Simply wonderful! That whole film was a great rendition of this story - ok, a touch Hollywood-y - but genuine, and well done. Anyway, it is't the story of the Faust opera as such, it was a melodramatic, late 19th century romantic pot boiler. I loved it. I have the DVD and still watch it regularly.
this scene has so much emotions spilling out of it, I usually can't contain it. And I love how the lyrics are "yes it's you, I love you/Yes it's me, I love you" "forgive me/come to me" etc. Makes it all the more tragic though. ;.;
Definitely THE BEST! The most beautiful, best acting and music,,,, Real, not „too sweet”. Sugary verions from more recent years (2004, was annoying) That scene here ……is just …breathtaking, heavenly & so powerful. Gives me goosebumps and almost orgasmic vibes everytime..
This is absolutely the most wholesome iteration of the story, I don't care if it's romanticizing it either. It romanticized it better than ALW's musical to be honest, I say this as a fan of the musical with my entire heart. Wholesome Eric that just wants to chill in his lair with his fancy fake woods and make music, yes yes please.
I am completely destroyed by this scene and yet created too. For me it is the greatest moment in all opera. For me wagner is the master of masters unequalled by any other composer and yet this French man gounod surpasses him in the space of a mere 2 minutes.
This scene sealed my love for the actor who played the devil. He wanted them to sing more so he came in and sang his lines. It all could have ended there but he had the musicians continue when it seemed like they were gonna stop.
@Lunatic1603 I love this version. I'm a big canon lover, but this version was just.. wonderful, and this scene is the main reason why. I agree, he's so beautifully expressive with his eyes and mouth.
Ah! C'est la voix du bien-aimé! A son appel mon coeur s'est ranimeé! Au milieu de vos éclats de rire, démons qui m'entourez j'ai reconnu sa voix! Sa man, sa douce main m'attiré! Je suis libre! Il est là! Je l'entends! je le vois! Oui, c'est toi! je t'aime! Les fers, la mort même ne me font plus peut. Tu m'as retrouvée! Me voilà sauvée! C'est toi! Je suis sur ton coeur! Faust: Oui, c'est moi! je t'aime! Malgré l'effort même du démon moqueur, je t'ai retrouvée, te voilà sauvée, C'est moi, viens, viens sur mon coeur! Marguerite: C'est toi! Me voilà sauvée! tu m'as retrouvée! Je suis sur ton coeur! Où sont les tortures les pleurs, les injures, la honte, l'effroi? Tout a disparu. Te voilà - c'est toi! Faust: Viens, viens sur mon coeur! (Faust attempts to induce Marguerite to leave with him.) Mephistopheles: Alerte! alerte! ou vous êtes perdus! Si vous tardez encor, je ne m'en mêle plus! Marguerite: Mon Dieu, protegez-moi! Faust: Viens! Marguerite: Mon Dieu, je vous implore! Faust: Fuyons! peutêtre il en est temps encore! Marguerite: Anges! Anges radieux! portez mon âme au sein des cieux! Dieu juste, à toi je m'abandonne! Dieu bon, je suis à toi! Pardonne! Anges purs, anges radieux! Faust: Viens! suis-moi! suis-moi, viens, je le veux! Viens! viens! quittons ces lieux, déjà le jour envahit les cieux! Viens! viens! c'est moi qui te l'ordonne! Viens! viens! quittons ces lieux! for myself delete later
"Erik! Please! If you love me, please." Christine's enticing voice pleaded, loud to his ears. Then the phantom raised the boy up, knowing in that moment, despite wanting to kill him, Christine's happiness mattered more to him than his own. For he was hers. She sang for him tonight. She should have been hers. The boy breathed heavily in relief, thanking the man who spared his life and ran away just as the police had reached him and pointed their weapons at them. He looked at his father, the only person who took care of him after all the years he spent underground in his gloomy lair. Carriere took his own pistol from his breast pocket, anxiously pointed it up at the masked phantom. He would rather choose death by the bullet than to die by humiliation of people seeing his accursed ugliness. Erik nodded, urging him to end it once and for all with only Christine being the last thing in his mind. The bullet hit his chest, knocking the air out of him. He fell forward and landed on the opera roof, nearly breaking his bones. His old father carried him in his arms, stopping the policemen from approachig nearer. "Get back!" The hurried cries of an angel alerted him. Christine ran to his fragile body, wearing the Marguerite white costume that made her look even more ethereal. Tears staining her heavenly face. He whimpered as she took off his porcelain mask, showing his monstrous face. He stared deep into her orbs and saw love. Love, that he had longed wish for. She kissed his forehead and smiled as she put it back on gently. She kissed him and she did not die! Emotions filled him and he was satisfied with that. There could have been more. "Oh but there's more", like she said in their picnic. "If you love me, let me love you too." And she did, at last, she loved him and his heart has finally experienced pure bliss. He took his last breath to say her name, "Christine."
I will forever love this character of the Phantom! Such a beautiful person! Did you write this scene from the miniseries in Phanfic form? Or did you quote it? I would be interested in reading more!
@@EmilyGloeggler7984 it was common for people back in the old days to be named after their father as to know who were who. It’s true she was Jonasdotter since her father’s names was Jonas and she was his daughter (dotter). Christine signed her names with Nilsson so I assume one is born with their fathers name as a tradition and then later when older use the family’s name (Nilsson) as she never signed anything as Jonasdotter. It could also just be her choosing to have the last name as Nilsson later on as Jonasdotter as a stage name isn’t “cool”
I think it’s beautiful that they tried to keep that as from the novel, though the novel was severely repressed and barely glimpsed. Here you see it bloom and it’s amazing in this adaptation. I wish it didn’t have that “Christine looks like his Mother” creep factor because that ruins it. Luckily they don’t focus on that and rise against it.
This idea - a love divided between the physical and the idealised emotion - is borrowed or stolen* from Rostand (Cyrano de Bergerac - based loosely on the life of the novelist and playwright) - Roxane loves (the good-looking) Christian, enchanted by what she believes to be his passionate and poetic declarations of love which are actually coming from Cyrano. *"Borrowed or Stolen" - Stravinsky once said - to justify his use of themes from Mozart - "Talent borrows, genius steals - I didn't borrow from Mozart, I stole from Mozart"
Marguerite: Ah! C'est la voix du bien-aimé! A son appel mon coeur s'est ranimeé! Au milieu de vos éclats de rire, démons qui m'entourez j'ai reconnu sa voix! Sa man, sa douce main m'attiré! Je suis libre! Il est là! Je l'entends! je le vois! Oui, c'est toi! je t'aime! Les fers, la mort même ne me font plus peut. Tu m'as retrouvée! Me voilà sauvée! C'est toi! Je suis sur ton coeur! Faust: Oui, c'est moi! je t'aime! Malgré l'effort même du démon moqueur, je t'ai retrouvée, te voilà sauvée, C'est moi, viens, viens sur mon coeur! Marguerite: C'est toi! Me voilà sauvée! tu m'as retrouvée! Je suis sur ton coeur! Où sont les tortures les pleurs, les injures, la honte, l'effroi? Tout a disparu. Te voilà - c'est toi! Faust: Viens, viens sur mon coeur! (Faust attempts to induce Marguerite to leave with him.) Mephistopheles: Alerte! alerte! ou vous êtes perdus! Si vous tardez encor, je ne m'en mêle plus! Marguerite: Mon Dieu, protegez-moi! Faust: Viens! Marguerite: Mon Dieu, je vous implore! Faust: Fuyons! peutêtre il en est temps encore! Marguerite: Anges! Anges radieux! portez mon âme au sein des cieux! Dieu juste, à toi je m'abandonne! Dieu bon, je suis à toi! Pardonne! Anges purs, anges radieux! Faust: Viens! suis-moi! suis-moi, viens, je le veux! Viens! viens! quittons ces lieux, déjà le jour envahit les cieux! Viens! viens! c'est moi qui te l'ordonne! Viens! viens! quittons ces lieux!
That moment when gounod a composer far inferior to wagner surpassed the master of masters. Handel a composer far inferior to bach did the same thing when he wrote the messiah amen and surpassed everything bach created.
Gonoud and Wagner had different archetypes for the type of opera they were writing so comparing doesn't make sense. French grand opera isn't inferior to Gesamtkunstwerk just because they have wildly different artistic goals. It's like saying Disney cartoons aren't good anime. Also, Handel spent a ton of time as an opera impresario while Bach has literally every other type of Baroque genre except opera so again you have a different aestethic. I'd argue that since a fair chunk of Baroque music is lost to time, we can't really know for certain which were the best pieces by Handel or Bach, but I'd argue St Matt's Passion has just as many gorgeous melodies as Messiah. Messiah has the benefit of being in English, has a christmas section, and was written for the main starter religion that was the basis for a lot of the offshoots in the USA so its more accessible by the general public during a time when people feel like celebrating. Messiah is a great piece but it also has many non musical factors going for it which is why we get so many sing along concerts and such here in the USA.
There are some operas I find dull and boring, some that are obnoxious (Die Meistersinger, with that nasty old humbug Hans Sachs) and some that I find simply nauseating, including Madama Butterfly and (especially vomit-inducing) Gounod's Faust. And yet this scene turns the musical dross into pure gold. I still think Faust is a revolting work musically, however.
It was nice of the police not to arrest him until he and Christine were finished their duet :)
Simply wonderful! That whole film was a great rendition of this story - ok, a touch Hollywood-y - but genuine, and well done. Anyway, it is't the story of the Faust opera as such, it was a melodramatic, late 19th century romantic pot boiler. I loved it. I have the DVD and still watch it regularly.
this scene has so much emotions spilling out of it, I usually can't contain it.
And I love how the lyrics are "yes it's you, I love you/Yes it's me, I love you" "forgive me/come to me" etc. Makes it all the more tragic though. ;.;
Without a doubt the best phantom just because they used actual Faust music!
So did the 1925, 1983, and 1989 versions.
@@VerisimilitudeFilms1 I know but most think ALW when they think Phantom today, sadly.
Definitely THE BEST! The most beautiful, best acting and music,,,, Real, not „too sweet”. Sugary verions from more recent years (2004, was annoying)
That scene here ……is just …breathtaking, heavenly & so powerful. Gives me goosebumps and almost orgasmic vibes everytime..
i love how Christine knows he's there in Box Five, and sings to him and they sing to each other
This is absolutely the most wholesome iteration of the story, I don't care if it's romanticizing it either. It romanticized it better than ALW's musical to be honest, I say this as a fan of the musical with my entire heart. Wholesome Eric that just wants to chill in his lair with his fancy fake woods and make music, yes yes please.
Still my favorite phantom movie
I truly live in the heavens when Erik and Christine sing
And when the scene ends... down below
Truly the best movie version.
Is anyone else sobbing over how beautiful this scene is? The actors, the story, the MUSIC, THE HARMONY.... no? Just me?
No I feel the same!
I was twelve when I saw this on the telly and still now, 30 plus years later, I think it's one of the most romantic scenes ever.
It's even better when you see the entire finale of Faust.
I am completely destroyed by this scene and yet created too. For me it is the greatest moment in all opera. For me wagner is the master of masters unequalled by any other composer and yet this French man gounod surpasses him in the space of a mere 2 minutes.
@@AnnaGirardini👍
So this is the "point of no return" alternative of this movie? I like it.
This scene sealed my love for the actor who played the devil. He wanted them to sing more so he came in and sang his lines. It all could have ended there but he had the musicians continue when it seemed like they were gonna stop.
@Lunatic1603 I love this version. I'm a big canon lover, but this version was just.. wonderful, and this scene is the main reason why. I agree, he's so beautifully expressive with his eyes and mouth.
"I gave you my soul tonight" - Leroux
THEIR LOVE IS ETERNAL. 💘
Ah! C'est la voix du bien-aimé!
A son appel mon coeur s'est ranimeé!
Au milieu de vos éclats de rire,
démons qui m'entourez
j'ai reconnu sa voix!
Sa man, sa douce main m'attiré!
Je suis libre! Il est là!
Je l'entends! je le vois!
Oui, c'est toi! je t'aime!
Les fers, la mort même
ne me font plus peut.
Tu m'as retrouvée!
Me voilà sauvée!
C'est toi!
Je suis sur ton coeur!
Faust:
Oui, c'est moi! je t'aime!
Malgré l'effort même
du démon moqueur,
je t'ai retrouvée,
te voilà sauvée,
C'est moi, viens, viens sur mon coeur!
Marguerite:
C'est toi!
Me voilà sauvée!
tu m'as retrouvée!
Je suis sur ton coeur!
Où sont les tortures
les pleurs, les injures,
la honte, l'effroi?
Tout a disparu.
Te voilà - c'est toi!
Faust:
Viens, viens sur mon coeur!
(Faust attempts to induce Marguerite to leave with him.)
Mephistopheles:
Alerte! alerte! ou vous êtes perdus!
Si vous tardez encor, je ne m'en mêle plus!
Marguerite:
Mon Dieu, protegez-moi!
Faust:
Viens!
Marguerite:
Mon Dieu, je vous implore!
Faust:
Fuyons! peutêtre il en est temps encore!
Marguerite:
Anges! Anges radieux!
portez mon âme au sein des cieux!
Dieu juste, à toi je m'abandonne!
Dieu bon, je suis à toi! Pardonne!
Anges purs, anges radieux!
Faust:
Viens! suis-moi!
suis-moi, viens, je le veux!
Viens! viens! quittons ces lieux,
déjà le jour envahit les cieux!
Viens! viens! c'est moi qui te l'ordonne!
Viens! viens! quittons ces lieux!
for myself delete later
Please don't delete this. 😭
The first Phantom Movie I ever saw and still my favorite. It gives me chills everytime I see it. ♥
"Erik! Please! If you love me, please." Christine's enticing voice pleaded, loud to his ears.
Then the phantom raised the boy up, knowing in that moment, despite wanting to kill him, Christine's happiness mattered more to him than his own. For he was hers.
She sang for him tonight. She should have been hers.
The boy breathed heavily in relief, thanking the man who spared his life and ran away just as the police had reached him and pointed their weapons at them.
He looked at his father, the only person who took care of him after all the years he spent underground in his gloomy lair. Carriere took his own pistol from his breast pocket, anxiously pointed it up at the masked phantom. He would rather choose death by the bullet than to die by humiliation of people seeing his accursed ugliness. Erik nodded, urging him to end it once and for all with only Christine being the last thing in his mind.
The bullet hit his chest, knocking the air out of him. He fell forward and landed on the opera roof, nearly breaking his bones. His old father carried him in his arms, stopping the policemen from approachig nearer.
"Get back!" The hurried cries of an angel alerted him. Christine ran to his fragile body, wearing the Marguerite white costume that made her look even more ethereal. Tears staining her heavenly face.
He whimpered as she took off his porcelain mask, showing his monstrous face. He stared deep into her orbs and saw love. Love, that he had longed wish for.
She kissed his forehead and smiled as she put it back on gently. She kissed him and she did not die! Emotions filled him and he was satisfied with that.
There could have been more. "Oh but there's more", like she said in their picnic. "If you love me, let me love you too." And she did, at last, she loved him and his heart has finally experienced pure bliss.
He took his last breath to say her name, "Christine."
I will forever love this character of the Phantom! Such a beautiful person! Did you write this scene from the miniseries in Phanfic form? Or did you quote it? I would be interested in reading more!
One of the best examples of "The show must go on"
What a glorious Judge Claude Frollo Charles Dance would make in a live action production of Disney’s Hunchback Of Notre Dame.
Hang on, you might be on to something
“Hellfire! Dark Fire! Now Gypsy it’s your turn!”
Fun fact: Christine also sang Faust when she was active in her career (Christine Nilsson)
Yes her real name was Kristina Jonasdötter Nilsson.
@@EmilyGloeggler7984 it was common for people back in the old days to be named after their father as to know who were who. It’s true she was Jonasdotter since her father’s names was Jonas and she was his daughter (dotter). Christine signed her names with Nilsson so I assume one is born with their fathers name as a tradition and then later when older use the family’s name (Nilsson) as she never signed anything as Jonasdotter. It could also just be her choosing to have the last name as Nilsson later on as Jonasdotter as a stage name isn’t “cool”
This is the first film version I ever saw of phantom, still the best ❤️
Same!😃 Also i have to Say that this versions of the Phantom is so good
The sad thing is that Christine was in love with Eric 😭❤️
I think it’s beautiful that they tried to keep that as from the novel, though the novel was severely repressed and barely glimpsed. Here you see it bloom and it’s amazing in this adaptation. I wish it didn’t have that “Christine looks like his Mother” creep factor because that ruins it. Luckily they don’t focus on that and rise against it.
This idea - a love divided between the physical and the idealised emotion - is borrowed or stolen* from Rostand (Cyrano de Bergerac - based loosely on the life of the novelist and playwright) - Roxane loves (the good-looking) Christian, enchanted by what she believes to be his passionate and poetic declarations of love which are actually coming from Cyrano.
*"Borrowed or Stolen" - Stravinsky once said - to justify his use of themes from Mozart - "Talent borrows, genius steals - I didn't borrow from Mozart, I stole from Mozart"
I was obsessed with Phantom of the Opera when I was in the 4th grade.
Well, I didn't know Tywin could sing...
He's just doing a very good job lipsyncing to the Music.
He’s actually dubbed. The actual singing voice is Gerard Garino. What a handsome tenor voice!
@@EmilyGloeggler7984i always wondered this and could never find a source to say if it was really him or not. Thank you finally putting this to rest!
Marguerite:
Ah! C'est la voix du bien-aimé!
A son appel mon coeur s'est ranimeé!
Au milieu de vos éclats de rire,
démons qui m'entourez
j'ai reconnu sa voix!
Sa man, sa douce main m'attiré!
Je suis libre! Il est là!
Je l'entends! je le vois!
Oui, c'est toi! je t'aime!
Les fers, la mort même
ne me font plus peut.
Tu m'as retrouvée!
Me voilà sauvée!
C'est toi!
Je suis sur ton coeur!
Faust:
Oui, c'est moi! je t'aime!
Malgré l'effort même
du démon moqueur,
je t'ai retrouvée,
te voilà sauvée,
C'est moi, viens, viens sur mon coeur!
Marguerite:
C'est toi!
Me voilà sauvée!
tu m'as retrouvée!
Je suis sur ton coeur!
Où sont les tortures
les pleurs, les injures,
la honte, l'effroi?
Tout a disparu.
Te voilà - c'est toi!
Faust:
Viens, viens sur mon coeur!
(Faust attempts to induce Marguerite to leave with him.)
Mephistopheles:
Alerte! alerte! ou vous êtes perdus!
Si vous tardez encor, je ne m'en mêle plus!
Marguerite:
Mon Dieu, protegez-moi!
Faust:
Viens!
Marguerite:
Mon Dieu, je vous implore!
Faust:
Fuyons! peutêtre il en est temps encore!
Marguerite:
Anges! Anges radieux!
portez mon âme au sein des cieux!
Dieu juste, à toi je m'abandonne!
Dieu bon, je suis à toi! Pardonne!
Anges purs, anges radieux!
Faust:
Viens! suis-moi!
suis-moi, viens, je le veux!
Viens! viens! quittons ces lieux,
déjà le jour envahit les cieux!
Viens! viens! c'est moi qui te l'ordonne!
Viens! viens! quittons ces lieux!
Mr Steel your lines
An emotional journey...wonderful.
She chose Erik :)
my favourite
Ciao
Ciao figlia
Ok
Si
Brava
Superb!
Eterna emozione ❤
The other dude still trying to sing
In the music their souls are one. Baby Girl see her Daddy.
This is beautiful!!!
Been trying to find the name of the song they all sing at the end love it so much
It's from the original Faust opera by Charles Gounod. This section is in Act 4, called "Alerte! Alerte!"
Guys, is this the actual voice of tywin lannister? Or is that lipsync?
Lipsync
UM they left out the ending???
Can anyone tell me the name of the song being sung in this clip?????? Please help me help my mum???
It's from the original Faust opera by Charles Gounod. This section is in Act 4, called "Alerte! Alerte!"
That moment when gounod a composer far inferior to wagner surpassed the master of masters. Handel a composer far inferior to bach did the same thing when he wrote the messiah amen and surpassed everything bach created.
Gonoud and Wagner had different archetypes for the type of opera they were writing so comparing doesn't make sense. French grand opera isn't inferior to Gesamtkunstwerk just because they have wildly different artistic goals. It's like saying Disney cartoons aren't good anime. Also, Handel spent a ton of time as an opera impresario while Bach has literally every other type of Baroque genre except opera so again you have a different aestethic. I'd argue that since a fair chunk of Baroque music is lost to time, we can't really know for certain which were the best pieces by Handel or Bach, but I'd argue St Matt's Passion has just as many gorgeous melodies as Messiah. Messiah has the benefit of being in English, has a christmas section, and was written for the main starter religion that was the basis for a lot of the offshoots in the USA so its more accessible by the general public during a time when people feel like celebrating. Messiah is a great piece but it also has many non musical factors going for it which is why we get so many sing along concerts and such here in the USA.
Just an FYI Charles Dance can't sing. He was lipsinging.
So who is actually singing for Charles Dance in this phantom version?
This was not dubbed,Dance did it himself. Polo was though
@@greghmiel7098Actually no. It was sung by opera tenor, Gerard Garino.
What movie version is this? Please advise, and many thanks!
The 1990 Miniseries featuring Charles Dance as The Phantom and Teri Polo as Christine.
@@eamonndeane587 Many thanks!
Who is the girl singing?
Teri Polo. Years later, she would star in Meet the Parents with Ben Stiller.
What's going on in this scene???
Are you familiar with Phantom of the Opera as a story? Only asking to gage how much context is needed ^-^
Wow they sure can lip sync
Is this really Charles Dance singing here?
No. It was opera singer, Gerard Garino.
Please, somebody explain this to me
She came back to him.
There are some operas I find dull and boring, some that are obnoxious (Die Meistersinger, with that nasty old humbug Hans Sachs) and some that I find simply nauseating, including Madama Butterfly and (especially vomit-inducing) Gounod's Faust. And yet this scene turns the musical dross into pure gold. I still think Faust is a revolting work musically, however.
I think Gounod’s Faust is magnificent. Better than any of the obnoxious vapid trash by Puccini and Verdi any day.
@@EmilyGloeggler7984 Chacun a son gout