Touchstones of Gothic Horror: A Film Genealogy of Eleven Motifs and Images. The Undergrounds of the Phantom of the Opera: Sublimation and the Gothic in Leroux’s Novel and Its Progeny. Phantom Variations: The Adaptations of Gaston Leroux’s Phantom of the Opera, 1925 to the Present. The Gothic Vision: Three Centuries of Horror, Terror and Fear. The dual nature of the opera house establishes it as a place of uncertainty, suspense, and terror.Ĭavallaro, Dani. Yet, when this is juxtaposed to the mysterious, creepy environment below the opera house, the Phantom’s dwelling, the opera house becomes horrific. On the surface it portrays beauty, elegance, and class through the lavish decorations, tall ceilings, and grand stage. When looking at the opera house in the film, it is interesting to analyze how it can be deceiving to both the characters and the audience. Cavallaro describes claustrophobic environments as creating a sense of “lack of control over one’s space,” (86) which is especially true for Christine since she has no control over the situation at hand and sees no escape for her or Raoul (Cavallaro). The tight confinement of the space with the low ceilings of the labyrinth is characteristic of the Gothic. Tensions escalate because of the claustrophobic nature of the underground labyrinth. In one of the final scenes, in which Raoul is tied to the grate and Christine must choose between him and the Phantom, emotions run especially high. However, during his descent, a trap door plunges him into the underground waterways, escalating the suspense and tension of the scene. Raoul plans to confront the Phantom and save Christine, and the long descent down the dark staircase serves to assist him in this encounter. The gothic element in this particular scene is the focus on the staircase as a place of encounter (26 Huckvale). The film cuts to an angled shot of the spiraling staircase to emphasize its daunting nature. Another scene in which staircases are emphasized is when Raoul pursues the Phantom to find Christine. This coincides with Hucvale’s discussion of staircases as “psychological symbols of authority and power,” (13 Huckvale). This is the first time the other characters in the film see the Phantom, which is why it is important that he appear at one of the highest points in the room to establish himself as a figure of authority. During the masquerade the Phantom interrupts the festivities when he appears at the very top of the grand staircase. Staircases are another element of the Gothic present in the film. The secret passageways of the Opera house are utilized by the Phantom in numerous scenes of distress but also are used for the subterraneous pursuit of the Phantom at the end of the film. The dim lighting and green water, incorporated with the low ceilings of the underground lair, have an eerie effect on the viewer. In the film, the dungeon where the Phantom lives is surrounded by water, which separates into canals and secret passageways, an element of the Gothic genre. One element of the Paris Opera house that directly relates to the portrayal of the opera house in the film is the underground lake (Hall). The grand architecture of the Opera House was influential in the mise-en-scene in the 2004 film The Phantom of the Opera. The Paris Opera House was one of the most impressive Opera Houses of its era, and soon influenced the design of opera houses around the world (Hall). Not surprisingly Phantom made it to the big screen in this adaptation but Starlight did not.The Paris Opera House, also known as the Palais Garnier, was designed by Charles Garnier and built from 1861-1875 (Haining). Are both combined as one, to be know as Madame Giry in the 2004.
#2004 phantom of the opera movie#
Andrew Lloyd Webber admits that although he does not regret doing the show he should have marketed it as a "Disney kiddie ride sort of a thing" a special effects extravaganza just for kids, to be performed at amusement parks exclusively, not a serious big budget Broadway musical for the masses where it would be compared to much more critically acclaimed Webber shows like Jesus Christ Superstar Evita Joseph and Phantom. Youre totally right but also, in addition to your mention of The Persian, in the book it is he that is the Phantoms only 'friend' or whatever but in the movie there is no Persian exactly but the two Characters Madam Giry and The Persian from The Phantom of the Opera by Gaston L. But where Phantom got positive reviews and is mostly considered a classic Starlight was slammed by the critics some who say though it was a hit it is one of the worst Broadway and London theater productions of all time focusing as it does on people dressed up like trains and roller skating and featuring a sporting event like race replete with monitors. This theatrical production premiered in London in 1985-6, the same year Andrew Lloyd Webber rolled out Starlight Express, an adaptation of the Thomas the Tank Engine novels (with all character and place names changed when the rights deal fell through).
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