Don Juan Triumphant — An analysis of Erik's masterpiece
Warning: i don't speak French and i don't have english editions of PotO, only Portuguese, so i will translate it directly from my text
Gaston Leroux's novel narrates the fact that Erik was producing an Opera of his own with the theme "Don Juan Triumphant". Unfortunately, we never hear it because it's a book, but a few adaptations brought his work to live with different interpretations.
Let's analyze what Leroux intented to write with Erik's character.
Don Juan is a Spanish archetype of a lascivious and libertine man, created by Tirso de Molina, a poet and religious playwright of the Middle Ages. His character was supposed to be an antagonist of what society considered to be moral and pure at that time. And as any other story, it has its adaptations.
Don Giovanni (the same as Don Juan) is the work of Mozart (composer) and Lorenzo Da Ponte (writer), where Don Giovanni is a scoundrel who seduces and abandons women; one of his victims has his father murdered by Don Giovanni after he tried to prevent the seduction. The spirit of the Commander (Donna Anna's father murdered by D. Giovanni) returns in the form of a statue and drags the protagonist to hell with the help of demons.
Erik, after Christine asks him to play Don Juan Triumphant, says: "Never ask me that. This Don Juan was not composed for the libretto of a Lorenzo Da Ponte, inspired by wine, by furtive loves and by vices finally punished by God. I can play Mozart if I so wish, which will bring beautiful tears to your eyes and inspire you with frank reflections. But my Don Juan burns, Christine, and not because he has been hit by heavenly fire!" (...) "You see, Christine, there is a song so terrible that it consumes all who approach it. You haven't reached it yet, and that's good, because you would lose your soft colors and they wouldn't recognize you anymore on your return to Paris" (...)
Erik says that his Don Juan "burns" and that Christine was in no condition to understand the somber depths of his masterpiece. He refuses to play Don Juan at first (although he is willing to play other Mozart pieces), but after being unmasked, he plays in a form of escapism. Christine is enthralled by the terrible, somber performance. Erik's Don Juan is a reflection of the pain he feels.
He apparently has no interest in writing a story like Don Giovanni, possibly an inspiration for him is Lord Byron's version, where Don Juan is neither a seducer nor a villain: but a victim of a cruel and false love of a woman. Erik says that it took him years to finish his work, as if each event in his life influenced the work more. He also says that, when finishing Don Juan Triumphant, he would die and be buried along with the scores: he changes his mind when he falls in love with Christine.
Don Juan is an archetype that contradicts everything Erik is and believes. Erik scares women by his ugliness / Don Juan seduces and conquers them all. Erik wants true love / Don Juan wants to deceive women in exchange for sex. Don Juan is a handsome, seductive man who is admired by people / Erik was born deformed and was abused, humiliated and rejected by (almost) everyone he met. Erik would probably change the character of Don Juan just as Lord Byron changed it according to his own life experience. That's why he is "Don Juan Triumphant", rather than the protagonist's defeat.
Christine's words after hearing Don Juan Triumphant: "His Don Juan Triumphant (for there was no longer any doubt that he had rushed his masterpiece to forget the horror of the present minute) appeared to me only one long, frightening, magnificent sob, where poor Erik had deposited all his misery." (...) "I remembered the notebook with red notes and easily imagined that that song had been written in blood. It guided me through all the details of martyrdom; it made me enter all the corners of the abyss, the inhabited abyss by the ugly man; it showed me Erik atrociously banging his poor, ugly head against the funereal walls of hell, where he had taken refuge so as not to frighten human eyes any longer, where Pain was deified, and then, the sounds that saw from the abyss and suddenly grouped together in a prodigious and threatening flight. the world. I understood that the work was finally done and that Ugliness, borne on the Wings of Love, had dared to look Beauty in the face!" (...)
For me, Erik's Don Juan is an expression of his life and inner demons. The rejection, the suffering, the pain, the hate, the jealousy, and at the same time, the love, the desire and the will to be loved like any other human being. Erik is as much compared with Death as with Sexuality. This duality would be expressed in his work. And since the work is Triumphant, in the end he would find the love and happiness he longed for.
Adaptations
In my opinion, Andrew Loyd Webber's "Don Juan Triumphant" doesn't make much sense because it only explores a carnal scandal between Don Juan and Aminta. It looks like the same character as Tirso de Molina and Lorenzo Da Ponte, not the alternative — painful and suffering — version of Erik. There is no tragedy, no hellfire and no suffering. It just seems like an empty work made to shock the society of the 19th century. "Oh but it's Erik's self insert", the original work was clearly an escapism, a reflection of his life, a form of expression of the pain he felt. It's not that Erik's work in the book doesn't explore the theme of sexuality, but that's not all. It's not just a horny show between Erik and Christine. Especially because it gives off a weird vibe that Erik just wanted sex with her, and that's a lie. I do love The Point of No Return by its beautiful melody and my E/C bullshit that likes some horny fanfiction.
I adore, however, the 1925s (or 1929s rebuilt) "Don Juan". Not only because it's the main theme scored by Gabriel Thibaudeau, but also because this specifically is the unmasking scene and it captures everything that I imagined as Leroux's description. The pain, the passion, the tragedy, is all there. Lon Chaney's Erik says to Christine that since the first time he saw her, he was inspired to write such a magnificent piece of music. Not 20 years writing it as originally, but more a romantic inspiration coming from his heart. This adaptation, to be fair, is my favorite.
And another version which I apreciate a lot is the 1989 slasher movie with Robert Englund. It's such a sublime song that remarks the exact 'Dark Romance' vibes of E/C relantionship. Obviously is not the best adaptation, actually it has little to do with the original work as Christine is a time traveler, Erik is a murderous psychopath villain and the story goes totally into a supernatural horror. But if you put in your mind that PotO and A Nightmare On Elm Street were merely an inspiration to a slasher/supernatural movie, it's actually an interesting experience.
So in conclusion, this was my analysis of the mysterious Don Juan Triumphant. Feel free to disagree or point out new things in the comments 🙏🏽❤️
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Phantom Krueger
It is finally done! Phantom Kruger is done! Without the lighting and shadows, I swear that the sketches gave me so much Phillip/Belos vibes XD
Trigger warning for blood and burns!!
Now, everyone will go "Phantom, if Freddy is the Phantom of the Opera, where is his mask?"
And my response is that you, lovely jellybeans, are seeing it. I am not sure if the sketch allows seeing it, but there are some stitches to his face. So, yes, the Phantom's mask is his face...or well...made out of flesh.
This is actually what I mentioned in the Christine! Nancy post about the sketches and how I got the idea:
So, yeah that is actually something that POTO 1989 does with their Erik. I thought it was gory and well fitting to this crossover so I kept it. My major difference is that Phantom Krueger uses it to hide his burns, but just as the Original version he is bald too, so the hair you see in the sketches is just a pretty tight (maybe glued) wig on his head.
I decided to add the stitches to convey he well...stitched them to his face as it is really hard to draw the amazing makeup effect the OG POTO 1989 has
There is some sense of discomfort, or that something is of when you see Erik's face, which adds to the later scene (which is on YouTube) where well he removes his mask as the backstory of his character play.
The hair color was not chosen by me, it is actually from the 1989 Erik as well as an inspired costume he has, which is basically the Red Death costume from the POTO, which was referenced in the mask Freddy's holding as a cute easter egg.
If you guys are wondering what POTO characters do Glenn, Tina, and Rod would be dressed as ?Here they are
Glenn, of course, would be the "Raoul" (or Richard which the POTO decided to name Raoul like) as he is cannonically Nancy's boyfriend in the first film, so I thought it would be fitting.
Tina would certainly be heavily inspired by Meg from both 1989 ver and some small inspo from the musical (just slightly.) as POTO 1989 Meg is still Christine's best friend, so I would be drawing a lot of inspo from there
Rod is a bit hard due to not much of a male character outside Raoul (or Richard...) in the POTO 1989 so far has been, but I'll probably based him around Piangi as he was an actor in the POTO which also ironically died a similar way to Rod-
I'll probably get Glen and the others costumes designs and maybe in a later post explain Nancy's dress.
And just for another reminder. This crossover will not have the Phantom be in love or attracted to Christine because his motivations are based around Freddy Krueger's + its a big no for me
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