igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Default)
This is the summary I came across: http://www.placedauphine.net/projects/inheritancelaw.html

This is the actual law:
In the original French: https://fr.wikisource.org/wiki/Code_civil_des_Fran%C3%A7ais_1804/Livre_I,_Titre_VII

(Section relevant to Gustave's situation: VII.I.2 "De la paternité et de la filiation" ) 312. L’enfant conçu pendant le mariage, a pour père le mari. [...] 313.
Le mari ne pourra, en alléguant son impuissance naturelle, désavouer l’enfant : il ne pourra le désavouer même pour cause d’adultère, à moins que la naissance ne lui ait été cachée...
igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Default)
E.M.K.81 has come up with a highly convincing theory about the opera that was being staged on the night following Christine's disastrous disappearance during "Faust": we are told that it is a piece by Meyerbeer (about whom Erik is disparaging) and we know that he plans to commit suicide by proxy through Christine at eleven o'clock, "at the height of the evening performance" according to the Persian.

Now, it so happens that we know of one specific Meyerbeer opera that was in the current repertory of the Paris Opera at the time of this story: Le Prophète, the historical melodrama which featured the white horse César who is trained for the purpose and stolen by Erik. And it turns out that the finale of Le Prophète just happens to involve the heroine setting off an explosion in a powder magazine which destroys the building and the revelling crowd inside it. The coincidence seems far too great: Erik deliberately delays his explosion until the end of that night's performance in order to mirror events upstairs in a fit of dramatic irony.

It seems very likely that Leroux intended the next night's performance to be "Le Prophète"...
igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Default)

Yet more stuff archived here for reference so that I don't have to keep searching through unhelpfully-named messages in order to locate my own analysis again...

I don't think that Christine in the musical ever does decide to spend the rest of her life underground in order to save Raoul; I think that her kiss is an attempt to find a third option beyond the two that the Phantom offered ("love me and he lives, refuse and he dies"). In the novel, of course, the threat and the situation are both somewhat different...

But I always assumed that what she is trying to do in the musical is to show the Phantom that "he is not alone" — that his face is not an insurmountable barrier to contact with humanity as he claims to believe. I don't believe that her kiss is supposed to be an acceptance of his bargain or a signal that she will marry him: there are easier and more reliable ways of telling him that! The kiss appears to be a rejection of both choices and an attempt to win his sympathy by demonstrating empathy — it's the classic 'communicate with your kidnapper and force him to see you as a human being so that he will find it harder to kill or torture you' tactic.

She isn't accepting his proposal (which she would have done with words of hatred and resentment); she is showing him that it is possible for someone to display enough pity to bestow a kiss of her own free will and without blackmail even upon someone who looks like him, and therefore that his face does not make him irredeemable.

I always assumed it was obvious...

Erik says "Will you marry me? Yes or No?"
Christine says "You poor thing, have a kiss" -- which is neither Yes nor No, but is greater sweetness and pity than he would have got from the Yes answer.
And the result is that he then shows pity and humanity to her by sparing Raoul, which I imagine is what she hoped for but presumably could not possibly be certain of.

I've never seen the final lair scene as Christine's choice to stay with Erik -- it never even occurred to me that anyone would make that assumption until a fan mentioned it as a casual belief a few months back. Erik says "Make your choice", but Christine *refuses* to play that game. She *doesn't* choose: if she wanted to say Yes she would say it with tears and loathing, as she does at the start of the scene. If she wanted to say No she would hurl it at him.

What wise, clear-sighted Christine does is to evade the question altogether: her response is neither to accept the trap or to give her tormentor an excuse to take his revenge. Erik says "Yes or No?" Christine says "Oh, you poor thing -- here, have a kiss."

And it works. By showing him that he is part of humanity, she gets him to see her as someone whose happiness he cares about, and not as a possession.

It's the classic kidnap gambit, really: instil empathy in your captors and get them to see you as a person. It's ideal. Under the impossible circumstances it's *brilliant* -- and it's very Christine. She forgives her enemies, and in so doing she wins freedom by her own resourcefulness.

igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Default)

I thought I'd already linked to this, but apparently not... For my reference, then (so that I don't have to keep searching for it), F. de l'opera's theory that Christine's 'red scarf' was actually a peasant headscarf: http://operafantomet.tumblr.com/post/96354400557/fdelopera-operafantomet-fdelopera

igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Default)
Archived for my reference, so I don't have to go looking all this stuff up again...

Interestingly, 'tu' does get used in Leroux -- Christine and Raoul are both very well-brought-up, but they occasionally slip when yelling at/to each other: "tais-toi donc, Raoul!" "Eh bien, dis, maintenant!" "Christine, aie pitié! Je vais mourir dans la forêt... loin de toi!" "Raoul! souffres-tu?" "va donc, Christine, ma femme adorée!"

Erik calls Christine 'tu' contemptuously from the moment she unmasks him, having been very respectful before (but on isolated occasions 'the Voice' declares "Va maintenant, Christine Daaé, tu peux apporter aux hommes un 'peu de la musique du ciel'!" and "Ton âme est bien belle, mon enfant, et je te remercie"): Christine mostly calls him 'vous', but in the final moments she descends into yelling at him: "me jures-tu, monster, me jures-tu sur ton infernal amour..?"

Erik and the daroga call each other 'tu' throughout. Christine addresses Maman Valérius as 'vous', but seeks and delivers comfort with 'tu': "Tu sais, la Voix est partie!" "Ne le crois pas, bonne maman, ne le crois pas..." Maman Valérius calls Christine 'tu' and Raoul 'vous' (though she addresses him as "monsieur Raoul" rather than "M. le Vicomte"). Philippe calls his little brother "tu"; Raoul calls the Comte 'vous'. The directors appear to call each other 'tu', somewhat unexpectedly.
igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Default)
A handy translation of the Code Napoléon (nineteenth-century French law): http://www.napoleon-series.org/research/government/c_code.html
igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Default)
F. de l'Opéra's Phantom timeline (based around the dates mentioned in the book): notably, the masked ball took place just before the start of Lent, and the new managers take over on January 10th.

For the purposes of my Philippe-story, I'm assuming that Raoul was born in December or thereabouts, thus making him only just twenty-one at the time of the gala (and allowing him to be twelve at the time of his father's death, be under his sisters' care for a few months, move in with his aunt, and still be only twelve throughout the summer with Christine ;-p)
igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Default)
The metre-gauge railway from Lannion to Perros-Guirrec (opened ?1906 -- certainly not August 1616 at any rate! -- closed 1949).
Le petit train des Côtes-du-Nord
See also http://www.railfan.net/lists/rshsdepot-digest/200411/msg00016.html

This is the railway that existed in Leroux's day but had not yet been built when Raoul made his overnight journey from Paris (hence the trip by diligence over the moor from the main-line station at Lannion).
igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Default)
Deleted scenes from the 1925 Lon Chaney Phantom:

(Christine with the Daroga, Raoul at Perros-Guirrec, Raoul with Mama Valerius)
igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Horizon)
I discovered yesterday that at some point since January, the author sparklyscorpion decided to remove all her fanfics from fanfiction.net -- which thus removes them from my Rescue Raoul collection. Which is a pity, as she was a seriously talented writer, and they certainly weren't anything to be ashamed of: not self-indulgent gushings or fix-fic, but well thought out reflections on the characters and situations in the original that no published novelist need be embarrassed for.

The following is what I've been able to glean of the five that went missing (plus another one that was in my Favourites but not in the Raoul-collection: "When Summer Fades", I think, though I'm no longer sure why that wouldn't have qualified!)

Read more... )
igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Default)
These are the streets that Christine and Raoul drive through in New York -- not too much changed from the 1920s versions I've been using as mental reference, fortunately!

Posted via m.livejournal.com.

igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Horizon)

Raoul chasing Christine across space and time, even if it takes ten, twenty-five, a hundred lifetimes.

The images I recognise are amazingly apt to the captions ("is that really you?" for the very un-Leroux-like Christine of the animated version, "all the lifetimes in which one of us doesn't exist" for Philippe/Christine from the Yeston/Kopit Phantom and Raoul/Lucille from "Monstre à Paris"), and I suspect that if one could identify them all there would be an additional layer of meaning! I can't help wondering which is the lifetime "in which you kill me"...
igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Horizon)
I'm fascinated to find that the original serialisation of Leroux' "Phantom of the Opera" contained a lengthy scene between Raoul and Christine in which he offers her honourable marriage and she turns him down -- for more or less the same reasons I ascribed to her in Chapter 2 of "Count Philippe Takes a Hand"! Always nice to know that my character-extrapolations from canon were accurate :-)

(And if this scene -- in which Christine avows her love for Raoul in the clearest of terms -- had been retained in the novel's published version, instead of being cut in order to keep the young man in a state of constant uncertainty, would we still have fangirls asserting that "Christine was in love with Erik!", I wonder?)

Elle le voyait d'abord tout petit, quand il lui avait rammassé son écharpe dans la mer, et elle lui disait qu'à partir de ce jour-là elle l'avait aimé, à cause de son courage d'homme, et puis, elle se le rappelait quand il écoutait, à ses côtés, les légendes du père Daaé et elle l'avait encore aimé là à cause qu'il était doux comme une fille; et puis, quand il était revenu plus tard, elle l'avait détesté, parce qu'il n'avait pas osé prononcer des parole que son cœur, inconsciemment, attendait, et ceci était encore une preuve qu'elle l'aimait. Elle n'avait jamais cessé de l'aimer du plus chaste amour, si loin pouvait-elle remonter les années.

Other scenes that were cut mainly involved the misadventures of the managers (although the loss of a detailed description and reference to the Persian in the middle of the story is unfortunate, since it results in the character's coming across as having been invented only as a deus ex machina for the final scenes). However, the relationship between the Count and Sorelli and the Count and Christine was also originally touched upon in some detail in a
passage describing events during the entr'acte of "Faust"
-- again an omission to be regretted, since Sorelli is another character who simply disappears from the action of the published novel.
igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Horizon)

I had the inspiration a while ago that Lars Hanson would have been the ideal casting for Leroux-Raoul in the silent era: he can play fair, delicate and conflicted, but also hot-headed and impulsive.

So I was amused to come across a couple of stills from the Mauritz Stiller "Erotikon" (1920)-- a film which apparently deals with Eros rather than erotica -- which, when taken out of context, could easily appear as shots from a 1920s "Phantom of the Opera" movie with an authentically Swedish Christine!

Raoul is carried away by Christine's singing as she accompanies herself at the piano (Preben Wells and Irene in "Erotikon")

Raoul and Philippe quarrel over the girl (Preben warns Professor Leo in "Erotikon")

Edit (for my records) — a nineteenth-century Raoul: http://fdelopera.tumblr.com/post/89510605313/rewrittengirl-phantoonsoftheopera

igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Horizon)
Looking on DeviantArt for pictures to go with my new "Phantom of the Opera" story (title as yet uncertain). There don't seem to be any relevant to the scene I've used, but in amongst all the Phantom-angst there are a handful of very sweet pictures of the young couple together...

Raoul et Christine by *The-Savage-Nymph on deviantART
The characters from the original novel: teenage Christine Daaé and a 21-year-old Raoul de Chagny trying hard to cultivate a moustache :-)

Masquerade by ~Meowkin on deviantART
A proud cartoon-Raoul (in Hussar costume) escorts Christine to the Masquerade; though her attention seems to be away with the fairies!

My favourites:
Floor Kisses by ~bananaboo2 on deviantART
R/C Sketches by ~bananaboo2 on deviantART
bananaboo2 draws Raoul as a gawky, long-nosed boy who is fresh-faced without appearing unmasculine, and appealing without implausible perfection: this is what very young men really look like, and the character makes an enchanting pairing with his shy Christine :-)

Here's a drawing of Raoul and Christine in a more conventional hero-heroine representation from the same artist.
Say You Love Me by ~bananaboo2 on deviantART

And speaking of implausibility :-)
Raoul by ~Sylent-Anpu-Phantom on deviantART
Here is Raoul in Romantic-Errol-Flynn mode as dashing, bumptious hero -- not really right for what is basically a very gentle character :-)


igenlode: The pirate sloop 'Horizon' from "Treasures of the Indies" (Default)
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