Christine becomes less innocent girl and more slutty vixen during this and a few other moments: you see it in her performance, and her eye make-up (I swear). In “Music of the Night,” the Phantom presents his case for living in the shadows, and how she’ll be living there with him. Half-Developed Idea #2 is the darkness in Christine’s soul. But by letting it dangle there, you leave the audience frustrated that no one on-screen is acknowledging just how creepy it is that the Phantom wants to bone his pupil. I can understand the urge to downplay the Lustful Father angle - it makes the Phantom less sympathetic. No one calls him on it, or points out that Madame Giry has essentially been pimping out Christine to an evil lech who lives in the sewers.
#The phantom of the opera christine movie
But the movie never really does anything with this idea. Don’t get me wrong: I love that it’s kind of sick and twisted. The Phantom has been essentially a surrogate father to this girl, and in fact pretends to be the spirit of her father at times - and yet he wants to marry her and, well, ravage her. Here’s where the movie gets into some very un-Disney territory. So far, it feels like Beauty and the Beast. He’s the voice in the darkness who’s been giving her singing lessons. And in fact, that’s what the Phantom has been doing. Before he died, Christine’s father promised an Angel of Music would watch over her. And The Phantom, a deformed genius who lurks around the Paris opera house where the story is set.Ĭhristine is an orphan, natch, who was raised by Madame Giry in the opera dormitory. You have Christine, the gifted chorus girl.
#The phantom of the opera christine full
What was interesting, and frustrating, is that a lot of the film’s biggest issues were on the page.īe advised that everything from this point forward is full of spoilers. There were things that really worked, and things that didn’t. This was my first exposure to it - I never saw the stage musical, nor read the book. Rather, I just want to point out some story issues that stuck out to me - things I’d want to tackle if I’d gotten the script before it went into production.
So I don’t want it to be weird next time I say hello to him at some event. Also, I’ve met the director and co-screenwriter, Joel Schumacher, who is every bit as nice as his reputation. If it were, I’d write about the performances, production design, music and all all the other factors that make or break a movie.
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