Michael Albert

Answer: Christine was extremely close to her father, who spoke to her of an "Angel of Music" whom he would send from heaven after his death. Christine entered the Paris Conservatoire and trained for four years to become an opera singer to please her father. However, by the end of the four years, she had lost her passion for singing and the music. When Christine arrives at the Opéra Garnier, she was described as "sounding like a rusty hinge." That is when Erik, the Phantom of the Opera, began to speak to Christine during times that she went, alone, to the chapel in the Opera House. Erik began to tutor her, telling her that he is the "Angel of Music" of whom her father had spoken.

Michael Albert

Answer: Almost assuredly real. The candelabras were in the Phantom's control to make appear or disappear. He brought them forward to light their entrance into the lair. However, it was generally in his best interests to keep the passageway dark and shadowy. The rats were always there, regardless. But, as rats are won't to do, scurried away from light and human movement.

Michael Albert

Answer: After Christine's starring debut at the opera house, the Phantom reveals himself to her just after she sings the reprise of "Angel of Music." He then brings Christine down to his lair during the song, "Phantom of the Opera." This is, in all likelihood, the point at which she puts two and two together.

Michael Albert

Answer: It is conceivable, I suppose, but extremely unlikely. The role of Madame Giry (the correct spelling) in the opera house, and her relationship to Erik (the Phantom) and Christine Daae differ somewhat between the book, the stage musical, and the 2004 film. But never is a romantic connection between Madame Giry and Erik, past or present, even implied. She functions more as a knowledgeable intermediary and is more or less employed by the Phantom to represent his interests to the Opera House administration, even though she had never seen him, but had only heard his voice. Also, if Meg were his daughter, it wouldn't make sense, given his personality, that Erik would have absolutely no apparent relationship with her. Further, given the dramatic payoff that could be added to the story by revealing that Meg is the Phantom's love child, it is all but inconceivable that such a relationship would be salient in the mind of author Gaston Leroux, but that he would never make it explicit. Ultimately, anything is possible. But in the absence of any evidence to support the theory, I would say it's a pretty clear bet that Meg Giry has no blood relationship to the Phantom.

Michael Albert

Answer: Consider that the event is a masquerade ball, where everyone's attire is meant to be intricate to the point of being "overdesigned." Look carefully. In Raoul's case, he is wearing a dark navy blue, uniform style form-fitting jacket with horizontal gold braiding flanked by gold buttons, shoulder epaulets and a standing collar. What you see draping his left side is a matching short jacket over the shoulder, which is emblematic of a classic hero in art and literature. The short jacket is sewn on as a design element, of course - not just draped there, as it would fall. So one arm isn't exactly "out." You see the sleeve and the braiding of the short draped jacket dangling behind him when he and Christine are dancing. There is also a shirt underneath it all with more of the same gold braiding design.

Michael Albert

Chosen answer: The Phantom's frequent request for a footstool in box 5, which he demanded be left empty - not sold to patrons, does come from the book (chapter 4, pages 11-14), and is not mentioned in the movie. It's never made quite clear precisely the purpose of the footstool. According to Mme. Giry, "I brought the footstool. Of course, it wasn't for himself he wanted it, but for his lady! But I never heard her nor saw her." She did find evidence of her, however. One night, a lady's fan was left behind. She also mentioned that the Phantom would leave a gratuity for her services. There is never a clear identity given of "his lady." I presume it may have been used for a young Christine Daae to stand on, so she could better see over the rail of the box to the Opera on stage below when Erik brought her. But if that's true, it is still unclear why nobody ever saw her, and why she had never seen the Phantom.

Michael Albert

Answer: The "Opera Ghost" had actually been causing various acts of mischief and mayhem long before the events of the movie begin with the new owners purchasing the opera. The previous owners were being extorted for money. Fears and rumors about the Phantom were rampant. Early in the film, he causes a backdrop to fall near Carlotta, for whom he has had a lasting disdain. Christine probably should have made the connection between the Phantom and her "angel of music." But the "angel" had actually been introduced to her as a tutor and mentor by her father, whom she loved and trusted, so she had no reason to view him suspiciously. Christine was also very sheltered, incredibly naive, and captivated by her teacher and suitor. Their bond was so strong, and her dependence so great, she was blinded to what seems to us an obvious connection.

Michael Albert

Answer: It seems you likely answered your own question. Christine was her friend. The adrenaline borne of her concern for Christine likely overwhelmed any feelings of resentment or jealousy she might have felt, so that probably wasn't a factor. Maybe the better question would be why NOT Meg to lead the mob? She and Christine both grew up in the Opera House, and she was particularly familiar with the hallways and catacombs of the building. Being a woman at that time period works against the notion that she would lead a mob. But in this circumstance, she is just as logical a leader as anyone.

Michael Albert

Answer: During "Point of No Return, " the Phantom shares a stage with the very vulnerable Christine. He is still masked, though it is a mask other than his trademark white face covering. The Phantom is well known as a murderer and an escape artist. This is the the equivalent of a hostage situation. To rush the stage might risk lives, and everyone in the know is proceeding with caution. During the song, we do get glimpses of police moving about, and Raoul and others looking concerned, subtly signaling one another and considering their next move. The stage crew seems confused. The dancers go on with the show. And law enforcement officers await the right moment to advance. It also gives us the opportunity to enjoy a dramatic musical number that rushing the stage would interrupt.

Michael Albert

Answer: The abandoned mask is a symbol of the Phantom's continuing presence, despite his apparent physical absence. He has already been publicly unmasked, both physically and, to an extent, psychologically. He has conceded that he has lost Christine to Raoul whom he has freed. He has abandoned his lair. All that was his facade, he has either given up or has been taken from him. The mask is the final symbolic gesture of that facade being relinquished, leaving behind further mystery regarding his whereabouts. Does he now live without it? I guess that's left unclear. However, I don't think it's beyond reason to assume he has, or has created more than one copy of the mask - if for no other reason than anything in pure white must be difficult to keep clean, what with the dust all over the opera house, the dirt of the streets, the humidity of his cavern, and the occasional splatter of blood to contend with.

Michael Albert

Chosen answer: The honorific "Mademoiselle" is not an indication only of marital status, but it has a connotation of youth (and, ostensibly, virginity). Beyond a certain age, it would be considered inappropriate and possibly insulting or mocking to continue to use the term "Mademoiselle." "Madame" is generally adopted by women of a certain age, regardless of their marital status. It is not unlike "Señora" and "señorita" in Spanish. An interesting note - there is a currently a movement in France to remove "Mademoiselle" from French common usage, as it is considered by some sexist to classify women by age and/or marital status, when men in France are uniformly referred to only as "Monsieur."

Michael Albert

Answer: According to the original show, the Madame Giry at the beginning is the same Madame Giry who is Meg's mother. It is explained that her years as a dancer kept her in good health, so she aged better than Raoul did, who was in extremely poor health since Christine's death.

Chosen answer: This is a very short, but very complex question about which dissertations are written. Here is my best attempt at a brief summary. Christine lives as a sheltered child-like woman in a highly patriarchal Victorian society. She is torn between two loves. There is Raoul, who represents safety, light, and a sort of romantic, adolescent view of what true love should mean. Then there is Erik, the Phantom, with whom Christine has had a long time bond. He has been to her like a guardian angel. He gave her music. He comforted her when her father died. And yet, as his role turns from that of protector and teacher to one of lustful suitor, he comes to represent darkness, passion, lust, obsession, and danger. He is unstable, driven to madness by a world of light he can never know. He is also, let's not forget, homicidal. Christine ultimately makes the only choice society makes available to her - the safe and sane choice. From the ending of the film, we learn that Christine remained wife to Raoul, but it is unclear how happily her life turned out. She probably always shared a connection to Erik, who possessed for her a depth of love she could never know from any other man. Andrew Lloyd Weber wrote a sequel to "The Phantom of the Opera" called "Love Never Dies." In it, we learn that the Phantom did, indeed, remain in Christine's life. I won't provide spoilers here, but more information about "Love Never Dies" can be found at: http://en.wikipedia.org/wiki/Love_Never_Dies_ (musical).

Michael Albert

Answer: I believe some things stated are true, like Raou being thesafe choice the Phantom being the dark forbidden suitor. While the things I don't agree are the statements of the Phantom grooming her and kidnapping her. She always was willing to go. While yes he decieved her by saying he was her angel of music, he partly was. He gave her the chance to sing by coaching her. Did he do it from day one because he wanted to marry her? Who knows. I think she truly loved the Phantom but chosen Raoul out of safety. She would have had to live life on the run with the Phantom. The Phantom also told her to go.

Answer: First of all, Eric pretended to be a guardian angel sent from her dead father to teach her to sing. He continued this gaslighting throughout the movie / play, outright stating several times that he was her Angel of Music. Raul on the other hand, was her dear childhood friend, who represented memories with her father. Eric brought her down into his home under the pretense of having her sing for his music, then suddenly turned his tone into a romantic one and showed her and lifelike mannequin he made of her - that's incredibly creepy. At every point where things don't go his way, Eric throws a tantrum and ruins things for everyone in the Opera House. By the end of the show, Christine is terrified of him and is begging Raul to protect and hide her from Eric. We are led to believe that this is a love triangle, but this is an incel man forcing love on to an unsuspecting woman, and when she chooses another man he acts out in his typical fashion, putting them both in danger. It would be hard to love someone like that for anyone.

Answer: The Phantom followed Christine almost constantly, always staying hidden in the shadows, nooks and crannies so as to not be detected. She was his obsession. Stealth was his expertise.

Michael Albert

Chosen answer: I believe it was the shock of seeing her exact likeness in a wedding dress, and the first overwhelming realization of the Phantom's obsession with her. That, in combination with the dank, dark and humid environment, a lifetime of heavily corseted dresses, and a wan and frail constitution, all conspired to Christine's loss of consciousness.

Michael Albert