After stripping off Weber's wonderful music, the rest of the movie is nothing more than a bizarre love triangle. Christine's role is like a doll raised by the Phantom, but when she grows up, she falls in love with a young guy from outside, making her plan to develop the Phantom fail and feel angry. Then, under the scene of various supporting roles, two men grabbed one woman; and Christine was very consistent from beginning to end, not knowing what to do.
The heroine's acting skills are too rigid, she should be trying to express full of doubts, troubled by past memories and present feelings. In addition to being the empathy of her father's role, the Phantom is also believed to be the object of her teenage love fantasy. Even if you discover the true face of the Phantom later, as long as you don't see his face, the sweet memories of the past will return to your mind, and you will fall into a situation where you have no choice. At the same time, the Phantom in her mind should be more inclined to the image of her father and mentor, rather than a lover, so all kinds of confusing. Unfortunately, the only way for this actor to express his confusion was to open her mouth and her eyes were distracted. Later, I even wanted to ask her to close her mouth...
As the phantom of the absolute protagonist, it should have been a pretty brilliant role. Personality is distorted to madness, with a sad life experience, feared and rejected by the world; at the same time, he is extremely eager to love and be loved. Such a genius who despises the rules of secular morality, but paranoidly yearns for the recognition of the secular he despise; this is also the ironiest part of the Phantom of the Opera. In fact, for the Phantom, Christine is more of a tool for realizing herself. Because the phantom itself is ugly and weird, he only wants to hide in the dark and self-pity and low self-esteem; but he taught his musical talents to Christine; let Christine take his place on the stage, Christine accept him instead Cheers and praise from the audience. Therefore, the Phantom’s feelings for Christine are mixed with a strong desire for control; therefore, it is not difficult to understand why he would force Christine to make terrible choices. At the end of the movie, the Phantom took off all its arms because of a sincere kiss, and sang a sad song to the monkey music box. The lover goes away, and the chasing soldiers are imminent. Presumably the director also has a preference for this role, so he arranged such a sad and beautiful ending for him. But the shaping of this role is not without problems. First of all, the movie is unclear about his life experience and how his amazing talents came from; so the Phantom’s character seems a bit abrupt. Secondly, the actor's explanation of the Phantom was a bit too much. In the later stage, he was completely a wounded beast, even a little impatience, like a child who couldn't afford to lose, always too shallow and not deep enough.
Speaking of Raoul, the movie itself portrays this image very thinly, a perfect son, noble and dedicated, without shortcomings; so there is nothing particularly worthy of comment. It is worth mentioning that his singing skills seem to be the best among the three main actors, and he deserves to be from Broadway. In contrast, the Phantom and Christine's singing have many flaws that shouldn't be there.
Regarding the relationship between Christine and these two men, the benevolent sees the benevolent and the wise. As far as I personally understand, the Phantom is the enlightenment of Christine. He inspired Christine's deepest and least-known faint desires. In fact, the tunes and lyrics of Music of Night and Point of No Return all have strong sexual hints. The Phantom actually represents the desire of the bottom of human nature. Why at Point of No Return, Raoul would linger and sing a duet on the stage with tears of tears? My personal interpretation is that he saw the Phantom’s teasing of Christine, and also saw the relationship between Christine and the Phantom; that kind of dark desire can only be satisfied by the Phantom. Raoul himself represents all rational choices. He has the identity, wealth, appearance, and even the bravery and passion that the society pursues. He is a good husband who meets the expectations of rational society. As a girl who explores the emotional world, she bows her head in front of dangerous and sexy desires or surrenders in front of reason. In fact, there have been countless works that have interpreted this theme, and there is nothing new in this film.
I have written so much about the afterthought of the Phantom of the Opera, but I have not seen the so-called "irreconcilable contradictions and inevitable tragedies" except for the love drama. If you have to ask me whose tragedy this is, I think I can only say that the three people have their own things, but there is no such thing as a tragedy. Some people may say that the Phantom is justified. A joke, the criminals in Conan’s cartoons are forgiven. The so-called existence is reasonable. If it is completely unreasonable, how can it happen? But the choice is made by yourself. Once you choose, you are not innocent. So, at the end of the film, I once again felt that it was just a matter of getting what they got.
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