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gracie-p8-officialblog · 4 years

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Defending Christine Daae

I never thought I'd have to write a post with that title, let me tell you.

Because when I first heard of Phantom of the Opera, I was under the impression that everybody loved Christine just as much as I did. I mean, how could you help it? Well, I was wrong. It would seem that there are, in fact, people out there who don't share my exact opinion (shock of shocks) and who dislike Christine for various stupid reasons.

Now, I'm not here to point fingers at anyone or to belittle anyone's opinions in anyway, and blah-de-blah [fill in the rest of long boring disclaimer any way you wish]. But I AM here to defend one of my favourite female protagonists in a work of fiction! And defend her I WILL! IN THE NAME OF THE MOON!

Um, pardon me. Don't know how that last sentence got in there.

Now, on the internet, I've heard some flak about Christine, and though I'm not here to make anyone feel bad (see above) I do want to refute those points about her, point-by-point. (Hmm. Redundancy.) One of the biggest points against Christine is her choice to be with Raoul instead of the Phantom, who *ahem* TOTALLY needed her because he had a bad life and he taught her to sing! My opinion?

I don't think that means Christine owes him love. Appreciation and thanks, yes. But not love. The only thing he ever did that was worth any kind of love was letting Christine go. And she isn't some sort of consolation prize! It's NOT her job to fix the Phantom, only he could fix himself!

C'mon people! The two pretty much fit the qualities of an abusive relationship (emotional manipulation, throwing her around, restricting her from seeing other people etc.) And it’s kinda disturbing. “BUT!” You cry, “CHRISTINE REJECTED THE PHANTOM FOR A SHALLOW REASON! HE WAS UGLY!”

While I do understand what you’re coming from, I would like to inform you that it was actually his toxic behaviour towards her and murderous qualities that drove her away from him and made her choose Raoul. In “Final Lair”, she said one of the biggest burns in Gothic thriller history “It’s in your SOUL where the TRUE distortion lies...” The Phantom's problem isn't with his disfigurement. No, the problem is with what he's allowed his disfigurement to make him. He's become so obsessed with the idea that no one loves him and no one will ever really care for him that he believes anyone who stands remotely in his way is just out to get him. So what does he do? He murders people whom he gets annoyed with. First Buquet, then Piangi, and finally (almost) Raoul. And that is DEFINITELY not okay!

I think Christine saw him as more of a teacher, or a friend, or a... father figure, in a messed up way... which is more evident in the book on how she is both afraid and sympathetic for the Phantom.

While not condoning his actions, I do wish the Phantom could have found someone to love him. Good gracious, his final lines “IT’S OVER NOW THE MUSIC OF THE NIIIIIIIIIIGGGGGHHHHHHTTTTT!!!!!!!!!!!!!!!!” makes me tear up every time. Gah. I'm in danger of sobbing, too, but I really want to get this post done, so I will conquer myself and think of something Funny instead. *thinks* I know! Gerard Butler’s version of the “All I Ask Of You (Reprise)”. That’ll cheer me up and make me laugh XD!

In all seriousness, I know that Erik is unstable and violent. But I also know that he really IS a gentle, misunderstood soul. You can be both, you know. The unstable and violent side of him, unfortunately, triumphed- and his dreams, his desires for love, his castle on a cloud came tumbling down because of it.

And so... onto the next point, another common argument used to bash Christine is that she’s considered to be flat, boring and goes through ZERO development! But in actual fact, there’s so much going on in her head and goes through quite an emotional travesty that it’s almost impossible to call her bland!

She is deeply wounded by the loss of her father, and has this incredible musical talent which stayed in a state of diamond in the rough before being discovered by her “Angel of Music”. He trains her, not realizing that she is becoming the center of an unhealthy obsession, genuinely believing in her naivety that he is some benevolent spirit sent by her father, therefore bringing her a sense of comfort. She is a pious girl, after all, and being religious myself, well, such a reaction from someone who believes like her is believable though naive. Can we blame Christine for that? NO. How is she supposed to guess?

And now, let's talk about "Wishing You Were Somehow Here Again", aka. The Christine Empowerment™ song! I feel like the difference between a good portrayal of Christine and a great portrayal of Christine, is based on how good their rendition of this song is. It is a crucial part of the plot. One of the reason The Phantom and Raoul appeal to Christine is because of the connection they represent to her dead father. Of course, Raoul actually knew her father and the Phantom uses his memory to manipulate her. At this point in the show, Christine has become disillusioned with Raoul and is afraid of the Phantom. She realizes through the song that the only way she can’t move forward is through letting go of the past, and getting over the death of her father. This fuels her actions through the rest of the show as it makes her realize that if she wants her happy ending, she must take charge of her destiny and earn her own agency! And the Phantom, trying to use her in the moment where she was probably at her most vulnerable since she is questioning herself about her entire life, only catalyses her decision. She performs in Don Juan Triumphant, because she knows that everything is up to her, and that she cannot let the Phantom keep on destroying her life.

As for her unmasking the Phantom in "Point of No Return", Christine did this in a way to show him that she refused to be controlled by him any longer. It is certainly not the most intelligent thing to do, nor the nicest, but again, her behaviour is explainable. But as said above for Erik, it doesn’t excuse her. And it shows how she was beginning to be able to resist his pull/spell/enchantment/whatever you like to call it on her!

I adore and admire Christine Daae as a character so much, and it was her actions and story arc that really started my love for this story. Christine's ability to love unconditionally and selflessly is so profound. Even though the Phantom put her and everyone else through lots of horrors, she still doesn't hesitate to show kindness towards him but makes sure that her abuser NEVER hurts anyone EVER again. She loves Raoul so much that she's pretty much willing to sacrifice her freedom and happiness so Raoul could be free. No matter what circumstances she is given, she will still put the ones she loves before herself no matter what, even if it means giving up a chance to save herself. I know most of us won’t ever be put in such an extreme scenario but Christine is such an inspiration of how to love others and believe in them despite flaws and bad sides. She inspires me to see the good in people. It’s so easy to be cynical and hardened in this world, and I think that Phantom of the Opera reminds us to have kindness and light in our hearts, even in challenging circumstances.

I would also like to add another moment of character. Think what it must have taken to prepare for the female lead role in a 3-act opera. Christine wasn’t even an understudy. In a matter of minutes, she went from member of the ballet corps to the lead role, and she had to rehearse and remember new music, character, blocking, and vocals. Not only did she prepare in time, she performed so well that she became a hit. This reveals, not only the skill and beauty of her voice, but also her concentration, diligence, and acting capability. Everyone hails the Phantom as the ultimate musical genius—and he is—but they overlook the implied extent of Christine’s skill.

She went through the loss of both parents, manipulation, being stalked, and knowing that the person she loves most has his life on the line - because of her. And then she literally gets off of her knees and shows her abuser the first form of kindness he has ever known. Not even the Phantom was strong enough for that; he gave up on the world far too early. Christine is the embodiment of courage and kindness; she teaches us to love and forgive those who have been awful to us, and to protect those we love even if it means our own suffering. But she no longer succumbs to the Phantom and makes sure her abuser never hurts anyone EVER again. Seriously, this girl is AWESOME! And this was in the 18th century! It's really sad that such a great character is overlooked by many...

It seems that Leroux really understood women... That we can be emotional, we are vulnerable but not weak... And emotion really helps us when we keep them in control!

Christine, in a nutshell, is a kind, observant, compassionate, trusting young woman–a too trusting at first–but with a spine of steel and determination once she’s drawn the line. She loves people deeply, but she picks up quickly on the realities of the situation. She has the strongest character arc in the story and makes the choices to grow and to move on. Yet she remains gentle and compassionate, uses her love to bless and not manipulate. She’s a layered character who grows. And there’s so much more to her than meets the eye.

#christine daae #Christine daae defense league #phantom of the opera musical #phantom of the opera #the phantom of the opera #poto #character analysis #I'm in the mood to talk about her rn #She's seriously awesome #And it's sad not many people see her like that!

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angmarwitch · 5 years

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A/N: In honor of the opening of The Phantom of the Opera in the Philippines, I give you this fic. I hope you enjoy! (the title is taken from Masquerade from TPOTO)

Summary:

When his half-brother dragged him to attend a Halloween party, Orm thinks that he will have a terrible night. Well, that's until he found someone with a matching costume.

(Or Orm dresses as Raoul de Chagny from the Phantom of the Opera in Bruce Wayne's Halloween Party and he meets you, who is dressed as Christine)

Warnings: None so far, but maybe just a little fluff and some occasional angst from Orm. Also, a bit OOC(?)

Perhaps of all the things Orm Marius hated in the surface world, there is nothing that can compare to the sheer loathing he felt for parties. Even when he was still the former King of Atlantis, Orm never enjoyed parties and was only forced to partake in the feasts and banquets in order to fulfill his duties as a King and to appease his subjects and the Atlantean nobles. For him, such events were too loud and annoying and simply an inefficient way to interact with people so he avoided them as much as he can.

So when his obnoxious King of a brother asked, no, forced Orm to accompany him to a party, the younger royal refused, violently. He even went as far as threatening to kill Arthur, for real this time, if the half breed would continue pestering him with such a stupid notion.

Yet, all his efforts had gone to waste when Atlanna asked him to go, saying that it would be a good way for him to assimilate with humans and learn more about their culture. Not wanting to disappoint his beloved Mother, Orm relented and accepted another defeat.

It was the reason why he is here now, standing awkwardly in the corner of a stranger's house (apparently, the owner had been one of his brother's allies in their little group called Justice League, he recalls Arthur calling him Wayne or something like Batman) in an equally uncomfortable costume his brother got him. Inasmuch as he hated socializing with these low-life surface-dwellers (humans, Arthur would correct), he does want to admit that a few of them actually had good taste and upbringing. It's a shame that some actually befriended his beloved half-brother.

Shifting, he tried to fix his ill-fitting clothing, his costume. At first, he really didn't understand the prospect of wearing this ensemble but Arthur patiently explained that they were attending a Halloween party. It was a surface tradition to wear such attire to celebrate the event. If he were given the chance, he would have just worn his normal Atlantean regalia but his brother pointed out that it was a human event, thus Orm ought to wear human clothing.

The now King of Atlantis even offered to choose his clothing. Skeptical of his brother's ability and tastes though, Orm demanded he picks his own clothes. He was thankful that he did for Arthur had almost dressed him in a dragon costume so that he might match Mera and Arthur's "Game of Thrones" attires. The dragon was supposed to be Mera's pet or child. Orm refuses to degrade himself further like that. The Prince was a perfectionist and if he had to attend this Halloween party, his clothing would need to be as perfect and dignified as he is.

In his short stay in the surface, Orm had gone to enjoy some of the mediocrity the humans had invented and produced. One of the things he had come to love here was music. His home had never lacked gifted musicians and composers, however, it appears that the same can be said with the surface dwellers (he wasn't a keen fan of modern music though). A music lover, Orm absolutely became engrossed with the works of Chopin, Beethoven, Vivaldi, and Bach. He also admired the beauty of operas, musicals, and theatres, one from which he took the inspiration for his Halloween garments.

Scanning the crowd, he tried to look for his idiot half-brother to ask him how long he needed to stay here before he could return home. The incessant prattle of people was grating his nerves and he doesn't think he can stand another woman try to coax him into a conversation.

But instead of finding his brother, his eyes landed on a familiar figure, one that seemed to have been caught in the same predicament as he is.

You stood out amongst the sea of people that surrounded you. You wore nothing but a simple gown of white, a wedding gown, a design that he knows by heart. Your hair was styled with little waves, fanning around your heart-shaped face, and appeared to be bouncing each time you moved. Your face had been devoid of all the freakish colors, makeup as Arthur called it, other women had covered their faces.

Orm can sense your nervousness and unease from across the room. He wasn't an expert in reading surface-dwellers but he feels that like he, you were also dragged to attend this event without any say. This night was supposed to be for fun. An idea came into his mind, perhaps he could remedy that. The question is if you would humor him, given that the two of you matched outfits. It was truly coincidence but not an unwelcome one.

A shy smile graced your lips and a beautiful shade of pink dusted your cheeks as soon as you met his eyes. He waited for a hint of recognition in your features and when your eyes widened, he knew that you finally realized why he had taken a particular interest in you. Smirking, he walked slowly towards you, in a non-predatory way, afraid that you might leave. He always had that effect to other surface dwellers.

You didn't though.

"Hello, little lotte," he greeted, his eyes lighting with amusement, closing the distance between you. He bowed his head a little, copying the actions of gentlemen in those lousy romantic movies Arthur and his Mother had forced him to watch, and it was working.

"Monsieur," you replied, giggling softly as you dipped into a curtsy. Smoothing your skirts with one hand, you offered the other to him which he gladly accepted.

Orm, who had the mind to thank Arthur later (for the first time and hopefully also the last), bent to press a kiss on the back of your hand. He was immediately rewarded with a modest laugh from you and he thinks that he likes the sound of it.

"Waiting for your Phantom, I presume?" He asked, straightening himself, your hand still remaining in his. You smiled sheepishly, tucking a stray strand of hair behind your ear, the color of your cheeks deepening prettily. Now that he had a clear view of your appearance, he believes that you looked even more enchanting. How can a surface dweller have this much allure? He mused. Recalling the musical he had based his guise on, he now understands why Raoul and the Phantom had fallen for Christine.

"No, I don't think I need to anymore, Monsieur," you said, shaking your head, eyes transfixed on your connected hands. "My Vicomte has finally arrived."

Grinning as he offered you his arm, Orm concluded that surface parties and its dwellers may not be that bad at all.

And yes, he will definitely thank his idiot half-brother later.

More A/N: *I wanted to add a picset but unfortunately, my computer is malfunctioning.

*Little Lotte is the nickname Raoul had given Christine. It was from the story her Father used to tell them when they were younger.

*Vicomte is Raoul’s title it is the equivalent of Viscount I think.

*The Game of Thrones reference is a bit lousy/cheesy but I had to do it. lol

#orm marius #orm x reader #king orm x reader #orm marius x reader #orm imagines #dc universe #aquaman #aquaman imagine #king orm imagine #i do reader inserts because i'm really lazy to come up with oc names #my work #nic's occasional writing

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seosamhmooney · 7 years

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My Top 10 Favorite Musical Movies

I love top 10 lists for no legitimate reason, and I really don’t understand why they’re a thing other than the fact that they’re somewhat pleasing in some inexplicable way. So here’s one of my “Top 10s” lists. Enjoy

10. Into the Woods

Honestly, this one just makes this list because I enjoy shitting on it. Although it was decently cast, I’m still not sure what Johnny Depp was doing as the wolf (or even why the wolf was present? Does he actually serve a purpose to the ultimate story? Didn’t think so). Anna Kendrick is always charming, and frankly, her “On the Steps of the Palace” song was just fabulous. And sure, intertwining fairytales sounds like a cool or innovative idea, but seriously, it’s been done so many times (re: abc’s Once Upon a Time, Cornelia Funke’s Reckless books, etcetera)--and perhaps Sondheim did do it before it became a “thing”--but the movie comes across as tacky, boring, and generally pointless. Next.

9. Sweeney Todd: the Demon Barber of Fleet Street

Also known as, What Happens When Tim Burton Directs a Musical. It’s almost so gaudy it works, but not quite. Helena Bonham Carter does some good work in this one, but certainly not her best. It’s almost a shame to see someone who has done such beautiful movies as A Room with a View and The Wings of the Dove fall into this constant cycle of playing these borderline goofy characters (see Alice in Wonderland, Cinderella, Dark Shadows, etc.--none of which I did not enjoy, by the way; I absolutely loved all three of these mentioned films, but HBC plays such one-dimensional characters it’s f r u s t r a t i n g. Johnny Depp was actually nominated for a Golden Globe for this movie, which I don’t think was necessarily called for, but did he win? Nope. Wasn’t going to. When the kid and the mostly mute prison girl are the best parts of the cast, something isn’t working right. Plus, the movie was just so gray. I get it, London is no pretty city, but--oh, wait, yes it is. London’s beautiful, shut the fuck up.

8. La La Land

Oh, La La Land. So right, but so, so damn wrong! I adore this movie, although it took me three times to watch the full movie to get to this point of appreciation. When I first left the cinema, I was livid. I had gone with my aunt and uncle for my birthday, and we all left just frustrated. Damien Chazelle had given us such a visually stunning and cinematically innovative film, but he also gave us a shit excuse for a love story. Honestly, Mr. Chazelle, please don’t write another script. Leave that to actual writers. You stick with cinematic brilliance, hun. Thanks, x. Justin Horwitz, however, ABSOLUTELY KILLED IT. The music is astounding. Simply astounding. I had the privilege of seeing La La Land at the Hollywood Bowl with a live orchestra, and damn, it was good. It was so good. Ryan Gosling is nothing special (unfortunately!), and as much of a bitch as Emma Stone’s Mia is, she absolutely deserved that Oscar. Now about the singing: frankly, I didn’t mind it. I have friends who hated it (because they’re trained singers so they have a bit of a superiority complex about these kinds of things), but as someone who cannot particularly sing well myself, I enjoyed seeing two more realistic characters thrown into a musical world and pull it off more than adequately well.

7. The Phantom of the Opera

I want to rank this higher. I really, really, really do. But for obvious reason, I cannot. The singing is mediocre, and the acting is even worse. I don’t know who cast Gerard Butler, but yikes. A lot of the editing is rather shoddy, and as much as I do love Minnie Driver as Carlotta, they should have chosen an actual opera singer instead of choosing a decently known Hollywood name. Also, the deformity is literal horse shit. Just horse shit. But now the good things: 1. Patrick Wilson; yes! I absolutely love his Raoul. He’s tragic and a little girly and a bit of a pussy but so in love that he steps up when he needs to. And his voice is arguably the best in comparison with his coworkers’. 2. The cinematography and set design are stunning, absolutely stunning. I get the chills every time the chandelier is raised during the “Overture”, and although the Phantom’s lair isn’t exactly a house on a lake, I thought it was very reminiscent of the stage production, which I appreciated greatly. 3. The costumes! Jesus! Although Christine’s “Think of Me” dress does not go with the time period of the opera she’s supposed to be performing and the Phantom’s last few costumes are waaaaay too hot, I thought the costume department did a fabulous job creating dazzling costumes that just worked with the whole “pretty” feel of the film. 4. They nail the story. I remember watching Phantom as a child and sobbing every time I finished it. The Phantom doesn’t deserve Christine, but he deserves to know what love is just like any other man, and in telling this, the story succeeds.

6. Grease

I’m not one for teen movies, I’m just not. Clueless is nice, and Heathers has a special place in my heart, but I’ve never been into the whole high school drama film thing. Still, I must admit that I loved Grease. I refused to watch it for the longest time because I had a friend who literally based his entire look on Danny Zuko, and it was so obnoxious I refused to watch the film. Plus John Travolta has always sort of creeped me out. But I gave in, and I was so surprised. Olivia Newton-John is just darling as Sandra Dee, John Travolta isn’t unbearable as Danny Zuko, and Frenchy is such a charming character, but the one person I think gets so overlooked but could be such a show-stealer is Rizzo. Stockard Channing set the bar high for this character, as she does a fantastic job conveying the too-cool-for-school but has-a-heart-of-gold-kinda Rizzo. My favorite player on the Chicago Cubs is Anthony Rizzo because of this movie (Can you tell I’m not a huge sports fan?).

5. Chicago

Many people call this the best musical movie ever made, and really, it’s very, very well done. I mean, it is. A movie doesn’t get six Academy Awards just because. The dancing is actual fire, Richard Gere is one dazzling bastard, and Catherine Zeta-Jones absolutely steals the show as Velma Kelly. Sorry, Renée Zellweger. Zellweger's Roxie is charming, sure, but she comes off as so weak a character and a person that it’s difficult to even enjoy most of her scenes. The set designs are nothing spectacular, but what makes everything come together is the musical numbers (somewhat ironic, because almost every musical number physically departs from the story’s setting). “All That Jazz” is a killer opening, Queen Latifah’s “When You’re Good to Mama” is too much fun, “Cell Block Tango” practically changed the game for musical movie choreography, and where do I even begin with “Roxie”? Spoiler: it was Zellweger’s most convincing scene, but that’s almost completely due to the choreography and set design. Chicago will certainly be studied in film schools in years to come. As much as there is on the surface of the film, there is so much more than meets the eye, and for all these reasons, Chicago is a fabulous, fabulous film.

4. Les Misérables

I actually considered ranking this between Phantom and Chicago but ultimately decided to move it up. Victor Hugo’s novel is a challenge for a number of reasons, but chief among them being the massive span of time his novel covers. So a musical version obviously has to fit this all within three hours, and say what you will, I do believe Les Mis does a good job. The story is obviously cut down tremendously, but it really does not lose much (if any) of the message it has to offer. Now, the film is not perfect. For instance, I absolutely hated Hugh Jackman and Russell Crowe. I really did. A lot of people hated Amanda Seyfried, but I really loved her portrayal of Cosette (but maybe just the acting part, her singing is a bit shaky). Samantha Barks and Eddie Redmayne are class-acts, and HBC does a fine job as Mme. Thenardier. I almost have nothing to say about Anne Hathaway. Her performance speaks for itself. I sob every time Fantine dies. She is so, so, so, so good. And three cheers for Colm Wilkinson. He’s just a great guy and a great performer. The film’s direction is often debated, whether it is good or bad, but I really thought it was quite good and quite different from what others might have done. Tom Hooper took advantage of the screen in ways the stage cannot be taken advantage of, offering the audience a chance to look closely at the faces of the actors, to really appreciate the emotional tolls the characters endure.

3. Cabaret

Liza Minelli embodies Sally Bowles. I mean, never have I ever believed so strongly that an actor was born for a role, but Minelli was born for Sally, and as the soul of the show, she breathes life into the film and somehow manages to carry the story on her shoulders. Joel Grey is a fantastic Emcee, and the supporting characters are great as well. Although I don’t care for several of the subplots, I thought the primary storytelling was borderline flawless (except for the ghastly ending; Lord help me, I have so many qualms with the ending; the level of vague is off the charts and unnecessarily so). But the singing is splendid and the dancing is spectacular. The way the Kit Kat Club fits into the story almost as a character itself is subtle and brilliant, and just about every single set is exactly how I imagine it should be. Again, Liza Minelli was born for this, and she rightly won the Oscar for Best Actress. Go you, Liza. Lots of love, x.

2. Moulin Rouge!

Usually, I would consider Moulin Rouge! my favorite movie of all time, but I’ll explain in the next entry why this is not the case for this list. Like I said, this is my favorite film of all time, and for a plethora of reasons. 1. It is unique and innovative; Moulin Rouge! made the 21st-century musical possible, and everything from Chicago to La La Land owes much to Baz Luhrmann. 2. Ewan McGregor and Nicole Kidman’s chemistry is everything. They work well together, they sound good together, and they carry Luhrmann’s admittingly wild storytelling techniques with grace and fun. 3. The sets and general production design. This entire movie was filmed in a single room (granted, a very, very large room), but Luhrmann creates a world so vivid and so alive that it hardly feels claustrophobic. 4. The music is different but familiar and well-orchestrated. Luhrmann did something most people wouldn’t even think twice about doing because it’s “tacky” or “unoriginal”, but he instead takes familiar and beloved songs, sets them all to a beautiful story about love and loss, and creates a new musical so vibrant, it changed the face of the musical genre.

1. The Sound of Music

The Sound of Music. Arguably the greatest musical of all time, The Sound of Music is a timeless story of faith, love, war, family, and hope. The only musical on this list based on the actual events of Maria Kutschera and her life as the governess and step-mother of the von Trapp children, The Sound of Music embodies everything a musical (and a good story!) should be. Life is no fairytale--it is full of hard times and beautiful times and times when it seems the whole world will collapse upon itself. Life is no fairytale, and as beautiful as this film is, it relates to its audience real life morals and real life messages that should be taken to heart by anyone in search of a happy life. Julie Andrews is the only person to embody a character more than Liza Minelli embodies Sally Bowles, and her Maria is a sweet, powerful, kind woman, who, though unsure of the direction her life will go, stands for what she believes in and positively changes the lives of so many along the way. Christopher Plummer is the perfect Captain von Trapp, and the children are perfectly cast as well. Actually, fuck it, the whole cast is perfect. Governess Elsa Schräder, Max Detweiler, and the Mother Abbess are flawless secondary characters, who come and go throughout the film flawlessly. I would also like to note how it stayed in cinemas for FOUR YEARS after its release. Now that’s a bloody good film. The sets and cinematography are fabulous, the script is so well done it’s unreal, and the songs--the songs!!!--are as good as they are iconic (and damn, are they iconic).

So here is my first (second, actually) post on Tumblr. Cheers. x

#musicals #film #musical movie #top ten list #the sound of music #moulin rouge #cabaret #les miserables #chicago #grease #the phantom of the opera #la la land #sweeney todd #into the woods

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