When the movie opened, however, I was certain of meeting yet another hero who was a total douche. Raoul, Vicomte de Chagny is our hero this time around, and the film fumbles the ball almost immediately by asking us to accept that a forty-year-old actor is playing a twenty-year-old man. The Phantom of the Opera is a well known story, and fans of the musical will already know the plot, which is about a young singer named Christine. Things are looking dismal for his likeability when he returns later to restrain her in the park as she tells him she can no longer love him, as it is her duty to devote her life to art.
If large gesturing was a sport, and the prize was Christine, would Raoul or the Phantom win? After the Phantom threatens that some terrible disaster will happen if Christine does not take the lead in the next show, the worst comes to fruition. The Persian is named Ledoux in the silent film, and is an amalgam of the detective Ledoux from the book who comes to find where the kidnapped Christine has gone, and the Persian, who actually finds her. The Phantom is secretly listening to this conversation, and he is not about to let them escape tomorrow night! I would like to take a moment to pause and tell you that I grew up listening to this musical.
The two men encounter a floating head, which turns out to be a man with a lantern, and their reactions are priceless.
As Christine is given the choice of blowing up the opera house or marrying the Phantom, the two men stumble unwittingly into a trap! Now Christine is forced to watch her true love burn to death as well as decide the fate of everyone at the opera house and moderate the Phantom’s mood swings.
Suddenly, Ledoux and Raoul find a trapdoor in the floor, and they escape into it, only to realize they are now in a room filled with barrels of gunpowder. Both men are struggling in vain to save this poor woman, and are met at every turn by horrors. But the turn of the scorpion (just watch the film) causes the gunpowder room to flood, which starts to drown our heroes. Thus, Christine has used her wits to save her lover, while her lover was using everything in his power to save her!
Excitingly, the entire population of Paris has found all the bodies of the people the Phantom killed that night and is raiding the catacombs to capture the villain.
The Phantom tries to kidnap Christine and escapes to the streets, but she jumps out of a speeding carriage.
So, in conclusion, here we have a leading man who starts out a bit of dick, but after realizing his girlfriend has feelings, begins to respect her, and finally risks his life to save her with the help of his badass friend. Enter your email address to subscribe to this blog and receive notifications of new posts by email. A Steampunk Guide to Hunting MonstersTyson Vick combines Fashion, Literature and Photography to create the exciting new book A Steampunk Guide to Hunting Monsters.


The book will showcase over 100 different steampunk fashion spreads connected by the fictional diary of amateur monster hunter Philomena Dashwood, a woman who hilariously refuses to give up her finery and comforts as she travels the globe hunting dangerous monsters. This blog details their entire process, from building costumes, to photography, to writing. The Phantom of the Opera is wonderfully and moodily shot, which gives me ideas for the photographs in our book. Later, the tides turned, and what initially felt cloying became one of the best parts of the film, and may be entirely creditable to the talents of the actor playing the hero, Norman Kerry.
Christine is the object of The Opera Ghost’s affections, and this Phantom wants her to be in all the leading roles, so he threatens and blackmails the owners of the opera to put her in the lead.
She then proceeds to tell him an alarmingly creepy story about how spirits are visiting her and teaching her how to sing. He then proceeds to do so, proving to us once again that sometimes things that are sexist are also actually things that happen. Christine is not placed in the lead and the Phantom cuts the enormous chandelier from the ceiling in the middle of the opera, dropping it on the terrified theater goers. The mask the Phantom wears, while not the half-mask we have all come to know and love, is actually quite interesting. There, she and Raoul sneak onto the roof to plot escaping together to England the following night after the opera is over.
I know Andrew Lloyd Webber’s version very well, and having never encountered the book, I was surprised by everything that follows in the silent film. The two men combine their mighty acting and the movie reveals that not only does it have a star turn in actor Lon Chaney as the monster, but it also gains footing as a buddy-cop film. It is a room full of mirrors which is made of metal and is essentially a giant oven that the Phantom turns up the heat in, causing our heroes to strip down to their underpants. Christine decides, slowly, very slowly, not blow up the opera house (good choice, though it was pretty touch-and-go there for a moment) and to marry the Phantom, thus saving Raoul and everyone. The design is eerie, and the film encouraged me to read the book to get a feel for gothic literature. She is a completely competent singer, although a bit naive and waifish, and doesn’t realize the Opera Ghost is willing to kill people to make her a star.
Raoul then restrains Christine is his manly embrace, which is a recurring theme, and doesn’t really help build his appeal as a character. Instead of finding this suspicious like he does in the book, our film hero just laughs at her, telling her she’s a silly woman.
It is at this point that our feelings towards Raoul start to change, because it is here that Raoul meets Ledoux, the Persian! The mask is just a blank upper face with a veil of beads dangling all the way around under the cheeks. In this scene Raoul has changed, and instead of suppressing the poor girl, he treats her very cordially, and after their vows, he doesn’t even force a kiss, like most Hollywood guys of his generation, but instead hugs her gently.


The story essentially turns into an action movie, and to see if this was true, upon finishing the movie I went and read the book. Both Raoul and Ledoux make such awesome faces and gestures at one another that you can just sit back and enjoy the ride from here on out. His hero points are quickly decreasing at this point, and you might be giving up hope, as well, especially when you, like me, meet his older brother who also looks younger than him.
At first I was not impressed, but as the movie goes on and Lon Chaney acts from underneath the mask, its blank features and veil really start to become unsettling. As Raoul and the Persian use body language seldom seen occurring in nature, the heroes back into a different room, and thus, apparently, to safety! And, yes, the silent film is a pretty darn accurate translation of what happens there, and is sorely missed in the musical… though adding the Persian into the musical would throw the audience for a loop. Which, is not part of the book or musical, but may be the coolest most dramatic ending the movie could devise.
And not only does this work, thematically, it may also explain what the other two movies I reviewed, The Mummy and White Zombie, were trying so hard to do, but failing so miserably at, with their heroes.
It verges on the ridiculous, with their eyebrows and their over-acting, but awesomely also conveys all the emotions and plot that they intended to convey.
You begin to realize that he is hiding something very sinister, and just about the time she rips the thing off his face is the time you feel about ready to do it yourself. This is because the Phantom has installed snares and traps all over, and was, himself, at one point a professional assassin who murdered people by throwing a razor noose around their necks.
They were trying to introduce guys with rough edges who found themselves overwhelmed when trying to rescue their gals. I can highly recommend both this silent film and the musical film by Joel Schumacher for viewing. Can it be considered over-acting if the point comes across so believably and enjoyably?  So, now I want to know more about this mysterious man that Raoul happened to run into during the commotion of the fleeing opera goers! If your hand is in front of your face, you can pull the noose away and prevent strangulation. Strangely, this explanation is absent from both the silent film and the musical, even though the hand-at-the-level-of-your-eyes bit is present. I would like to note that in the musical, Raoul does not keep his hand at the level of his eye, and is therefore caught in the Phantom’s noose, and is the only iteration of the story where this happens to the poor fool.



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Comments to «Meditation horror stories»

  1. Victoriya writes:
    Works with alternating periods of guided vipassana meditation and.
  2. Bakino4ka writes:
    But may need background changed my life, from.