose—symbolically meaning, “I fear no longer; I hope.” She loves Erik; never had fear of him, never will.
PASSARINO
master?
Padrone?
Master?
DON JUAN(PHANTOM)
Passarino- go away! for the trap is set and waits for his prey
Passarino... Ora va’ lei è qui, nulla più chiederò, lei è mia...
Passarino… Go now she is here, I will demand(ask) nothing more, She is mine…
Erik/Phantom: “You have come here in pursuit of your deepest urge In pursuit of that wish which till now Has been silent… Silent.
Tu che fremi per placare la fiamma tua…Per placare l'istinto che in te sempre tace, tace
You who tremble to calm your flame…To calm the instinct in you that is always silent, silent
I have brought you That our passions may fuse and merge,
T'ho sognata per gustare ogni voluttà
I dreamt you to enjoy every sensual pleasure
In your mind you've already succumbed to me, dropped all defenses completely succumbed to me
Più che mai destinata a soccombermi,
Tu puoi negarlo ma stai per soccombermi
You can deny it but you remain to succumb to me More than ever destined(intended) to succumb to me
Now you are here with me, no second thoughts…You've decided. Decided.
Ed ora sei con me, non dire no
Puoi restare, restare
And now you are with me, do not say no
You are able to remain, to remain.
**SOUND SIMILARITIES by Redrose**
Don Juan—
Warped I Remember when Carlotta sings, ending with Raoul I’ve Seen Him
Piangi’s part has a segment like a warped version of where Christine sings of being twisted every way and a segment matching DOM when Erik sings of being hunted down everywhere
**THE SPOKEN WORD**
In the movie, they broke away from song to speak lines they had sung in the play—sometimes speaking for only a few lines. Here is the connecting link I’ve found with the spoken word—
Not a main character—unless you realize he’s really the phantom here, but:
Passarino (spoken): “Master”: --directed to Angel of Music, Erik the king.
And Erik then sort of sing-songs “Passarino…”
**MUSICAL ANALYSIS by Phantom’s Star**
Harp: thinking Note: I think this is what the sounds stand for.
Flute: a calling
of Angel (Angel of Music)
Cymbals: Angel is there, or near (brush of cymbals)—loud crash—he is fully there.
1.)Flute – as the curtain opens, the flute joins in with the melody. I think we are called to pay attention to the following production of Don Juan, not just the audience.
2.)Harp – at various points when Carlotta and the chorus sing, we hear the harp.
-On the word “lamb”
-On the words “stolen sweets”
-On the word “sheets”
I had previously thought that this could relate to Angel, but I believe the harp here refers to Christine and that we should be thinking of her (she is Angel’s Angel of Music after all and he did write the play with her in mind)
3.)“Don Juan triumphs once again” – We hear the crashing of the cymbals (not like TOM or DOM though). So, Angel is there but not completely as we later see (he kills). I think this also shows Angel is Don Juan (maybe also some foreshadowing that Angel will triumph over Phantom?).
4.)Flute – the whole time that Don Juan and Passarino sing, we hear the flute playing along with the melody and the lyrics. I think this shows that we are called to pay attention to this part of Don Juan (and we know why now) At one particular point, we suddenly hear the flute switch to playing low notes and instead play to high notes but then goes back to low notes:
-Right before, “I, the Master, you, the man”
I think this shows that this particular line is one of key lines in the hidden plot (as we have mentioned). We are called to pay close attention to this line.
5.)Harp:
Passarino, faithful friend (after the word “friend,” we hear the brush of harp strings)
She believes she dines with me (we hear the plucking of harp strings during this line)
Furtively, we’ll scoff and quaff (we hear the plucking of harp strings twice; the first on “scoff,” the second on “quaff”)
Starts to mellow with the wine (we hear the brush of harp strings in between the words “the” and “wine.”
You come home, I use your voice (we hear the brush of harp strings going down in notes after “voice”)
Poor thing hasn’t got a chance (we hear the brush of harp strings on “chance”, going up in notes)
I think what the harp means here is that we need to think of Angel (and Christine) during this song, and maybe for these particular lines.
6.)Harp - As we see Erik jump, we hear the pluck of a harp string. And the next shot is Christine. I think Christine is still thinking of her Angel as she walks onto stage (next part further proves this)
7.)Harp :
No thoughts within her head but thoughts of joy
On the words “No thoughts within,” we hear the harp. Christine is thinking of Angel even as she looks to Raoul. (Maybe does this line refer to Angel as well?)
No dreams within her heart but dreams of love
As Christine holds out the word “love,” we hear the harp. She is thinking of Angel, and I think this line refers to him as well.
LINK TO: “Point of No Return”:
http://www.phantomgerry.net/forum/viewtopic.php?t=7322
SUMMARY of Don Juan Triumphant
paragraph summary: This song is chilling, the Phantom’s opera—a foreshadowing of everything he and the king have planned…in this song we see that “one” is really “two”—Erik and Phantom spirit. This song details what his plans were for everyone there and is a foreshadowing of what is to come…
At beginning of scene, they show the box next to Raoul’s. The statues engraved on box are two skeletons (symbolizing death)—one on each side—both with hands out to what looks like could be a sun god. (symbolizing Erik)They also show it in trailer with a shadow creeping across it. (shadow—phantom) Upon looking at pictures in companion book, each of these boxes has this carving of the two skeletons reaching to the "sun god"--who looks tortured. In the trailer, they show half of the face on the right (the Warner Brothers logo is in the place where the sun god is in movie)
from trailer:
movie:
They show the musical score--"Don Juan," instead of Don Juan Triumphant--could be foreshadowing that his plans won't be triumphant...The audience cringes finding the music hideous—I think it's off key, chaotic, etc, because the Phantom spirit wrote all of the opera through Erik...they’ve shown it's the "Phantom's opera" through former clues and what Christine sang in last scene. (In libretto, the rehearsal is chaotic, no one getting it right, the piano suddenly magically starts playing—no one there—and all of a sudden the cast is singing perfectly, but like automans under a spell…I think this is a key clue to show that they are all controlled/bound by phantom, just like the girls screaming—spinning—then screaming again in Il Muto.) Also, the skull is back on Box 5. Notice as you look at the stage again, the flames in those stands is exactly like the one that was outside the chapel in TEW... (that makes three changes it had throughout movie).
The following was the original plan. Some of it changed in PONR. Phantom/Erik wrote this and it reveals exactly what they’d planned to do to all of them, including Christine. You might want to toss out everything you've ever thought about this scene, and PONR, for a moment...and walk into this with an open mind...some of it is a bit shocking...
CHORUS: “Here the sire may serve the dam...”
A “sire” is an address for a king—yet another clue Erik is one; a “dam” is a damsel—a maiden; they are saying the king may dish up or give to Christine whatever he feels she deserves.
CHORUS: “Here the master takes his meat!”
This term means the king will take what is rightfully his.
CHORUS: “Here the sacrificial lamb utters one despairing bleat...”
A sacrificial lamb was supposed to be without blemish—pure. In biblical history, a sacrificial lamb was always male. Phantom/Erik knew all that was happening; he knew a trap had been set for him...Some believe Christine is the sacrifice, some Erik—some both—but with this English translation and the way they present the words—I believe one sacrificial lamb here means Raoul. (The Spanish translations make it clearer; other translations show a broader scope, focusing on others—more soon.) When Raoul was tied to the gate in DOM, he sang out “final” words of despair. (utters one despairing bleat).
CARLOTTA AND CHORUS: "Poor young maiden! For the thrill on your tongue of stolen sweets, you will have to pay the bill—tangled in the winding sheets!"
“Poor young maiden” is Christine—“thrill on your tongue of stolen sweets” refers to her three months spent with Raoul, and perhaps her being treated with more respect because she was with their patron. “Tangled in the winding sheets”—because she’d gone with Raoul and left her Angel (or so he thought), the Phantom/Erik was going to make her pay by taking her and making her physically his own. (You will curse the day you did not do all that the Phantom asked of you…Now, let it be war upon you both!) The way this song is sung --“Poor young maiden” “Pay the bill”—he planned to bed her with or without her approval. She was his intended queen and he was going to make her his completely, so no one could ever try to take her from him again.
When they sing “You will have to pay the bill”—they show what looks like a gold eye flashing on and off and 3 policemen. (Eye of gold—true is false—(masquerade song) yet a third instance pertaining to “eye of gold.” 3—Phantom.) Might relate to Italian translations…since they talk of conspiracy at this point--and they show three policeman/gold eye--and I think this shows Phantom spirit was involved in the conspiracy to capture the king or that he soon will be (he was deceiving Erik, and wanted to destroy him too) ...more soon.
This picture shows two policemen, but the eye keeps flashing, and camera moves to show the other policemen walking in above them.
CHORUS: “Serve the meal and serve the maid!”
“Serve the meal”--And now, let the plans commence... “Serve the maid”—another word for “maiden” or innocent/virgin. IOW, give to the queen what’s coming to her...
“Serve the master so that when, tables, plans and maids are laid, Don Juan triumphs once again!”
Serve the king, do his wishes, and I don’t need to tell you what the rest means. Don Juan was a ladies’ man who had numerous affairs. From everything they have shown, Erik didn’t want anyone but Christine. But by taking on the role of Don Juan, he was likening himself to someone women thought irresistible—and he wanted to be thought of as that. To Christine.
When they sing: “Don Juan triumphs, once again!” Carlotta has her right hand lifted w/ fan; While the others point elsewhere. A man w/ black mask in back of her points to audience with his right hand. I believe it’s to show that all of them in the opera house—the audience included—are all doomed by the phantom. Split second next shot she points ahead with left hand. Her right arm with fan is suddenly down and she is having a struggle with the man behind her who has removed his black mask and before was pointing to it and waving it around, perhaps as a clue to the viewer to find out what it means (phantom). Now they have a sort of power struggle, trying to vie for top position with their hand on top of the other. Notice how Carlotta is dressed. She is wearing red and green flowers on her dress similar to ones on Erik’s cape in PONR, and 4 red roses in her hair go to the left. (4, red, and left—all symbolic of Erik) She has a green underskirt. (Queen’s color)
Again, the man behind her is now unmasked (a few lines earlier he’d been pointing to his black mask and waving it around)—I think this is symbolic of the struggle between Phantom spirit and Erik to get upper hand, (perhaps Christine too, because of the green underskirt) or of Erik (and Christine) to get free of Phantom. Carlotta and this man are the only ones who continue to point forward, struggling, while the others turn their arms to the stage.
Here, Carlotta holds a red fan—red—color of Erik, the king; fan—symbolic of authority. The guy behind her waves his black mask around, pointing to it…
Next, the guy with black mask in back thrusts arm through and is first one to point to audience—she still has red fan pointed to right.
Suddenly a split second later in next shot, her arm is down, red fan no longer in evidence (authority gone), her hand pointing with his to the audience, everyone else pointing there too, telling them they are soon to meet their destruction—(you’ll see) and the power struggle begins…the blurs are where they are fighting for top position.
This whole song and the way they acted it out—as well as the discordant music—reminded me of a scene with the phantom and his minions, as if they were now having a ritual in their underworld—ceremonial goblets, the way they danced, acted, leered, all of it…
Many of them who symbolize Phantom w/black masks have a vine of leaves on their costumes, and I think some of the women do too, but am not sure. Symbolism website said this—vine: eternal life Meaning they cannot die…spirits.
Earlier they showed Passarino in embrace with a woman under the stairs—(Passarino is symbolic of phantom). Now he runs his hand along her upraised hand in a strange way, (as though giving her power? Putting spell on her?) And she dances out from under stairs…
Meg comes running out of curtain—notice all the women wear single red roses or other red flowers on the right side of their heads (also sometimes flowers or ribbons in back). All except Meg and Christine who wear a single red rose on the left side of their heads—and Carlotta who has 4 going down her left side. (left—Erik; right—Phantom)
I believe this is to show that Christine is for the king, which we already know—but so is Meg. Meg also serves and helps Erik. Notice also that she’s wearing more red than the others, who have more black. (And with Carlotta and the roses/fan, I feel they did that to foreshadow the symbolic struggle of Erik and the Phantom yet to come… )
When she waits for the coins—off to the right, they show 3 men (Phantom’s number), who all seem to symbolize Phantom at one time or another—the guy with black mask, the guy with red cape (more to come on that) and another with black mask all in a huddle—suddenly they break apart as if shocked, looking toward Carlotta. (Carlotta is further up the stage ahead of them…) This could be to show Phantom’s shock at Erik’s change of plans…more on that later.
Piangi, as Don Juan (symbolizing Erik), throws Meg a sack of coins—the other two girls look upset, and one seems to shoo her as we see her smile and dance off stage. Perhaps to show Meg is secretly working for the King, and will be rewarded. The other girls are for Phantom, since they were with him (Passarino) letting him fondle them under the bridge. And later, Meg does work for Erik (more on that later) They call her a "gypsy whore" in the companion book, but I don’t think that means Erik has any sexual aspirations for Meg—she is something to him, but not a love interest.
They show Carlotta curtsy, and one of the 3 who was in a huddle and also seems to symbolize Phantom spirit (more soon)—walks off stage but suddenly looks over his shoulder at her, his look strange, as if he’s keeping an eye on her. Since her costume seems to show she symbolizes the rulers of the kingdom at this early point of song--the ones in authority (Erik & Christine), before Don Juan as Erik takes stage—it makes sense. Once Don Juan enters, she leaves stage.
Everything that has happened in this song so far is all foreshadowing of what’s to come…
Okay, now it gets trickier. Remember: Phantom spirit wrote this opera through Erik:
Don Juan= Erik, the King
Passarino= Phantom spirit
They even made it easy to tell who is who, remembering clues from other scenes. Passarino wears a black mask and has a dark cape—no lining. Don Juan wears a long red and gold lined cape—you can see that part hanging down is actually part of his cape as he swings around—and he has red bows in his beard—on his person himself. His cape is lined in red, and his hat is lined in red. Red is the king’s color from all clues they’ve shown. Also notice the sword is on his right side—that would make him left-handed. (Another interesting thing—he’s wearing green eyeshadow.)
The DJT set is red and black—Erik, the king (red) and Phantom spirit (black) who serves him—but they are a team. To try to make this easily understood, I’m going to translate the parts first, and then explain what they’re saying:
DON JUAN (PIANGI) ”Passarino, faithful friend, once again recite the plan...”
Phantom spirit, faithful friend, once again recite the plan...
The king is asking his servant, who he thinks is faithful and a friend, to recite their plan in capturing Christine. This friend reference reminds me of Masquerade—“you can fool any friend who ever knew you...”
PASSARINO “your young guest believes I'm you- I, the master, you the man...”
Erik’s young guest believes Phantom spirit is Erik—Phantom spirit the master (king), Erik the man (servant)...
The "young guest" here is Christine, and they are planning this so she’ll believe that Erik is the king’s manservant—the messenger. The companion book makes this clear: The PHANTOM, disguised as Don Juan pretending to be Passarino, is standing downstage. Exactly what they did at the Mirror scene. But there’s a difference, which I’ll show in a bit. He says the last part wittily, as if it’s a big joke. Phantom, the master—he makes light of it as if telling the king that king is really the master—and Erik the man (a shortened form of “manservant.” A manservant served and waited on his master, and the master often called him “his man.”—in Spanish subtitles they make this line much clearer.)
The Phantom spirit will hide behind the cloak of the master, the king (the one in authority), and Erik will approach her as the king's servant. Erik doesn’t realize that Christine knows who his manservant is—the Phantom spirit. He doesn’t know that she fears the darkness. He still thinks it’s only his face she fears, so he feels he has to masquerade as the phantom—the one she met and followed at the mirror—to get her to come to him. The last Erik overheard her say anything regarding darkness was on the rooftop with Raoul, when she spoke about “a distorted face”—and then she went with Raoul. So Erik has no qualms about approaching her as his messenger/(phantom), like he did at the mirror, because that plan worked. She went with him.
In the real Don Juan story, the servant and master switch places to get the girl to come to him. And just like in the mirror scene of POTO, they have again planned much the same thing.
DON JUAN(PIANGI) “When you met, you wore my cloak, she could not have seen your face...”
When Phantom spirit met Christine (at the mirror), he wore the King’s cloak, she could not have seen Phantom spirit’s face...
This is the only part of the song that is sung in past tense, so it is something that’s already happened in story. This describes the mirror scene to a T. Phantom/Erik wore the light-lined cloak when he met Christine face to face for the first time and tricked her into believing he was fully her Angel—she "could not have seen his face." But she soon saw through him because of the light inside her, and she immediately called him Phantom of the Opera in her song (not Angel of Music as she did at the mirror). Immediately after that, his cloak lining changed to dark in next well-lit corridor, candles went from 4 lit to 3 lit—but then she grew alarmed and looked back when his power grew stronger, so he went back to the King’s cloak—gold lining, realizing he'd alarmed her. She did see him, but only briefly—so in a sense, she did not get a good glimpse at phantom to know who he was. (“Who was that shape in the shadows?”) And in the boat, when his lining went black again, she was not facing him. He was behind her.
DON JUAN: “She believes she dines with me in her master's borrowed place!”
They want Christine to believe she’s with the king’s manservant in the king’s place they borrow—there on stage.
DON JUAN: “Furtively, we'll scoff and quaff, stealing what in truth is mine, when it's late and modesty starts to mellow with the wine...”
Furtively--(slyly or secretly)--we’ll scoff (mock) and quaff (drink), stealing what in truth is mine (The King has ordained that Christine will be his queen, so technically she’s his), when it’s late and modesty starts to mellow with the wine (“we” is Phantom and Erik together. Wine is a symbolic/poetic word used to describe “love” or “passion”—so what he’s saying is they will slyly or secretly scoff and quaff (Phantom probably scoffing while Erik and Christine drink of their passion)—which is exactly what Erik sets out to do when he first comes on stage. Modesty more than “started to mellow” on Christine’s part with the wine (love and passion) he showered on her—she not only enjoyed it, but something unexpected happened...more on that later.
*Another reason Erik, the king, is masquerading as messenger/phantom now is they want to deceive her in to believing the darkness can be an exciting, wonderful thing…they almost got away with it in MOTN before STYDI happened. Now they’re trying again—so he tells her how wonderful it will be for them when she joins him in his “hell”…telling her of how he will make love to her, etc…but she knows who’s really behind the disguise…more soon…
PASSARINO “you come home! I use your voice- slam the door like crack of doom!”
Erik comes home—becomes fully Erik—Phantom spirit uses the king’s voice—slams the door like crack of doom!
Once they cross the bridge, Phantom spirit leaves for a bit. And something unexpected happens—not in the original plan—because of what happened in the PONR song. More later…but this DJT song was their original plan—Erik meets Christine in middle of bridge, Phantom spirit again takes over, acting as Erik, using his voice (authority)—and “slams the door”—cuts down the chandelier—like “crack of doom”—a term used to describe the advent of disaster—the intended death to all in the opera house.
Phantom spirit planned to cut down the chandelier all along—all former clues relate to him doing it, not the king...it was not because Erik was unmasked or the police/mob were after them, and yes, I mean them. (More later) He wanted revenge on the whole opera house for disobeying the king, but really, for disobeying him. He—phantom spirit—was the “black Angel of Death”—and ultimately wanted their spirits for all eternity, to burn with him. The fire on mini stage was a clue to that, as were the underlined words in companion during that scene: FLAME, THE MOLTEN FIGURES
DON JUAN (PIANGI): ”I shall say, "come hide with me! Where oh where—Of course my room!"
Erik shall say, come hide with me! Where oh, where—of course, my room!
Notice Erik says “come hide with me,” as if she, too, needs to hide from the mob…Erik escapes with Christine in DOM and takes her with him to hide in his lair. His room. From how this line shows it, Phantom spirit wasn’t at the lair at first…and he wasn’t. He was up to other tricks (more later).
PASSARINO “poor thing hasn't got a chance...”
Phantom is assured of their victory.
DON JUAN(PIANGI): "Here's my hat, my cloak and sword. Conquest is assured, if I do not forget myself and laugh
If he laughs, she’ll know it is phantom spirit in control and not Erik’s, “manservant”—whose face she wasn’t supposed to see (“she could not have seen your face”.) She’ll know it’s phantom spirit who has her—they think they can trick her, remember. Phantom laughs maniacally—he is evil. In companion book, they heard him laugh in Il Muto. In WYWSHA French translations, she sang: “…without evil /pain, you would have laughed”—she’s singing this part about Erik, so this shows he doesn’t laugh—he’s trapped, unhappy…But Phantom does laugh…and she's heard him before.
"Hat" is a symbol of authority and power, so is a “sword” in symbols chart. Erik is temporarily giving over his authority & power to Phantom spirit. Cloaks and veils hide or mask the body, symbolically, and also mean protection, as does a sword. Don Juan (Erik) and Phantom switch capes—something they don’t show as they pan to audience expressions. When Passarino first walks to the back, it almost looks as if there is red at the bottom of his cape then, but I slow-moed it and frame-by-framed it—that is the reflection of the red around him, because it doesn’t show all throughout—just at edge and at times as the cape moves it goes to black again.
They show Christine’s expression as she looks in the flies, expecting the Phantom to be there, since that’s where he’s always been when he’s done his dirty work. When they cut back to scene, the Passarino (Phantom) is wearing the red-lined cape (color of Erik) which almost makes it look as if he was doing so the whole time. (Like I said, they did this sneaky. Pay close attention to those capes and you’ll see what I mean).
Passarino’s cloak is dark—with flowers on the outside edge, like Erik's in PONR. You can see the trail of flowers a bit more in this pic. The red is the gap between his legs showing the flame scenery. Don Juan’s is red & gold lined: (colors of the kingdom, and red is the color of the king)
If you look at shadow on curtain, and look very fast, you can see Passarino (phantom) taking off his dark cloak as Don Juan (Erik) sings.
Next—notice the red lining of hat—(only time they show a hat)—and he hands hat and sword over, sings here’s my cloak—but cloak is already on Passarino, and it looks like he just takes what Passarino offers him. They don’t make it obvious a switch has been made in visuals…
Now Don Juan (symbolic of Erik) takes Phantom’s black cloak and adjusts the black mask over his eyes--all symbolic of Phantom spirit. They are showing on stage what is now happening in the real story.
Erik has just taken on the Phantom’s power/aid to kill Piangi, and get his girl. Notice his cape is dark on inside.
Instead of the Phantom spirit taking the king’s cape and going as a servant to bring the queen to the king, (like in Phantom of the Opera scene), Erik, the king, is taking Phantom’s cape to pretend to be a servant. What I think this might mean: here Erik understands what’s going on—whereas in MOTN, he looked almost stunned to see her when he “came home” after POTO and those two lines Phantom/Erik sang. Throughout PONR Erik is aware of what’s going on—this was their plan.
I feel he’s more Erik than Phantom here. Just as in POTO he was more Phantom than Erik. The differences in the cloaks they wear—Phantom wearing king’s cloak in POTO (King didn’t wear phantom’s—he was fully Erik in MOTN) and now king wearing Phantom’s cloak in PONR—lead me to believe this.
Piangi—who dared to stand up to the king at the masquerade ball and even approached him in a threatening manner when King ruffled Carlotta’s feathers with sword—now dies. The Phantom spirit planned to kill all of them except Christine. He wasn’t going to kill Erik bodily, though he was going to take total control of him. This is apparent in Seal My Fate when he sets fire to the stage with the figurines. That Piangi died now or later made no difference to him; they were all going to die anyway.
CHRISTINE: “No thoughts within her head but thoughts of joy…no dreams within her heart but dreams of love…”
Notice the way she sings this—it is sung the same way as a line she sings later, and I feel there is a strong reason for this. More on that soon…
Look in the below picture: The flames now don’t appear as high as they did before—because the back ones are obliterated by a bright white light within the flame pit that wasn’t there before. As always happens when she’s in view—white light follows her or is around her in some way.
Notice she is barefoot. Erik planned it that way.
A) Because he wants to be her sole protector and not have Raoul anywhere near her (The priest of light Raoul symbolizes shoes which guard the feet—and feet are symbolic of upright spirit),
B) because bare feet shows reverence and humility for her king. (symbolically)
And the shoulders of her sleeves are up; one thing about those sleeves—they never stay up when she’s with Erik, or looking at him; but with Raoul, she either pulls them up or they go up next scene without them showing it… Symbolic that she is completely yielded to Erik…but with Raoul, she’s not.
Notice in above picture one sleeve is down--Erik has just entered from beyond the curtain. She’s pulling thorns from the rose . The symbolic meaning for that in the symbols guide on roses: Rosebud with leaves; no thorns--"I fear no longer; I hope" (she is the rose, red is Erik’s color—which makes the red rose a symbol of their relationship—so this shows that she now hopes and no longer fears being with Erik ... I feel it’s because she’s made her choice (Spanish translations of PONR show this). She looked up at Raoul earlier and he nodded as if it would be all right, but she didn’t acknowledge that nod with a smile or anything. She didn’t want to be there—didn’t want to go through this difficult testing, this “ordeal by fire” that the others have forced her into…and she also doesn’t know Erik will be on the stage with her and take the part of Don Juan.)
Passarino: “Master” (he calls him this because he is king)
Phantom/Erik: “Passarino…go away for the trap is set and waits for its prey…” (Erik is telling the Phantom spirit to leave--but at the same time he’s wearing his cloak, (symbolic of hiding) so as to pretend to be Phantom. The king is approaching his prey--IOW, let the plan unfold...)
ERIK: “You have come here, in pursuit of your deepest urge…”
Next split second shot of her as she turns to see him—both her sleeves are far down—her shoulders bare. She is already completely yielded to him. Because Erik is who she wants—she never dreamt he would come on stage and sing to her/ be with her…she had probably thought he would attack someone from the flies as he’d always done before when he was displeased…
ERIK: “…in pursuit of that wish which ’til now has been silent, silent…”
Here they make eye contact and he puts his finger to his lips as he sings silent, silent. He is telling her to obey the kingdom rule: do not speak of what you know, that I am here with you. And she now knows that her Angel, the King, is there. She’s not fooled by the disguise, as you’ll see in next scene. Her "deepest urge" and "wish" is to be with him—as every scene thus far has shown. (Masquerade—red petticoat, 30 second stare between them/smile she gave, etc. Cemetery--song sung to him, four red roses in bouquet, Spanish subtitles of love, etc. Chapel scene, red book she was hiding, translations showing she thought plan contemptible, etc.—and more) Notice, he's not wearing black gloves. He’s wearing Phantom’s unlined cloak though, (because they just showed the switch). This is sung in the same way that he sang, as the Phantom: “I have brought you to the seat of sweet music’s throne…” in MOTN)
About his costume--in a previous ebay auction RUG held with items from movie, the outfit that Erik was described to wear was as follows:
Cord and hessian underjacket in maroon and moleskin claret coloured jacket with black edging, high collar and detailing on cuffs. As worn by Gerard Butler in the Don Juan sequence.
I apologize for low quality of picture—in being transferred to a word document, then to paint, then to my computer harddrive so I could host it to post here, it lost a lot of color/clarity—but this is the picture they had with the auction.
In dictionary maroon (how RUG describes the jacket) is defined as: "dull, dark red"
They also say the jacket itself is claret--claret is also a shade of red.
Red being Erik, the king’s, color ...
black edging—perhaps showing Phantom bondage…
ERIK/PHANTOM: “I have brought you, that our passions may fuse and merge...”
Her eyes flutter closed as if she's deeply imagining what he's singing and she takes a deep breath. He's telling her that he plans to make love to her. Raoul sees and begin to look a little alarmed, as he notices the sudden change in Christine. If she was acting according to any plan, he wouldn’t look so startled all of a sudden; the only plan was for her to be on stage.
ERIK/PHANTOM: “In your mind you’ve already succumbed to me, dropped all defenses completely succumbed to me...”
She has imagined them together often, probably since MOTN, and she has also thought of surrendering completely to him. She almost gave herself to him in cemetery. They showed her turn to him in MOTN, as if to kiss him, but he pulled away and told her to take it slowly (to savor each sensation)—Now he's telling her those days are over. She's his and he will also physically make her his.
ERIK/PHANTOM: “Now you are here with me, no second thoughts...you’ve decided, decided.”
And she has. Now that he’s come into view, she has an eager look in her eyes, a slight smile on her face…She made the choice to go through the test and be on stage to lure the Phantom/Erik into the theater—what they wanted—so they could capture him and put an end to the darkness and his reign as king. But now that he’s actually there with her, and they’re together, attuned as one—she has decided. And it’s not to help capture him. More later. Still, she's conflicted—her head at war with her heart as they soon show (because she doesn’t want the darkness). But now Erik is there with her, on stage (something she never expected) and that makes the draw toward him even stronger...
**COMPANION BOOK CLUES**
P. 129 says: He (Piangi) strides upstage and disappears behind the scrims. BUT HE IS NOT ALONE. (these are the only words underlined and capped in this scene, and I think this refers to Phantom spirit being there, with Erik.)
P. 126—not sure if this is anything, but they show an off camera shot of a makeup artist fixing Gerry’s mask with Emmy looking on. A small canister sits above a piece of equipment in the background, painted green on one half—on the side “Christine” is standing on. And red on the side “Erik” is standing on. Could be still another clue as to their colors—green/queen, red/king.
P. 127--They show a picture of Carlotta from Don Juan—position she’s in show only three red roses in her hair, not four as she has in movie. Could show that this is important—and that she symbolizes Erik/King there, while guy in back w/mask symbolizes phantom spirit. Making the power struggle between them make sense. (with the hands) Both men on either side of her symbolize Phantom in Don Juan—and to the side of the one on left is what looks like a woman in a red/black skirt—but where’s her face?? It almost looks as if she’s wearing a black veil to cover all of her head (and I didn’t see this skirt bottom/hemline on any of the girl singers/dancers…)
This wasn’t in the companion book, but it was in the ebay auction for one of the drawings that was part of the Don Juan set:
Notice the color of the bed—red & green (king and queen)
**SPANISH SUBTITLES TRANSLATIONS BY Phantommyangel & Promiseme & Co.**
Here the sire may serve the dam, here the master takes his meat,
El señor aquí estará
Y a la dama hará sufrir
"The man will be here, and will make the lady suffer..."
from honey: “Man”—“manservant”, meaning Phantom, not king masquerading as Phantom. The Lady is Christine. Phantom will come and will make Christine suffer…
Here the sacrificial lamb utters one despairing bleat.
Al cordero tomará
Y su grito se ha de oír
"He will take the lamb and will hear her cry of pain..."
from honey: He "will take" the lamb and "will hear" her cry of pain—two different things. With the context of these beginning lines, the lady and the lamb they are talking about here are separate.
The manservant, or Phantom, will make Christine suffer by taking the lamb (Raoul) and hearing her cry of pain. This is everything that happens in DOM. This line says she will cry in pain. I see this as when Raoul is “taken” (he is tied with ropes to the gate and hurt). And she does cry out—that is when they show a huge clue showing the Phantom is the one doing this. (more on that later)
Poor young maiden for the thrill of your tongue of stolen sweets
Oh, doncella
Por probar lo prohibido
Sin pensar
"Oh, maiden. You must pay a high price for him to taste what is forbidden, without thought..."
from honey: Christine must reap the penalty of what she’s done—“to taste what was forbidden” or stolen sweets (her time with Raoul on rooftop and later) and what she did without thought to the consequences...it was forbidden because she belongs to the king.
You will have to pay the bill, tangled in the winding sheets
Alto precio has de pagar
Y entre sábanas llorar
"And between sheets to cry..."
from honey: I think this means she will cry once Raoul is dead and Phantom forces her to be his. Between sheets—in bed. Remember, this is Phantom's opera—he is the one behind this—not Erik. Erik is as trapped as Christine into believing the Phantom’s lies (more later)...the Phantom spirit only wanted to kill, steal, and destroy...)
Serve the meal and serve the maid
Sírvase el banquete ya
Sírvase el banquete ya
Serve the banquet now.
from honey: Let the plans commence.
Serve the master so that when, tables, plans and maids are laid
Las viandas, la embriaguez
Sin remedio occurrirá
The food, the intoxication, without remedy will occur.
from honey: Another word for remedy is cure—I think this means nothing will stop this from happening according to plan.
Don Juan triumps, once again!
Don Juan triunfa
Otra vez
Don Juan triumphs another time!
Passarino, faithful friend, once again recite the plan,
Passarino, amigo fiel
Otra vez repite el plan
Passarino, faithful friend, once again recite the plan. (No difference)
Your young guest believes I’m you, I the master, you the man…
Su invitada cree que vos
Sois criado
Y yo Don Juan
Passarino/Phantom: Your guest believes you are the servant and I, Don Juan.
from honey: That’s certainly clearer than the English version!
When you met you wore my cloak she could not have seen your face…She believes she dines with me in her master’s borrowed place.
Ella nunca vio tu faz
Pues mi capa te presté
Cenaremos y caerá
En la trampa, yo lo sé
Don Juan/Erik: She never saw your face; I lent you my cloak. We eat, and she will fall in the trap, I know it.
Furtively we’ll scoff and quaff stealing what in truth is mine
Y pasando yo por ti
Lo que es mío he de robar
Don Juan/Erik: And I will pass for you. I must steal what is mine.
There’s another clue that he’s disguising himself as Phantom/manservant to win Christine over to him and take her.
When it’s late and modesty starts to mellow with the wine
La modestia huirá de aquí
Cuando el vino empiece a actuar
The modesty will flee from here. When the wine starts to take effect,
from honey: Wine—love/passion.
You come home I use your voice, slam the door like crack of doom
Llego y digo en alta voz
“¡Oh, qué osada situación!”
Phantom: I arrive and say in a high voice, 'Oh, what a bold/daring situation!'
A high voice is interesting—regarding the Phantom--perhaps "high" means climactic...he “arrives” when he cuts down the chandelier and takes her—and that was a bold daring situation…also, for Phantom to say he arrives means he wasn’t there at that point…
I shall say come hide with me, where oh where, of course my room!
Yo dire: “¡Te escondo aquí!”
“¿Dónde? ¡En mi habitación!”
Don Juan/Erik: I will say, 'I am hiding you here. Where? In my room!'
Poor thing hasn’t got a chance
Y perdida ya va a estar
Phantom: And she will already be lost
Here’s my hat, my cloak, my sword, conquest is assured, if I do not forget myself and laugh
Mi tremenda seducción
La va a conquistar
Que no hay que reír, no he de olvidar
Don Juan/Erik: My tremendous seduction, I am going to capture her… It is not necessary to laugh, I do not have to forget.
From honey: Don Juan tells the Phantom it’s not necessary for him to laugh…that he, the king, doesn’t have to forget…almost like saying to the phantom, “Don’t mock me—she’s mine.” Here’s why I feel that way: This reminds me of Raoul’s “I never forget” in TOM, as he was singing about Christine and memories—which the professional translator said was odd in that sentence how they used the verb in the present tense instead of past, because it didn’t go with sentence before it—("I never forget." instead of I’ve never forgotten) “I never forget” means—I always remember. She asked him to always think of her fondly, in TOM, and he did. If someone always remembers, it’s always a memory. Here, Don Juan (symbolizing Erik) sings, about Christine “I don’t have to forget.”—Erik doesn’t have to make himself forget memories, because his life with her wasn’t a memory. It became real. But to Raoul, Christine was always a memory. And I feel these two key clues—phrases about forgetting and not needing to forget--that so clearly don’t fit with what Don Juan (symbolic of Erik) sung here at the end, or with what Raoul sung in TOM—are further clues to show that she became Erik’s wife.)
No thoughts within her head but thoughts of joy
No dreams within her heart but dreams of love
Con gozo
a ver a aquel buen mozo voy
Del sueño del amor
Cautiva soy
I go to see that one great joy,
to see the dream of the love that holds me captive.
From honey: This is admitting Erik is her love, and she is captive to that love. She said much the same in TEW translations, about how he stole her heart.
Master
¿Amo?
Master?
Passarino, go away for the trap is set and waits for its prey..,
Passarino, Vete ya que aquí está
Y usar la trampa sabré
Passirino, go now, here she is. And the trap will work, I know it.
Erik/Phantom: You have come here in pursuit of your deepest urge
In pursuit of that wish which till now Has been silent… Silent.
No te asombres
Si buscando has venido aquí
Un anhelo secreto
Que no sabe nadie
Nadie
You are not astonished. Yes, you were searching. You have come here with a secret wish of which you yet know nothing…nothing.
another translation: You are not astonished. You have come here looking for a secret yearning that nobody knows…nobody.
I have brought you
That our passions may fuse and merge,
In your mind you've already succumbed to me,
dropped all defenses completely succumbed to me
Now you are here with me,
no second thoughts…
You've decided. Decided.
Se han unido
Mi ansiedad con la tuya así
Y tu mente obediente
Sucumbe a mí
Y hasta tu immense
Defensa sucumbe a mí
Tu alma se rinde a mí
No hay elección
Tú lo sabes
Lo sabes
My anxiety and yours have been the same. Your obedient mind succumbs to me, and your vast defense will succumb to me. Your soul surrenders to me. There’s no choice. You know it…know it.
**FRENCH SUBTITLES TRANSLATIONS BY Phantomrose07 & Co.**
Here the sire may serve the dam,
C’est ici que l’âme tombe,
It is here that the heart falls,
Here the master takes his meat.
Que l’on meurt dans les Abysses.
That one dies in the Abysses.
another translation: That one dies in the Abyssals zone.
I found this when doing a search for Abyssals—apparently the name is from Exalted--a popular high fantasy role playing game published by White Wolf Game Studio (interesting name, huh?) , but look how it so strongly parallels POTO (http://en.wikipedia.org/wiki/Exalted): The central premise of Exalted is that gods have the ability to infuse ordinary mortals with a shard of their divine soul, exalting the individual into a demigod. The Solar Exalted derive their powers from the strongest of the gods, the Unconquered Sun [b]...Abyssals cannot draw essence from creation as other Exalts do and can only replenish their essence in the underworld or with powerful artifacts. The only way for an Abyssal to restore their essence away from their dark realm is by feeding on the living…The Solar Exalted are the greatest of the Exalted and during the First Age, they were the rulers of the world. Their achievements were a beacon to humanity, and their power flows from the sun. The Dragon-Blooded murdered the Solars at the fall of the First Age. However, it was not possible to destroy their essences and they continued to reincarnate again and again through the ages. Each time a Solar re-emerged into the world, they were hunted down by the Wyld Hunt and killed. Considered to be Anathema to the rest of the world, the Solars are considered to be monstrous demons and are feared by anyone with the knowledge of who and what they are.
I bolded those areas relating to POTO. This doesn’t mean I think this is a clue that Erik is a “solar exalted” and the phantom spirit and his minions are “Abyssals,” which went on to say they were like demons from the abyss—or that I think the hidden plot is really a high fantasy role-playing game—not at all. BUT I do feel it’s yet another clue showing evil spirits/forces are at work against the king and his kingdom, and that this is a “high fantasy.” Just like the clue with Robert le Diable and how that paralleled POTO, and Elisabeth musical and other clues too—the Abyssals clue seems to do this also—a clue that Erik is the spirit of Music, and shared a part of himself—his very essence—with Christine, making her into music too, a companion for him, and no longer a mere chorus girl, but a queen…
Definition of a “high fantasy”, from wikipedia: (http://en.wikipedia.org/wiki/High_fantasy) : These stories are generally serious in tone and often epic in scope, dealing with themes of grand struggle against supernatural, evil forces. It is one of the most popular subgenres of fantasy fiction…One of the main concepts of the high fantasy storylines is the main hero's storyline. Most of the main characteristics revolve around his heritage. (POTO revolved around Erik, who he was, etc) In many novels the hero is an orphan, or an unusual and strange sibling, often with some incredible ability or abilities and skills in a particular area (usually either magic or skill with a weapon) (Erik was an orphan, he was unusual/strange/mysterious, he used magic, he had an incredible ability—Music and more—he was a genius)… In most stories, the hero, considering his dark and vague heritage, slowly gains knowledge of his past, through legend, prophecy, lost-and-found-again family members (he learns Raoul is his brother as in French subtitles masquerade line: “Beneath this wolf, your brother knows that it’s you”), or from more mysterious encounters. With that knowledge comes power and self-confidence. (parallels end of DOM) In many books there is a love interest surrounding the main character. (Christine) Usually, she is as selfless and good as the main character. The plot of the story often depicts the hero's fight against the forces against him (his fight against the Phantom spirit controlling him) ...In the beginning of the storyline, there is one important twist or event in the life of the character. He is threatened by the unknown force. (if you consider the beginning of the storyline to be when he was caged by the abusive gypsy—the twist M. Giry helping him escape to opera house, it could be then, or if beginning of movie, itself, when Raoul came to the Opera house.) Many times, the character is destined to destroy the evil force, or to be a threat himself of some importance. (Erik did both—destroyed its hold over him, and he was also a threat, himself.) In many books there is one mystical persona who provides the main character with advice and help. (Madame Giry was mysterious, a servant to Erik) Mostly he is a formidable wizard or warrior. (from clues showing her to be Diana, this would fit; she was into things magical—touching the wheel in M. Giry’s tale, etc.)
Here the sacrificial lamb
C’est ici qu’un jour succombent
It is here that a day succumbs (yields)
Utters one despairing bleat
Les agneaux du sacrifice.
Lambs of the sacrifice.
from honey: Here they talk about more than one lamb; could also be the king as sacrifice; also it means Christine but not in death. He wanted her alive. But it is definitely Raoul…
Poor young maiden
Pure et vierge, folle aussi,
Pure and virgin, insane also,
From honey: Insane—she was mad to do what she did…
For the thrill on your tongue of stolen sweets
Honte à toi s’il t’a séduite.
Shame with you if he allured you.
another translation: Shame on you if he seduced you
From honey: Shame on her if Raoul allured/seduced her.
You will have to pay the bill
Tu devras payer le prix,
You will have to pay the price,
Tangled in the winding sheets.
Dans ce lit où il t’invite.
In this bed where he invites you.
From honey: She will have to “pay for her sins” in the king’s bed. I find the word invite interesting…as if she still has a choice
Serve the meal and serve the maid…Serve the master so that when tables plans and maids are laid
Son souper et sa brebis,
C’est vraiment soirée
De fête.
Tout est prêt pour qu’aujourd’hui
His supper and his ewe,
It is really night
Of festival.
All is ready so that today
His supper and his ewe—female lamb—Christine,
Don Juan triumphs…once again
Don Juan triomphe
Dans sa quête.
Don Juan triumphs
In his quest.
Passarino, faithful friend, once again recite the plan
Passarino, allié fidèle,
Notre projet, s’il te plaît.
Passarino, faithful ally,
Our project, please.
You’re young guest believes I’m you, I the master, you the man.
La donzelle me prend pour vous,
Moi, le maître et vous, le laquais.
The young miss takes me for you,
Me, the Master and you, the lackey.
When you met you wore my cloak she could not have seen your face,
Elle t’a vu portant ma cape,
Elle n’a pu te voir en face.
She saw you carrying my cape,
She could not see you opposite.
From honey: Opposite—on the other side.
She believes she dines with me in her master’s borrowed place
Chère enfant, elle ne sait pas
Qu’elle est prête pour la chasse.
Dear child, she does not know
That she is ready for the chase (hunting).
Furtively we’ll scoff and quaff, stealing what in truth is mine
Nous vidons d’abord ma cave,
Spolions ce qui m’appartient.
We empty first my cellar,
Let us despoil what belongs to me.
Cellar—wine cellar; wine = love/passion
Original plan—to despoil her, ruin her, take her virginity
When it’s late and modesty starts to mellow with the wine,
Dès qu’enfin sa pruderie
S’amollit avec le vin,
As soon as her prudery finally
Melts itself with the wine,
From honey: As soon as her primness mellows and she accepts him…
You come home I use your voice, slam the door like crack of doom,
Vous rentrez, je suis Don Juan.
Je crie fort, il faut qu’elle gobe.
You return, I am Don Juan.
I cry loud, she must hear
I shall say come hide with me. Where, oh where, of course, my room!
Je dirai: “Partons, suis-moi!”
“Mais où ça?” “La garde-robe!”
I will say: "Let us leave, follow me!"
"But where?" "The wardrobe!" (cloakroom)
Poor thing hasn’t got a chance. Here’s my hat, my cloak, my sword
Pauvre enfant, aucune chance.
Tiens! Manteau, chapeau, estoc!
Poor child, no chance.
Take this! Coat, hat, sword!
Conquest is assured, if I do not forget myself and laugh
Si elle entend soudain que je m’esclaffe.
If she hears suddenly that I laugh.
He doesn’t want her to hear him laugh, because then she’ll know it’s phantom spirit, not a messenger.
No thoughts within her head but thoughts of joy
Ne font vibrer son âme qu’amour et joie.
Only love and joy make her heart beat.
No dreams within her heart but dreams of love
Ne priment dans son coeur
Que de beaux rêves.
In her heart only beautiful dreams precede.
Master
Maître?
Master?
Passarino, go away for the trap is set and waits for it’s prey
Passarino, Laisse-moi,
Car mon piège est prêt
Et n’attend que sa proie.
Passarino, Leave me,
Because my trap is ready
And awaits only its prey.
Erik/Phantom: “You have come here in pursuit of your deepest urge
In pursuit of that wish which till now Has been silent… Silent.
Tu es ici
Là où tout est folie des sens,
Là où bien des brebis
Sur l’autel s’offrent sans lutte,
Sans lutte.
You are here
Where all is madness of the senses,
Where many ewes on the altar offer themselves without struggle,
Without struggle.
from honey: l’autel (the altar) also had the definition of: “furnace bridge.”
I have brought you
That our passions may fuse and merge,
Tu m’as suivi
Pour m’offrir d’impossibles danses.
You have followed me
For my offer of the impossible dance.
In your mind you've already succumbed to me,
dropped all defenses completely succumbed to me
En toi-même déjà tu
Succombes à moi.
Sans résister,
Tu te livres et succombes à moi.
In yourself already you
Succumb to me.
Without resistance,
You give yourself and succumb to me.
Now you are here with me, no second thoughts…You've decided. Decided.
Ta volonté faiblit.
Ton corps se tend,
Tu te donnes,
Te donnes.
Your will weakens.
Your body tightens,
You give yourself,
Give yourself.
Wow, um, okay… And it gets even more so in PONR…
**ITALIAN TRANSLATIONS by Angelofdarknss & Co.**
CORO (Chorus):
Here the sire may serve the dam, here the master takes his meat!
Finalmente lei cadrà / e la vittima cadrà nelle mani del padrone
Finally she will fall / and the victim will fall
into the hands of the master
CARLOTTA e CORO:
here the sacrificial lamb utters one despairing bleat.
L'innocente morirà senza
via di scampo è lei
The innocent will die,
Without chance of escape she is
*The innocent and how they will die refers to everyone there—not to Christine. But she won’t be able to escape what the master—the king—has for her.
Poor young maiden! For the thrill on your tongue of stolen sweets, you will have to pay the bill-
Tu, fanciulla, nella corte i suoi baci [???] già sconterai i peccati tuoi
You, maiden, in the court his kisses [???] already you will serve your sins
tangled in the winding sheets! Serve the meal and serve the maid!
e punita ti vedrem Il complotto che tramò
and we will see you punished
the secret plans (conspiracy) that he plotted
The chorus sings this—and they symbolize the phantom and his minions. They will punish Christine. It was the Phantom who sang: “You will curse the day you did not do, all that the Phantom asked of you.” And it was him who said, “Now, let it be war upon you both.” A conspiracy is usually something unlawful—and since Raoul is going against the king with his secret plans—treason—this makes sense that it applies to him. Here we see the gold eye/policemen, perhaps suggesting Phantom had a hand in it all...
serve the master so that, when tables, plans and maids are laid
[muta tutto] al suo voler e suo pranzo, è pure lei
[everything changes] to his desire and his reception, she also is
Everything the king wants changes to his desire—he gets what he wants. And he gets Christine as well.
Don Juan triumphs once again! [i]
Don Juan sempre trionferà!
Don Juan always triumphs!
DON JUAN (PIANGI)
[i]Passarino faithful friend, once again recite the plan
Passarino, mio fedele trarrà ancor l'inganno a me
Passarino, my faithful, still she will gain the deceit in me.
from honey: The “deceit” is Phantom, so maybe that means that’s who she’ll get.
PASSARINO
your young guest believes I'm you- I, the master, you the man,
Lei mi crede Don Juan, voi mio servo ed io messer
She believes me Don Juan, You my servant and I the sir
DON JUAN(PIANGI)
when you met, you wore my cloak, she could not have seen your face..
Lei che non ti ha visto mai penserà di star con te
She who has not seen you will never believe I will be with you
From honey: He’s saying that he will have the phantom with him.
she believes she dines with me in her master's borrowed place!
mangeremo a casa mia, ruberò la cena a me
We will eat at my place, I will steal the supper to myself
Furtively, we'll scoff and quaff, stealing what in truth is mine
alle spalle del padrone gusteremo il vino insieme
From behind the master, we will enjoy the wine together
If he’s acting as messenger/phantom—under control by him—then he is not acting as king, so he will do this behind the master, the king--what he wants her to think.
when it's late and modesty starts to mellow with the wine.
lei così già mia sarà, dopo un po' l'amor godremo
Thus she already will be mine, afterward we will enjoy a little love
PASSARINO
you come home! I use your voice- slam the door like crack of doom!
Io la voce vostra fò: "Son tornato in casa già!"
I fabricated(made) your voice: “I am back home already!”
DON JUAN (PIANGI)
i shall say, "come hide with me! where oh where? of course my room"
Noi nascosti resteremo nell'alcova, mia sarà!
Hidden we will stay in the alcove, she will be mine!
PASSARINO
poor thing hasn't got a chance
Molto astuti noi saremo!
We will be very shrewd(sly)
DON JUAN(PIANGI)
here's my hat, my cloak and sword. conquest is assured, if i do not forget myself and laugh *laughs*
Ecco tutto è fatto già lo realizzerò se serio resto e se mai riderò!
That’s it, it’s done already; I will achieve it If I stay serious and if I will never laugh!
AMINTA(CHRISTINE)
"...no thoughts within her head but thoughts of joy. No dreams within her heart, but dreams of love."
Non ho timor di te, mai non ne avrò Nel cuore regnerà soltanto amor.....
I do not have fear of you, I will not ever have any,
In the heart will reign only love….
From honey: This really fits with how she pulls the thorns off the rose—symbolically meaning, “I fear no longer; I hope.” She loves Erik; never had fear of him, never will.
PASSARINO
master?
Padrone?
Master?
DON JUAN(PHANTOM)
Passarino- go away! for the trap is set and waits for his prey
Passarino... Ora va’ lei è qui, nulla più chiederò, lei è mia...
Passarino… Go now she is here, I will demand(ask) nothing more, She is mine…
Erik/Phantom: “You have come here in pursuit of your deepest urge In pursuit of that wish which till now Has been silent… Silent.
Tu che fremi per placare la fiamma tua…Per placare l'istinto che in te sempre tace, tace
You who tremble to calm your flame…To calm the instinct in you that is always silent, silent
I have brought you That our passions may fuse and merge,
T'ho sognata per gustare ogni voluttà
I dreamt you to enjoy every sensual pleasure
In your mind you've already succumbed to me, dropped all defenses completely succumbed to me
Più che mai destinata a soccombermi,
Tu puoi negarlo ma stai per soccombermi
You can deny it but you remain to succumb to me More than ever destined(intended) to succumb to me
Now you are here with me, no second thoughts…You've decided. Decided.
Ed ora sei con me, non dire no
Puoi restare, restare
And now you are with me, do not say no
You are able to remain, to remain.
**SOUND SIMILARITIES by Redrose**
Don Juan—
Warped I Remember when Carlotta sings, ending with Raoul I’ve Seen Him
Piangi’s part has a segment like a warped version of where Christine sings of being twisted every way and a segment matching DOM when Erik sings of being hunted down everywhere
**THE SPOKEN WORD**
In the movie, they broke away from song to speak lines they had sung in the play—sometimes speaking for only a few lines. Here is the connecting link I’ve found with the spoken word—
Not a main character—unless you realize he’s really the phantom here, but:
Passarino (spoken): “Master”: --directed to Angel of Music, Erik the king.
And Erik then sort of sing-songs “Passarino…”
**MUSICAL ANALYSIS by Phantom’s Star**
Harp: thinking Note: I think this is what the sounds stand for.
Flute: a calling
of Angel (Angel of Music)
Cymbals: Angel is there, or near (brush of cymbals)—loud crash—he is fully there.
1.)Flute – as the curtain opens, the flute joins in with the melody. I think we are called to pay attention to the following production of Don Juan, not just the audience.
2.)Harp – at various points when Carlotta and the chorus sing, we hear the harp.
-On the word “lamb”
-On the words “stolen sweets”
-On the word “sheets”
I had previously thought that this could relate to Angel, but I believe the harp here refers to Christine and that we should be thinking of her (she is Angel’s Angel of Music after all and he did write the play with her in mind)
3.)“Don Juan triumphs once again” – We hear the crashing of the cymbals (not like TOM or DOM though). So, Angel is there but not completely as we later see (he kills). I think this also shows Angel is Don Juan (maybe also some foreshadowing that Angel will triumph over Phantom?).
4.)Flute – the whole time that Don Juan and Passarino sing, we hear the flute playing along with the melody and the lyrics. I think this shows that we are called to pay attention to this part of Don Juan (and we know why now) At one particular point, we suddenly hear the flute switch to playing low notes and instead play to high notes but then goes back to low notes:
-Right before, “I, the Master, you, the man”
I think this shows that this particular line is one of key lines in the hidden plot (as we have mentioned). We are called to pay close attention to this line.
5.)Harp:
Passarino, faithful friend (after the word “friend,” we hear the brush of harp strings)
She believes she dines with me (we hear the plucking of harp strings during this line)
Furtively, we’ll scoff and quaff (we hear the plucking of harp strings twice; the first on “scoff,” the second on “quaff”)
Starts to mellow with the wine (we hear the brush of harp strings in between the words “the” and “wine.”
You come home, I use your voice (we hear the brush of harp strings going down in notes after “voice”)
Poor thing hasn’t got a chance (we hear the brush of harp strings on “chance”, going up in notes)
I think what the harp means here is that we need to think of Angel (and Christine) during this song, and maybe for these particular lines.
6.)Harp - As we see Erik jump, we hear the pluck of a harp string. And the next shot is Christine. I think Christine is still thinking of her Angel as she walks onto stage (next part further proves this)
7.)Harp :
No thoughts within her head but thoughts of joy
On the words “No thoughts within,” we hear the harp. Christine is thinking of Angel even as she looks to Raoul. (Maybe does this line refer to Angel as well?)
No dreams within her heart but dreams of love
As Christine holds out the word “love,” we hear the harp. She is thinking of Angel, and I think this line refers to him as well.
LINK TO: “Point of No Return”:
http://www.phantomgerry.net/forum/viewtopic.php?t=7322
Last edited by honeyphan on Tue Sep 05, 2006 12:47 am, edited 3 times in total.
Music brought them together...One kiss bound them for life...
And two hearts were entwined for all eternity
*Thanks nightsmusic for avatar! *E/C Banner/manip made by me (from The Treasure)
*More full E/C manip/paintings in my album
~ *Captain of the Hidden Plotters ...Is there a "Hidden Plot" in 2004 POTO movie? You decide!
The Hidden Plot (HP)
E/C Phanphics (more to come soon) THE QUEST (HP-bk.1)
THE TREASURE (HP-bk. 2 - adult) REFLECTIONS of the SOUL A PHANTOM CHRISTMAS CAROL SYMPHONY in the TWILIGHT - adult -click links to read
And two hearts were entwined for all eternity
*Thanks nightsmusic for avatar! *E/C Banner/manip made by me (from The Treasure)
*More full E/C manip/paintings in my album
~ *Captain of the Hidden Plotters ...Is there a "Hidden Plot" in 2004 POTO movie? You decide!
The Hidden Plot (HP)
E/C Phanphics (more to come soon) THE QUEST (HP-bk.1)
THE TREASURE (HP-bk. 2 - adult) REFLECTIONS of the SOUL A PHANTOM CHRISTMAS CAROL SYMPHONY in the TWILIGHT - adult -click links to read
it just keeps getting better and better - WOW!!!
)
