Phantom Variations: The Adaptations of Gaston Leroux's - download pdf or read online

By Ann C. Hall

This ebook examines the subjects and adaptations of Phantom of the Opera, exploring the story's attract a number of generations via a variety of incarnations. After discussing Gaston Leroux's unique 1910 novel, the paintings turns first to Phantom on movie from Lon Chaney's 1925 Phantom via Dario Argento's 1998 movie. level models of Phantom are then coated intimately, together with Webber's wonderful 1986 creation and its lesser-known predecessors and opponents, and people who undefined. a last part seems at novels and miscellaneous diversifications starting from erotic fiction to a Donald Barthelme brief tale.

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Extra resources for Phantom Variations: The Adaptations of Gaston Leroux's Phantom of the Opera, 1925 to the Present

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When we view a film, then, we are, in fact, spending most of our time in the dark, not watching images at all. This paradox is reflected in Gaston Leroux’s own Phantom. That is, his novel and some of his other writings underscore the limits of spectacle, showing readers that the eye does not always see clearly, and the reality readers frequently experience through reportage, newspapers, and nonfiction can be just as easily manipulated and manufactured as fiction. It should also come as no surprise to learn that Leroux himself was interested in film, and in “1919 he formed a film company ...

She underscores her words by saying that she has given him her soul through song (50). Clearly, the two have an extraordinary relationship, one that transcends physical limitations and exists on some incredible spiritual level. Almost as if to confirm this interpretation, the Phantom says that when Christine sang “the angels wept” (50). The comment also highlights the differentiation of styles, between an artist and a technician. The narrator, for example, notes that Carlotta, the diva: had neither heart nor soul.

Forgotten was my bizarre adventure. Only the voice existed, and intoxicated, I followed its harmonious voyage; I was one with Orpheus’ flock [174]. Erik and Christine’s relationship transcends words, time, space; it is otherworldly, unfettered by the usual physical limitations. The reference to the Orpheus-Eurydice myth is also telling. In the myth, Orpheus, as a result of his musical prowess, is permitted the unthinkable, the opportunity to enter the underworld in order to retrieve his wife Eurydice.

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