Phantoms

I just saw the most recent film version of The Phantom of the Opera, and I know I'm going to be singing various parts of it for days. I had put off watching it for awhile even though I've had the disc for some time now. I was afraid it wouldn't be as good as I had hoped it would be, but it was even better, I think.

I love this story. I first read Phantom in junior high school, and it became one of those stories I revisit every year or so. Sometime in high school, I read Susan Kay's novel Phantom, which added a tremendous back story about why the Phantom was the way he was. I have almost worn that copy out with rereads. I don't know if it's even still in print, but if you enjoy this story and haven't read it, you might check Amazon for it. It's universally wonderful.

The next stage of my great love for this story came when I saw the 1929 silent version presented in a local historic movie palace. Even though the building had long since become a performing arts center, they lowered the original "silver screen", dusted off the projector, and showed Lon Chaney version for Halloween one year. They had also just finished the restoration of the world-class theater organ this theater is fortunate enough to house, and a master organist was invited in to show off that powerful instrument's range. Even though the seats in this wonderful old building are tiny, having been sized for bodies in the 1920s, I was absolutely spellbound by the thundering organ and the pathos of the creature suffering and striking out in pain. That film version is one of my all-time favorite versions of the story, and I added it to my personal collection earlier this year.

This newest version satisfied a long-standing desire to see the Andrew Lloyd Weber version. I know the film and the stage production are going to vary, but I have had the original cast soundtrack since college and have spent many a long road trip and flight wondering what images went with the music. Now, at least, I have some idea of how things go together. A lot of it is as I imagined it, but the costuming and the performances were so gloriously ornate. It was perfect.

The story of the Phantom is just another example of how I always empathize with the "monster". There is not one solitary doubt in my mind that had I found myself in Christine Daae's position, I would have dumped the milquetoast Vicount de Chagny and stayed with the Dark Angel of Music. Of course, this is probably indicative of all sorts of reasons why I always fall for guys who are inappropriate or imaginary.

Regardless, there is such power in this story. What would Erik have been able to accomplish without the prejudice against his appearance? Would he have become a killer without the cruelty of others? Can anyone, when told he or she is monstrous from infancy by even one's family, find a way not to become a monster?

In many of the stories, the Phantom is given some reprieve at the end. The version I saw tonight made it clear he lived on. Susan Kay's version gives a gentle and beautiful finality to it. I think that's what we are all rooting for in the end, the idea that the Angel of Music can find a way to mend his broken wings and soar out of the endless night in which he has both been confined and confined himself.