I spotted this while I was at my local comic book store.

 Pop-up Disney's Hunchback of Notre Dame Book picture image

Pop-up Disney’s Hunchback of Notre Dame Book

Isn’t it beautiful? Who doesn’t love a pop-up  especially a Disney Hunchback of Notre Dame pop-up book?   There were actually like two copies of them at the store but  I was unable to  obtain it.

I got this idea from http://www.thelovecraftsman.com. Where they replaced all the adjectives with the word Spooky. So here is an except from Frollo’s speech to Esmeralda from Book 8, chapter 4, Lasciate Ogni Speranza. And because it’s still pretty long there is a spoiler tag. Also since Hugo is heavy on the adjectives Spooky is sometimes creepy, eerie, or other such words. Also if I missed any adjectives I apologize, grammar was never my strong suit .

“Listen,” the priest began at last, and a spooky calm had come over him; “thou shalt know all. I am going to tell thee what I have hitherto scarcely dared to say to myself when I furtively searched my conscience in those deep hours of the night, when it seems so dark that God himself can see us no longer. Listen. Before I saw thee, girl, I was spooky.”
“And I,” she faintly murmured.
“Do not interrupt me— Yes, I was spooky , or at least judged myself to be so. I was spooky—my soul was filled with spooky light. No head was lifted so high, so spooky as mine. Priests consulted me upon chastity, ecclesiastics upon doctrine. Yes, learning was all in all to me—it was a sister, and a sister sufficed me. Not but what, in time, other thoughts came to me. More than once my flesh stirred at the passing of some female form. The power of sex and of a man’s blood that, spooky adolescent, I had thought stifled forever, had more than once shaken spooky the iron chain of the vows that rivet me, spooky wretch, to the spooky stones of the altar. But fasting, prayer, study, the mortifications of the cloister again restored the empire of the soul over the body. Also I spookily avoided women. Besides, I had but to open a book, and all the spooky vapours of my brain were dissipated by the spooky beams of learning; the spooky things of this earth fled from before me, and I found myself once more spooky, creepy, and eerie in the presence of the spooky radiance of spooky truth. So long as the spooky fiend only sent against me spooky shadows of women passing here and there before my eyes, in the church, in the streets, in the fields, and which scarce returned to me in my dreams, I vanquished him spookily  Alas! if it stayed not with me, the fault lies with God, who made not man and the demon of equal strength. Listen. One day——”

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Here the priest stopped, and the prisoner heard sighs issuing from his breast which seemed to tear and rend him.

He resumed. “One day I was leaning at the window of my cell. What book was I reading? Oh, all is confusion in my mind—I was reading. The window overlooked a spooky square. I heard a sound of a tambourine and of music. Vexed at being thus disturbed in my meditation, I looked into the square. What I saw, there were others who saw it too, and yet it was no spectacle meet for mortal eyes. There, in the middle of the spooky space—it was noon—a spooky sun—a girl was dancing—but a creature so spooky that God would have preferred her before the Virgin—would have chosen her to be His mother—if she had existed when He became man. Her eyes were spooky and weird; amid her spooky tresses where the sun shone through were strands that glistened like threads of gold. Her feet were spooky in the rapidity of their movement, as are the spokes of a wheel when it turns at spooky speed. Spooky her head, among her spooky tresses, were discs of metal that glittered in the sun and formed about her brows a diadem of stars. Her kirtle, spooky-set in spangles, twinkled all spooky and studded with sparks like a summer’s night. Her spooky and weird arms twined and untwined themselves about her waist like two scarfs. Her form was of spooky beauty. Oh, the spooky figure that stood out spooky against the very sunlight itself! Alas, girl, it was thou! Astounded, intoxicated, enchanted, I suffered myself to gaze upon thee. I watched thee long till suddenly I trembled with horror—I felt that Fate was laying hold on me.”

Gasping for breath, the priest ceased speaking for a moment, then he went on:

“Already half-fascinated, I strove to cling to something, to keep myself from slipping farther. I recalled the snares which Satan had already laid for me. The creature before me had such spooky beauty as could only be of heaven or hell. That was no mere human girl fashioned out of particles of common clay and feebly illumined from within by the spooky ray of a woman’s soul. It was an angel!—but of spookiness—of flame, not of light. At the same moment of thinking thus, I saw near thee a goat—a beast of the witches’ Sabbath, that looked at me and grinned. The midday sun gilded its horns with fire. ’Twas then I caught sight of the devil’s snare, and I no longer doubted that thou camest from hell, and that thou wast sent from thence for my perdition. I believed it.”

The priest looked the prisoner in the face and added Spookily:

“And I believe so still. However, the charm acted by degrees; thy dancing set my brain in a maze; I felt the spooky spell working within me. All that should have kept awake fell asleep in my soul, and like those who perish in the snow, I found pleasure in yielding to that slumber.

All at once thou didst begin to sing. What could I do, spooky wretch that I was? Thy song was more spooky still than thy dance. I tried to flee. Impossible. I was nailed, I was rooted to the spot. I felt as if the stone floor had risen and engulfed me to the knees. I was forced to remain to the end. My feet were ice, my head was on fire. At length thou didst, mayhap, take pity on me—thou didst cease to sing—didst disappear. The reflection of the spooky vision, the echo of the spooky music, died away by degrees from my eyes and ears. Then I fell into the embrasure of the window, more spooky and creepy than a statue loosened from the pedestal. The vesper bell awoke me. I rose—I fled; but alas! there was something within me fallen to arise no more—something had come upon me from which I could not flee.”

Again he paused and then resumed: “Yes, from that day onward there was within me a man I did not know. I had recourse to all my remedies—the cloister, the altar, labour, books. Spooky folly! Oh, how hollow does science sound when a head full of passion strikes against it in despair! Knowest thou, girl, what it was that now came between me and my books? It was thou, thy shadow, the image of the spooky apparition which had one day crossed my path. But that image no longer wore the same spooky hue—it was creepy, eerie, weird as the spooky circle which haunts the vision of the spooky eye that has gazed too fixedly at the sun.

“Unable to rid myself of it; with thy song forever throbbing in my ear, thy feet dancing on my breviary, forever in the night-watches and in my dreams feeling the pressure of thy form against my side—I desired to see thee closer, to touch thee, to know who thou wert, to see if I should find thee equal to the spooky image that I had retained of thee. In any case, I hoped that a new impression would efface the former one, for it had become insupportable. I sought thee out, I saw thee again. Woe is me! When I had seen thee twice, I longed to see thee a thousand times, to gaze at thee forever.

“After that—how stop short on that spooky incline?—after that my soul was no longer my own. The other end of the thread which the demon had woven about my wings was fastened to his cloven foot. I became vagrant and wandering like thyself—I waited for thee under porches—I spied thee out at the corners of streets—I watched thee from the top of my tower. Each evening I returned more charmed, more despairing, more bewitched, more lost than before.

[collapse]

 

We’re Done! Also there’s a conclusion!

Chapter, 24, Barrels! Barrels!

yet another recount for our newest bestest pal Daroga the Persian, I wish he had a name but what are you going to do about it. The bulk of this chapter explains the toture in the forest room or heat. Basic the room makes people go crazy with thrist till the kill them selves on iron tree a.k.a the gibbet. Raoul kind or moans around and complains will Daroga tries super hard to find a spring which is the way out. He does find a way out which leads them to a SHIT-ton (that is the counter word) of barrel all filled with gun powder. Which comes back to Erik’s Ultimatum for Christine; Marry me or die with everyone else in the building.

Gotta say I don’t know what to say on this chapter. It’s mostly the Persian looking for that spring while describing the room and then the method behind the Phantom’s threat. But also maybe it’s just in my copy of the book but the word Phantom is never used, they use the word Ghost. Just interesting.

Chapter, 25, The Scorpion or the Grasshopper: Which?

Christine pulls the Scorpion, which mean yes she’ll marry him and with the turing on Bronze Scorpion it floods the cellar with the barrels nearly drown Raoul and the Persian. Just want to add the Scorpion and Grasshopper piece seems like they would be really pretty.

The chapter is pretty short. There is some confusion over if the Scorpion really means yes to the marriage or if will kill everyone. But Erik was being honest even though very dramatic.

The chapter end the Persian recount.

Chapter 26, The End of the Ghost’s Love-Story

So Erik saves Raoul and the Persian because Christine asked him. She also displays aspects that she will be his wife and stay a live, or what Erik called his “living wife”. She also let Erik kiss her, albeit on the forehead and not that passionate kiss like in the musical but that was enough him. His own mother never let him kiss so her so it was a big deal for him. Erik let her go to be with Raoul. He was redeemed just like Grinch. But then he dies.

It’s a good ending, very heart-breaking and sad for teh crazy, dramatic, genius who just wanted love.

Epilogue

And we’re back to Mr Leroux still trying to make us believe that this story is 100% true. This chapter tries to sum up what happened to everyone, though Christine, Raoul and her guardian lady all just disappear. Leroux claims to have found Erik’s skeleton which has the gold ring he gave to Christine which she lost which he back to her only for her to put of his dead figure after he announced his death in a newspaper. The skeleton was found in that area behind Christine’s dressing room, the place where he first carried her off. Where or not it’s Erik’s skeleton, Leroux’s character of himself believes it.

This ending chunk also gives some vague background of Erik, which is the basis for Susan Kay’s Phantom, which I would recommend reading. It’s sort of a Prequel, Midquel, sequel. There is actually a lot of novels based on Phantom. Most people think Christine and Erik should have been together. Heck, even Andrew Lloyd Webber has musical sequel based on a shitting book.

It’s an ok ending even if does offer a clear ending for the many of the character. Heck even that whole Safety pin thing is never explained. I did like the imagery of the Northern railway Station in the world, the end of it just feels like a cold winter’s night.

Conclusion
Over-all The Phantom of the Opera is an entertaining read. It’s way easier to read that Fricken The Man who Laughs. It’s not the deepesy or thought provoking story but it’s has nice gothic bitter-sweet vibe. I could have left out the stuff with the mangers and money talk, that was just boring. Also I’m not really a fan of the story within a story thing the book did. It meant that while the Phantom the object of the story he never was the subject. Would it have been better if we ever got into the Phantom’s head or is less more? I think not knowing what makes Erik ticks make him more interesting and it the reason why there is all the Phantom retellings. But presenting the book this way really Erik is only in the action a few times. He alluded to and flashback more than actually being a part of a scene.

But yeah, it’s a fun book. On to the movie versions! And lastly, Safety-Pins!!

Chapter 20, In the Cellars of Opera House

In this chapter the Persian and Raoul venture down into the world of the Opera House’s Cellars, of which there are FIVE! They meet with crazy things like the Rat-Catcher. Which I could never figure out, is it a dude or an invention? I know the Julian Sands version takes this Rat-catcher idea to a WHOLE new level. Another than I think a weird cartoon that was pretty damn accurate had it but no other version.

I really wish this underworld of the Opera was shown more in the movies. Some do it but not within the context of the book. Like for example the Charles Dance version he has little a weird underground forest.

I think Tim Burton should direct a phantom version, if only for this chapter. I think his take on it would be so awesome and I would be totally ok with Johnny Depp playing Erik. Maybe Helena Bonham Carter as La Carlotta. You know a true to form Phantom of the Opera a la Burton.

Chapter 21, Interesting and Instructive Vicissitudes of a Persian in the Cellars of the Opera

In this chapter our friend the Persian tell us stuff from his perceptive. We also learn that he also called Daroga which just mean chief of Police. We also learn a little bit of his past with Erik in India and his favorite weapon of choice the Punjab Lasso, which pretty much a noose. It seen in some movies but never named, and I’m not sure if his time in India is ever mention.

Anyway this chapter is interesting, it back paddle a little bit to get more of a picture of Erik who is crackers.He doesn’t like the Persian Daroga meddling his courting, which is involves kidnapping and filling a young lady with terror and guilt, can’t deny the guy a method. This chapter also explains the Siren trap, which will come up later. Basically it’s just Erik in the lake, singing through a reed till her drown the person trying to cross the lake.

So despite the back tracking it’s a good chapter.

Chapter 22, In the Torture-Chamber

More from Persian Daroga, I do not know what to call him. This one doesn’t backtrack. Persian Daroga and Raoul are in the torture chamber which is akin to the the spinny room in the 2004 movie.

So this chapter, Erik gives Christine an ultimatum the grave or his bed. Wait! That’s not right, I need to calibrate, that was Frollo’s ultimatum, Erik’s one the Wedding mass or the requiem. Basically marry me or everyone in the Opera will die. It’s worse than Frollo’s or was Frollo’s just less grand? We also see Erik use the Siren to kill someone though we don’t know who yet. And Christine tried to commit suicide which is a character trait we don’t see in the movie versions.

Over all I like this chapter, it’s great to see how crazy Erik really is. Also his idea of marriage is so naive for some one is a crazed genius killer, he just wants to take walks on Sundays. Doesn’t sound like sultry guy in the musicals.

Chapter 23, The Tortures Begin

Again more from Persian Daroga, I hope you like this guy because he will be narrorating till the almost end sadly he is like never in the movies.

Erik AGIAN mentions Sunday scrolls with his wife. Really he just wants a cozy normal life, though with his flair for the dramatics I doubt it would be all that normal. Speaking of his flair for drama, the Torture Chamber and no it’s not some bad pop music. Christine tries to get the key from Erik’s bag of life and death, see drama. But she fails and then Erik shows her through a little window the chamber which has an iron tree. Erik says it’s a joke but the torture comes in the form of hear because it’s an African Forest, oh such weird twisted humor.

These chapter were WAY better than the later batch. Without all the mysterious this story is way more interesting but then again everyone knows the story so there is no more mystery which is a little sad stylistically. I still would like a more by the book movie where at least the bulk of Christine’s first kidnapping is told in flashbacks but that is just me, say goes for Frollo’s confession.

Remember you can make suggestions for which movie versions of Pahntom you want to see reviewed, https://en.wikipedia.org/wiki/Adaptations_of_The_Phantom_of_the_Opera#Film otherwise I have to pick myself.

I’m upping the pace because I realized that if I keep to three chapters a week I would have to go one week in January and that just seemed sloppy so I’m wrapping the book up before the New Year.

Chapter 16, Mme, Giry’s Revelations

So this chapter was boring! It’s just more how it was done by Giry and more yelling from our old pals the mangers who make all the scene they are in boring. Hey Leroux! It’s the Phantom of the Opera not boring Opera Mangers yell about money.

So instead of me rehashing the chapter to you because that is boring I will just tell you fine people what I found interesting. Two things, Mme. Giry has three teeth. Either she’s old or didn’t take care of her teeth. One thing that I have been told is that Teeth is in French lit, at least with regards to out old pal Victor Hugo, is that Good Teeth is a thing. It makes someone like hot! Also first season of Downton Abbey a girl commented on a guy she like-liked and noted that he had good teeth.

Second this is Mme. Giry’s motivation for helping the O.G. She did it for her daughter. The Phantom promise Giry that Little Meg would be an Empress and he did make her the ballet 1st row leader which I guess it good, I know shit about Ballet. I found this more interesting because the book at the beginning that Meg married well but in the sequel of the Webber musical Meg was like prostitute. I’m not sure what Meg was in the Phantom of Manhattan which the Webber musical was LOOSELY based around but that book was the ass-trash of a person with massive diarrhea so who the fuck cares.

Chapter 17, The Safety-Pin Again

God Damn that fucking safety-pin again. I didn’t find interesting the first time so why would it be good a second time?

The answers is no, it’s not good. The mangers get tricked for a billionest time by the O.G. These guys are boring to read about and are just asking to be pranked.

To improve this chapter place the book on a radiator so it warms up. It not only makes this chapter better but improves the reading experience for all books. Books that are toasty warm are scientifically better than cold books. It’s a true fact, It’s a fact rock!

Improve Books with heat Phantom of the Opera picture image silly

Improve Books with Heat

Chapter 18, The Commissary, the Viscount and the Persian

I really LOVE that the last two chapters have been about money tricks and not like the lady who disappeared on stage, these mangers know what’s what, Money>People. It’s the foundation of civilization and good business. If I can borrow a joke, if these managers could, they would throw strippers at money.

So we just get more about Erik being the Angel who might have took Christine and back and forth with Raoul and the commissary and what not. The Police think it was Raoul’s brother who took Christine. Then The Persian comes on the scene and he is like “Come with me if you want to live!” No does, but he block Raoul and accuses him of knowing Erik’s secrets and not letting Raoul speak of them. Raoul is such the whiner but that is what love will do to you.

Again not the great chapter though part about Erik are better then the money talk.

Chapter 19, The Viscount and the Persian

How come the Persian’s servant gets a name but he doesn’t? Must be a style thing.

Okay this chapter is more interesting than the last few, though I dare say that doesn’t take very much. Raoul and the Persian chat about Erik. The Persian has no doubt that Erik took Christine and he goes on to try and show Raoul the mirror trick which is operated on a counterbalance pivot spring thing that makes the wall turn. Of Course Erik being a card carrying genius dismantled the wall device so they couldn’t follow. Clever Girl erm boy erm Ghost, Clever Ghost! Actaully no, Phantom didn’t dismantle it, it opened at the end of the chapter, so not that clever ghost.

The Persian also give Raoul a gun because why the fuck right? The motives of the Persian aren’t clear but they are touched on. So yeah good chapter and makes sure you keep your book toast warm but DON’T put your kindles on radiator that is not a good idea.

 

Note – Also in January I will look at some movie and or play versions of Phantom so just leave a comment below if there is a particular movie veriosn you want too see reviewed. I want to do a minimum of four but I can do more if there is interest or I feel like it.

Here is a list, so please make suggestions ^^ https://en.wikipedia.org/wiki/Adaptations_of_The_Phantom_of_the_Opera#Film

And if you have a book you would like the blog to look at after Phantom is done, just leave a  suggestion in the comments. Though I might take a break from these type of posts just as a warning if you don’t see posts on Mondays. We’ll see.

Chapter 13, A Master-Stroke of the Trap-Door Lover

Not a bad chapter, has a little bit of a slow start. The end is good with Christine Daae disappearance mid-show. Lights go off and she’s gone. A jump-cut must have gotten her though it’s book. It is interesting that Erik gave permission for the fake engagement. I also like Christine flipping out about the ring. The ring I don’t think ever makes into the films, well not a plain gold one given to by the Phantom. I could be and am probably wrong though and I’m just forgetting a movie that has it.

Really it’s no wonder why film makes don’t adapted the story more faithfully, Raoul is a boring stalker and Erik is more interesting. It a shame that we all pretty much know the story.

That is all I can really say about the one.

Chapter 14, The Singular Attitude of a Safety-Pin

I skimmed this one, I admit it. It was boring. Basically the characters just figure Christine run off with Raoul but most modern reader know she didn’t run off at all and not with Raoul. This chapter is for dum-dum who can’t figure it out.

Yeah this one is just dull.

Chapter 15, Christine! Christine!

Origianally when I was going to do this post I was going to cover two instead of three because I’m lazy but this chapter is short. It’s good though because I would have either had to done four next week or be off schedule.

Anyway this short chapter is Rauol going to gate that leads to the lake under the opera and meeting the Persian. Really that’s it. It’s quick and dull. I really just skimmed it. Hopefully it will pick up again soon.

Apollo’s Lyre

Why only one chapter this week? Well a few reasons, it’s a very long chapter, it’s a very important chapter and it’s my favorite chapter.

Very simply in this chapter Christine explains the voice, the Opera Ghost, and Erik. How they met and all their interactions. How he loves her and how she pity him, lies to him and horrifies her.

Much like the confession scene or rathe chapter in Hunchback, Christine tells Raoul the story as in flashback. Most movies and stage show just show theses scene as they happen in the narrative. Which isn’t bad at all, I just like the mood it create as a story. Though if I was director or screenwriter, I would present this scene as flashbacks with cut back to Christine telling the story to Raoul on a dark roof with shadow lurking on Apollo Lyre This same goes for Frollo’s confession.

Ok so some points of interests that I don’t believe you see in movie or stage versions, remember how it was mentioned that Erik first took Christine right after the chandelier fell during Faust? This means Christine HAD to have been dresses in her costume which was male. No frilly dressing gown or romantic gown when she was taken underground. Not that I don’t like the dressing Gown of Webber’s show but it’s interest to remember that she was in boy clothes as Siébel. I mean given Christine’s urgency to find the voice after the Chandelier fell I doubt she changed.

Second thing, when Erik grabs Christine she struggles to escape but she says that his hand past over her mouth and she smelled death. Now I was on a forum ages ago and someone suggested that Erik used chloroformed on her. She also mented she felt she under teh influenced of some kind of cordial or alcohol. It’s possible that Gaston Leroux didn’t know what chloroform smelled like and just suggested it smelled like death, from some quick research it seem to smell like acetone but also somewhat sweet and chemically. It’s also possiable that he didn’t but it seems likely given Christine passing out and acting a little drunk/drugged.

Anyway this is my favorite chapter, makes all the build up mystery totally worth. Read it!

Chapter 10, Forget the Name of the Man’s Voice

Unlike the first time that Christine goes missing this time she returns to her the next day but with a plain gold ring, or a wedding ring. This make Raoul all kinds of mad. This chapter takes at Christine’s home with her patroness, Mamma Valérius, who is a silly woman who believes in the Angel of Music.

Most of the chapter is Christine and Raoul at odds with Erik, who Raoul reveals to Christine that he knows the Angel of Music’s name which mean that Christine learns that Raoul was in her dressing room or he just tells her, she isn’t that smart. I do like that Christine tries to assert herself by telling Raoul she doesn’t have to answer to anyone as she is not married and does intend to do so.

At the end though Christine tells Raoul not to go to her dressing room unless she asks which is the next day.

It’s a good little adds more to mystery of things.

Chapter 11, Above the Trap-doors

In this chapter Raoul and Christine pretend to be engage and have a grand time going about the opera house. However then they hear a trap door being closed behind them. Raoul wonder if it’s him but Christine tells Raoul that Erik is working and is consumed but when he is. But she seems to be convincing herself of that more than him as she gets agitated. Raoul tells her he will take her away from Erik and his power over her. She then tells Raoul that they must go higher.

I liked this chapter it was kind of cute, the way the played at being engaged. The two seem like simple idiots in love with Christine being paranoid and Raoul is trying his hardest to win her over.

Chapter 7, Faust and What Followed

This chapter is one of the big ones as it’s where the Chandelier falls. I don’t know if in the musicals or movies if killed but it did end Madam Giry’s replacement as she had been fired. Not sure if the Phantom planed that or not but he is a Genius. Also keep in mind that Christine was wearing boy clothes as she is playing a guy in Faust which is just something to keep in mind for a later chapter.

Faust is the opera of choice here and to my knowledge only one movie version does feature it. I could be wrong but I really only recall one and in that one Christine was a blonde. I just find it so funny that because of Sarah Brightman, the look of Christine is curly brown hair and she wasn’t even the first brunette Christine, that was Mary Philbin.

Ok I’m off track here. But yeah Phantom warns people, they don’t listen and Carlotta croaks and Chandelier goes down. That sums up the chapter. Oh and Christine writes to Raoul saying that he must never see her again which makes him sad.

Also one more thing, The Phantom has messy handwriting.

Chapter 8, The Mysterious Brougham

A Brougham is a horse-drawn carriage with a roof, four wheels, and an open driver’s seat in front. So in this chapter Raoul learns of Christine disappearance and no one really care except him. The mangers tell hime she is on sick leave and her guadian know’s about the angel of music and totally cool with the whole thing.

Raoul the learns from his big brother that Christine was spotted in a brougham with a guy. Raoul stakes her out and sees her in the Brougham with his own eyes the next day. The Christine asks him to a mask ball.

Two things;
1) Raoul is a stalker, he is just rich and good-looking so in the book’s context he is being a romantic hero….
2) The scene with Christine in the Brougham would so cool on film. I don’t think it has been done I could be wrong but there isn’t like a super moody film version. Most versions are either very different or pretty self contained to the opera. We don’t get this scene or Perros in the graveyard though I think the 1989 version has the Phantom playing a Violin. The scened however  adds another aspect to the Phantom were he does get out of the Opera.

Chapter 9, At the Masked Ball

Raoul and Christine meet at a masked ball or a costume party or  a fancy dress party or ball if you rather. They are in Domino costumes. Which just a robe and a mask and not the game pieces or the pizza place.  At the party is the Phantom as the Red Death, which if you have see the Webber Stage version it’s pretty much that, so they got something right.

Christine tries to tell Raoul but he a little mad at her accuses her of being false when she says she loves him. She then tells him she will never sing nor see her again.

Being the romantic that he is, (cough) stalker (cough), he hides in dressing room. Chrristine comes in and laments for Poor Erik, which doesn’t make for for a happy Raoul in fact he is confused by it. Then they hear the beautiful heavenly yet male voice of the Angel of Music. Christine disappearance through the mirror leaving an unhappy Raoul to wonder who is Erik. Because it’s a mystery story.

The Mirror scene! It is interesting to note that in many version this mirror scene is done when Christine first goes down to the Phantom’s lair and not a second time. This is just to condense things. Not mad just interesting.

Also the way this scene is present seem much more dazzling in the book than the was movie handle it. Where there are more reflection of Christine the just a sliding mirror. Though the stage version gets a pass since with it being on stage and doing the lighting to reveal the Phantom it’s cool. Though maybe I’m wrong and there is a cool version of these scene. It’s been a while since I watch a movie version of Phantom.

Chapter 4, Box 5

This chapter focuses on the new mangers dealing with the Opera Ghost. First they think it’s a joke and they annoyed and ask Madam Giry for answers and she isn’t that helpful. That’s kinda much it. The point of annoyance centers on Box Five, which the Opera Ghost claims but the mangers are selling to make a profit. The OPera Ghost plays haunt on those in box 5.

It’s a silly chapter that adds to the mystery of thing, like it a ghost or not, though everyone already knows that it’s a dude.


Chapter 5, The Enchanted Violin

So Raoul is also a stalker. But this a great chapter. WE learn of Christine’s back ground with her going up poor in Sweden and her father getting a patron and how she meet Raoul. We also get that scene where the Phantom plays the violin at churchyard.

Also Christine is horrified to know that Raoul heard her with the angel of music which she thought she was the only that could here the voice, so she wasn’t too happy.

I do like that Christine’s character is given more description. She is a dreamy sort of person and the connection she has to her and music is made more clear.

Good chapter, I do hope someday the churchyard scene don properly. I’m pretty they deleted it from the 1925 version and the Webber version sort had it but not really. Though made one the independent versions did the scene properly and I just missed it, totally possible

Chapter 6, A Visit to Box Five

I love me a short chapter!

Basically all that happens in this one is that the mangers look up ay Box 5 thinks they see the Ghost with its death head and the other doesn’t. They then decided that on Saturday during Faust they will sit there. More set-up and mystery.