This film is a tragedy. The tragedy here means that under these circumstances, the protagonist’s misfortune is irretrievably made by God, it is the fate of the wrongs and even the good will and the good will of the good people, not the conspiracy and tricks of the bad guys that make the protagonist’s struggle and hope. All turned into phantoms. If it was just some people's deliberate mischief that caused all disasters, perhaps it should be called a tragedy rather than a tragedy. People lamented Romeo and Juliet not because they were swallowed by the whirlpool of family vendetta, but because they were just a little bit worse, the balance of their lives was overturned. Not to mention the story of "Waterloo Bridge" (Broken Blue Bridge) and King Oedipus. Similarly, Qiao Feng’s being framed out of help is not a tragedy. This makes readers filled with indignation, but the goal is still clear-revenge and justice; Qiao Feng personally killed Azhu is a tragedy. From the beginning to the end, neither side was at fault. There were no technical mistakes, and the whole process was repeated again, I am afraid it will still be the case. So after the emotional turmoil, the readers/audiences are at a loss, leaving only the tears of the heroes quietly sliding down their faces.
Coming back to talk about the Phantom of the Opera, I very much doubt that if the mysterious Phantom is as handsome and rich as the Earl of Mount Keto, and the Viscount is the same as Ma Wencai in "Bright Lovers" (or even the depressed man in "Life is Beautiful" Sir Alex Ferguson has no flaws, just a little less talented), Christine’s heart will be greatly deflected, and the whole story will embark on another routine. Don't forget that on the night of the successful debut, when the Viscount and Christine just took over, Christine declined his invitation to a banquet and waited for the arrival of the phantom. Even after confessing her "lifetime" to the Viscount, Christine ignored the Viscount who was vigil at the door, and went to her father's grave alone, and could not help calling for the appearance of the phantom in the white snow.
Indeed, as an ugly duckling who accompanies the midnight singing and trains to become a swan (the actor in the film is not a standard beauty), Christine has no reason not to have complicated emotions for the Phantom. The Phantom is her musical angel, replacing her dead father, comforting her soul through lonely nights. The Viscount was just a character who appeared suddenly. If it were not for his current superior conditions, his childhood sweetheart experience would not guarantee anything at all, just like Christine did not dare to recognize the Viscount before she became famous. It is true that the current Viscount is handsome, rich, elegant, brave, and kind, and represents everything that is worth cherishing in a normal society. But in my opinion, even for the two-hour movie, Christine’s confession to the Viscount on the rooftop of the theater seemed to advance too quickly.
The conditions of the Phantom are actually good. Although he probably has no education, his multiple talents in architecture and music have made up for it. The beauty of his underground palace is beyond reasonable imagination. His body is tall and straight, martial arts is also good, and the rhythm of his singing is even more magnificent. If there is not much difference in appearance between the two sides, it can be said that apart from formal social status, the Viscount has little advantage over his competitors. More importantly, how many beautiful memories the Phantom has poured into the hearts of young girls, the role of this factor is hard to underestimate, I believe the Phantom thinks so too.
But all of this disappeared in a blink of an eye. Maybe it's just because of his distorted appearance. When Christine first arrived in the underground palace, her eyes were longing, joyful and even silly and naive. But after discovering the face of the Phantom, it was a look of regret.
Indeed, you can also say that the Phantom not only lacks respect, but also has a personality problem. If he has a bad temper, he will kill a stranger when he flips his hands, and when he lifts his feet, he will turn the mansion into ruins. He is a sinner. But this, in itself, is due to the deformed life of the Phantom, "has ever society given me tolerance?". What he really needs may not be much. Christine's unrelated kiss can make the Phantom joyous and weep, and go far away. Can't it explain his soft and deserted heart?
God gave him talent, but he didn't give him a proper appearance. When the rushing torrent advances in the rugged river, it must be destructive. The Phantom keenly discovered the humble jade in the opera house, and exerted all his efforts, but when the heavens dissipated, the truth was difficult to modify; when a certain depth inside the theater was quietly forging a new star , The new patron of the outside of the theater was taken by the person the Phantom had never expected and did not want. On that day when dramatic changes took place, everyone came to the front desk, and all the rivers gathered together. Even though there have been calm days afterwards, destiny has already headed in a new direction irreversibly.
Again, as a sighing tragedy, no one is at fault in this ups and downs of life. The Viscount calmly, sincerely and bravely pursued what he could pursue and fulfilled all his possible duties. He can be said to be a gentleman. For example, he chased into the underground palace in person twice, and he was not dull at all. The Phantom has also shown the restraint that a genius monster can have. Christine's abandonment of the Phantom cannot only be interpreted as abandonment of the ugly appearance, although it is only because of this that we can already understand it. After all, Beauty and the Beast and Shrek are not only legends, but even fairy tales. Christine's choice can be described as a woman's version of red roses and white roses, choosing a comfortable, safe but traditional life, or choosing an unpredictable future. When she kissed the Phantom, it was not just to save the Viscount with patience; when she took off the ring that could be said to have been forcibly sent and returned it to the Phantom, her eyes were sad for the future life of the Phantom; when she sang her life I was a lover, and when she left in the Viscount’s boat, she looked back and forgot the phantom. She promised a wife's loyalty for the rest of her life, but at this moment, her parting from the Phantom was indecisive.
This is a choice, a legitimate choice. However, when Christine dreams back in the night, the musical angel, the phantom of the opera, and the phantom of the ugly elf will undoubtedly float in the distant sky and linger in the heart of the Viscountess. This is why the old Viscount trembles to put the Phantom Music Box, the music box that awakened Christine's first and last morning in the underground palace, in front of his beloved wife's tomb. This is certainly the shocking generosity of the old Viscount, but it can't help but make people think about Christine's reminiscence of that red rose during these thousands of days and nights.
Original work on February 16, 2009
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