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auldesola's reviews
127 reviews
The Phantom of the Opera by Gaston Leroux
adventurous
dark
emotional
funny
mysterious
sad
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
3.0
As someone who saw the movies first, I must admit I went into this with curiosity as to how it might differ from the musical cinematic versions. And I dare say, it is quite different. And quite a bit more scary in its thrilling/mysterious qualities.
I found Erik/The Opera Ghost to be a lot more of an imposing presence and a lot more phantom-like. He was quite fickle and messed around with people a lot which made for some enjoyable shenanigans and hilarious arguments among the managers Richard and Moncharmin (and also Madame Giry when the managers interrogated her about her involvement with O.G.)
I did find a lot of the trickery and ventriloquy Erik got up to, to be very intriguing, especially when he trapped Raoul and the daroga in the torture chamber where they were sent off to African deserts to die in the confines of their minds.
All in all, it was enjoyable. The author leaving us with his thoughts as to how true some of the story of this Opera Ghost might be added some fun food for thought. But also him letting us perceive for ourselves what the truth might be and whether we find Erik the Opera Ghost a sympathetic character whom we should pity for his disfigurement making connections with others quite difficult and painful.
I feel that Erik, above all else, was lonely and wanted someone to see beyond his appearance, a feature he could not help. And Christine did so, but also feared him for his obsession. The man clearly did not know how to behave when someone accepted him. Too overcome with joy that he felt he had to imprison someone to get them to stay. Christine was an inquisitive and sought to look upon the face he hid away. And he hated his own face and feared it would make her react in the same manner as all others in the past. I found in the end that I did pity him. And even more in the book than the films.
I think Erik wanted a genuine kind of connection with another person more than romantic love, but I think he wanted love, too. A great many of the plays and music that went on in the Opera House spoke and enacted different kinds of love. I think he just wanted that for himself and didn't know how to get it with the issue of his disfigurement.
Because, are we not all deserving of a base-level kind of love? A decency?
A kiss to the forehead to those who believe this to be true.
I found Erik/The Opera Ghost to be a lot more of an imposing presence and a lot more phantom-like. He was quite fickle and messed around with people a lot which made for some enjoyable shenanigans and hilarious arguments among the managers Richard and Moncharmin (and also Madame Giry when the managers interrogated her about her involvement with O.G.)
I did find a lot of the trickery and ventriloquy Erik got up to, to be very intriguing, especially when he trapped Raoul and the daroga in the torture chamber where they were sent off to African deserts to die in the confines of their minds.
All in all, it was enjoyable. The author leaving us with his thoughts as to how true some of the story of this Opera Ghost might be added some fun food for thought. But also him letting us perceive for ourselves what the truth might be and whether we find Erik the Opera Ghost a sympathetic character whom we should pity for his disfigurement making connections with others quite difficult and painful.
I feel that Erik, above all else, was lonely and wanted someone to see beyond his appearance, a feature he could not help. And Christine did so, but also feared him for his obsession. The man clearly did not know how to behave when someone accepted him. Too overcome with joy that he felt he had to imprison someone to get them to stay. Christine was an inquisitive and sought to look upon the face he hid away. And he hated his own face and feared it would make her react in the same manner as all others in the past. I found in the end that I did pity him. And even more in the book than the films.
I think Erik wanted a genuine kind of connection with another person more than romantic love, but I think he wanted love, too. A great many of the plays and music that went on in the Opera House spoke and enacted different kinds of love. I think he just wanted that for himself and didn't know how to get it with the issue of his disfigurement.
Because, are we not all deserving of a base-level kind of love? A decency?
A kiss to the forehead to those who believe this to be true.