I traveled to another dimension and stole art from the acclaimed anime of The Phantom of the Opera. I'm sorry, friends, but it seems like we live in the worst possible universe.
So, one thing that annoys me in the adaptations of The Phantom of the Opera is that Raoul, in the book, if I'm not mistaken, also abandons something. Christine abandons the opera, but also Raoul abandons his family so that they can both live their love in peace, because Raoul's family would not have agreed. (I read the book a long time ago so correct me if I'm wrong) but this aspect of Raoul completely disappears in the adaptations ! He can marry Christine without problem. And already I'm not a fan of the character, with this aspect of the adaptations it really gives me the impression that Christine simply becomes a trophy wife who abandons everything she is. Her name, her ambition, the singing, etc., to become Raoul's wife... Which is a horrible prospect. From a symbolic point of view, the phantom gave Christine a voice, but the relationship with Raoul takes away this voice. It's not cool.
A little detail from the 1990's Phantom movie series I think about is when Christine wants to see Erik's face, and when he says no, she offers to sing for him in return. He very quickly shuts that idea down, and to me, it's a good bit of characterization for him. To me, it confirms that music is very sacred to him. We already know this about him at this point, but it hammers in that he hates when music is used to gain something.
It says that he views music as something you should only do because you love it, and to share it with others. And to him, the thought of people using music to gain something, or in other words, people preforming or practicing music for any other reason besides enjoyment and love for it, is disgusting. He views it as the person not fully loving, embracing and/or treasuring music for what he views it as. Something to entertain, and to touch the very depths of the human soul and resonate with all human emotions.
I think that the opinion is something Erik truly believes, and I think that very well comes from the fact that his mom singing to him, showing she wasn't afraid of his face, was the only time someone showed no fear of his deformity. And even though he was very young when she died, it left such a strong impact that he can sometimes faintly recall her voice.
This is a small detail, and I might be overthinking this. But to me, that little moment speaks a lot about Charles Dance's Erik, and goes into more detail about how he views music, besides just him loving it because he loves it. In my personal hc, Erik (any/all version) uses music as a way to escape his horrific life and self esteem issues. It was a way to escape and express his emotions. To be raw and vulnerable and be completely himself.
Anyway, that's just some food for thought that I think about a lot more often than I should. I love Charles Dance's Erik, it's one of my favorite interpretations of the character.
phantom opera adaptation where all the eriks from previous adaptations are all placed into one opera house fighting for one christine. God. The world could barely handle one phantom could you imagine THE WHOLE PHAMILY
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