Category: Reviews

The Phantom of the Opera by Gaston Leroux

On By cherylmahoneyIn Historical Fiction, Reviews15 Comments

Leroux PhantomI think we all know I have kind of a thing about the Phantom of the Opera…  I recently did a reread of Gaston Leroux’s original novel–and since I can never keep straight what was in Leroux compared to other versions, even the third time through felt in some ways like a new experience.

The basic story is the same across most versions, and Leroux set the original pattern.  A masked man with a genius for music lives under the Paris Opera House.  In the guise of the Angel of Music, he trains Christine Daae in singing.  When Christine falls for Raoul, the handsome Viscomte de Chagny, the Phantom wreaks havoc in his jealousy.

Leroux was originally in French, so if you’re reading a translation I highly recommend Leonard Wolf’s.  Really, I can’t stress this enough–I’ve read two versions, both “unabridged,” and Wolf’s somehow has significantly more detail and better writing.

It’s always been the characters that really fascinate me in any version of Phantom–and mostly it’s Erik, the Phantom, himself.  Retellings in the last century have been on a nearly-consistent quest to make the Phantom a more sympathetic, romantic figure.  In the original, however, he’s a complete raving madman.  Truly, the man is unhinged.  He has a violent temper and (probably) kills at least three people over the course of the book.  I say “probably” because he denies it himself and we don’t actually see those moments, but I think his denial is a symptom of insanity, not innocence.

There’s nothing romantic about Leroux’s Phantom.  However, he does garner a certain amount of sympathy–or perhaps I should say pity.  I began feeling more sad for him when the Persian (a mysterious figure rarely appearing in films) took over the narration.  That’s not because the Persian portrayed Erik sympathetically, but just the opposite.  He’s the closest thing the Phantom has to a friend, and even the Persian still routinely refers to him as “the monster.”  We also learn from the Perisan that Erik really believed Christine loved him; the Persian himself doesn’t believe it…because Erik is so ugly.  Not because he’s a raving madman with violent tendencies–but because he’s so ugly.  There’s something wrong in that.

The final scene, in which Erik tells the Persian about how he parted from Christine, is absolutely wrenching.  And how can you not feel sad for a man whose mother always refused to kiss him?  Susan Kay does wonderful, devastating things with the idea, but it’s there in Leroux too.

The Phantom as a violent madman casts Christine in a different light too.  I’m not a Christine fan as a rule.  Often she’s an idiot or decidedly callous.  However, it occured to me rereading Leroux that Christine and the Phantom are sympathetic in inverse relation to each other.  The more rational and likable the Phantom is, the more blameworthy Christine seems for any lies and betrayals, and for ultimately choosing Raoul.  The more villainous the Phantom is, the more justifiable Christine’s actions are.  In Leroux, she’s still an idiot at times, but is pretty much justifiable too.

As for Leroux’s Raoul–I have to say I find it downright amusing how frequently he weeps, faints, raves or goes into a sulk.  I understand what Christine doesn’t see in Leroux’s Erik, but I don’t know what she sees in Leroux’s Raoul (his bank account, possibly…)

So much for characters.  The other aspect that struck me most in the novel was the structure.  So much of the story happens “off-screen.”  Many of the most iconic moments, including Christine ripping off the Phantom’s mask and their final parting, are only conveyed in conversations after the fact.  They’re almost detailed enough to be flashbacks–but aren’t really.

We get a lot of Raoul wandering about and wondering what’s going on with Christine.  We get very little of the Phantom actually present in the story.  I think Leroux is one of these classic writers who didn’t really know what he had created–or didn’t know quite what to do with it.  Nearly everyone retelling it has realized that the most interesting one in the story is the Phantom, and has been skewing the story his direction ever since.  Leroux…not so much.

Riding solely on its own merits, I have to say that I don’t think Leroux’s Phantom is all that great of a book.  It pains me to say it.  And I don’t think it’s a terrible book!  But it’s middling at best.  It’s far more interesting from a historical perspective, from the angle of “oh, that’s how Webber changed this” or “I love how Susan Kay took this one line and wrote six chapters from it.”  For me, at the end of the day, I far prefer Webber’s and Susan Kay’s versions.  But it is fascinating to see where they came from.

Other reviews:
ANZ LitLovers LitBlog
The Book Mine Set
In Which I Read Vintage Novels
Anyone else?

Buy it here: The Phantom of the Opera

The Master of Heathcrest Hall by Galen Beckett

On By cherylmahoneyIn Fantasy, Reviews9 Comments

Master of Heathcrest HallI had insomnia one night last week, and the one silver lining was that I got to finish The Master of Heathcrest Hall at four that morning.  I’ve been working on this trilogy for both Once Upon a Time and my Finish-the-Series goal, and I’m so very glad I did–because I loved it.

If you like, you can jump back and read my reviews of the first two books, The Magicians and Mrs. Quent and The House on Durrow Street.  To give very quick context: the trilogy is set in an alternate England (Altania), where some men are magicians, others can craft illusions, and certain women can speak to the Wyrdwood–Old Trees that are self-aware and capable of movement.  Oh, and the day and the night are of uneven lengths, which fascinates me, and the whole writing style and society has a strong Austen feel.

The third installment brings us back to our three major characters.  Ivy is living on Durrow Street with her two sisters and her beloved husband, Mr. Quent, and still trying to puzzle out messages left her by her father.  Rafferdy has become fully involved in the Assembly, as well as a clandestine group of magicians, working to protect the Wyrdwood.  Eldyn is performing as an illusionist, and learning how to make impressions (a kind of magical photo).  All their lives are going along pretty well…but there are political rumblings, a revolutionary army on the march, and a red planet coming ever closer and bringing with it the Ashen, terrifying enemies set to destroy all life in their path.

All these bigger issues were largely in the background in the second book, which worked surprisingly well.  I was hoping they would become more central in the third book and (eventually) they did.  Beckett does very nicely gradually building up to the larger crises, while somehow never losing the feel of ordinary people who (mostly) are trying to go about ordinary lives.

I also hoped for more of Mr. Quent (he is, after all, the title character) but only partially got that.  There was a bit of a facepalm moment when, at the very beginning of the book, we find out Mr. Quent is out of town.  Again.  As usual.  He was perpetually out of town or working late in the second book.  He actually does end up being in this one a bit more, and I just love it whenever he and Ivy are together.  There’s such a Bronte feel to the two of them.  Bronte actually gives us those sweet conversations Austen likes to skim past.

Mr. Quent also gave me the most heart-wrenching moment of the book…which I can’t explain without spoilers, though those who’ve read it probably know.  It wasn’t actually when horrible things happened–it was when I realized horrible thing were going to happen, and how, and why.  Sigh.

These books are all around 700 pages each, so by the end of the third, I had spent a lot of time with our three main characters.  I loved how they grew and developed.  Ivy was always wonderful, but she found new strengths and confidence over the course of the trilogy.  There were a few moments in this book, however, when I felt like she did some really stupid things, which felt like they only happened to keep the plot moving.  I tried not to get too irked, and the book and Ivy both did get back on track…

Eldyn had some interesting growth, as he always wanted to do great things but had to learn his own right path.  Rafferdy grew the most, from a dandy with interest in nothing, to an honorable, caring man willing to sacrifice for a greater cause.

There’s a love triangle in here that I really liked, because it felt like a genuine conflict (though I guessed how it would ultimately resolve) while at the same time all three were so honorable, and respectful of everyone else involved.  It struck me as such a contradiction to the (false) idea that you can’t write a book about genuinely good people.

As noted, this is a long book and, considering it’s written in an Austenish style, it’s not usually in much of a hurry.  It works though–don’t expect fast paced action (except now and then) but there is a very satisfying slow unrolling of events and revealing of mysteries.  Without getting into spoiler specifics, I’ll also mention that, in the end, everything ties up happily, in a way that’s almost too convenient.   I know that bugs some people, so be aware…although personally, I like neatly happy endings.

I’ve been recommending this one to all of my friends who like Austen and fantasy.  I think you really do have to like both, but if you do, this trilogy is one not to be missed!

Author’s Site: http://wyrdwood.net/

Other reviews:
Stella Matutina
Fyrefly’s Book Blog
Just Book Reading
Anyone else?

Buy it here: The Master of Heathcrest Hall

The Secret Adversary by Agatha Christie

On By cherylmahoneyIn Historical Fiction, Reviews5 Comments

I’ve been meaning to read more Agatha Christie (which may or may not have something to do with her appearance in Doctor Who…) and saw a review on Stella Matutina a few months ago for The Secret Adversary.  I got the audiobook from the library–and absolutely loved it.

The Secret Adversary is a “Tommy and Tuppence” novel, about two friends who, hard-up for employment after World War I, form the Young Adventurers Ltd.  Tuppence’s idea is to be criminals-for-hire, but instead they become enmeshed in an international spy thriller involving the Lusitania, a missing girl, vital documents, and the elusive criminal mastermind, “Mr. Brown.”

This was a delight of a book, which played to all my Anglophile tendencies.  It’s so very, very British–or rather, a certain stereotype of Britishness.  The dialogue is all full of “old thing, old bean, isn’t it all just ripping?”  Much of the book takes place in London, so between ridiculous slang and wanderings through Hyde Park and Trafalgar Square, I was having a wonderful time with that angle.

It’s great fun (or terribly jolly?) from other angles too.  Tommy and Tuppence are splendid characters.  Tuppence (a nickname) is clever, saucy and altogether too sure of herself, and prone to flights of inspiration of varying value.  She’s in many ways the driving force of the book, and I have to love an extravagant yet effective heroine.  Tommy is much steadier and slower to think things out, but more likely to be right once he comes to a conclusion.  Both are very likable, and they provide a nice balance for each other besides.

The mystery becomes somewhat convoluted in spots (not to mention coincidental!), but the essential notion of the mysterious (secret) adversary and international disaster is sound.  I never quite followed all the political ramifications of how it would spell disaster if these vital documents fell into the wrong hands…something about the Labor party and a general strike and I’m not sure what.  But I just accepted that it would mean the fall of the British Empire and went from there without worrying about the details.

There are some nicely tense moments and unexpected twists.  I was sure I saw one twist coming that turned out to be a red herring.  Well-played, Dame Agatha.  Even better, once the final reveal came, it did make sense–it wasn’t one of those annoying bait-and-switch jobs.

The story, of course, revolves around two friends of opposite gender, so at least one aspect of the story isn’t much of a twist…  The romantic moments are brief and mostly backdrop, but still fun and rather sweet.

The CDs I listened to were the “Audio Editions Mystery Masters” series.  The narrator’s British accent contributed a good deal to the fun of the Britishisms, and he did make me jump at least once at a tense moment.  I thought he struggled a bit with some of the other accents though; the American accent especially sounded forced.  Not everyone can be Katherine Kellgren, though, and overall I’d recommend the audio.

There was just one thing I didn’t understand.  On at least two occasions, probably more, a character named Jane Finn is referred to as having a wildly outlandish and unusual name.  Um.  Really?  Jane Finn is outlandish?  As opposed to, say, Tuppence?  Maybe there’s some reference re: “Jane Finn” that made sense in 1922 and doesn’t anymore, because on that one, Christie lost me.

But with everything else, I was right along with her and her delightful characters.  I enjoyed Murder on the Orient Express but didn’t feel obliged to rush out for more Hercule Poirot.  On this one, I’ve already been hunting my library’s catalog for more of Tommy and Tuppence.

Other reviews:
Strange and Random Happenstance
Here There Be Books
Fell From Fiction
The Agatha Christie Project
Anyone else?

Buy it here: The Secret Adversary

Heart’s Blood by Juliet Marillier

On By cherylmahoneyIn Fantasy, Reviews5 Comments

Heart's BloodI’d just like to say, when Juliet Marillier is good, she’s really good, and I’ve been having a nice run with her books lately.  After recently reading Heir to Sevenwaters, I jumped into a reread of Heart‘s Blood, in part so that I could try to actually notice sooner this time that it’s a “Beauty and the Beast” retelling…  It took me far too long to figure that out on the first go-around.

The heroine of the story is Caitrin, who flees an abusive situation and, in desperation, seeks refuge and work as a scribe at Whistling Tor.  There are strange rumors about monstrous spectres in the woods around the Tor, and about Anluan, the chieftain.  Anluan proves to be bad-tempered and unfriendly; he was stricken by illness as a child and it left him semi-paralyzed on his right side.  He nearly runs Caitrin off at once, but instead she stays, becoming part of his very unusual household and delving into the myserious curse afflicting the Tor.

You probably already see some “Beauty and the Beast” parallels, and there are also enchanted mirrors scattered throughout.  It’s really only “Beauty and the Beast” in the broad strokes, though, and most of the story focuses on deducing the origin of the curse, as well as on an outside threat from foreign invasion.

I was also struck by Jane Eyre parallels, particularly in the second half of the book, so I don’t want to get into details too much.  Even at the beginning, though: a talented young woman sets off from a difficult situation, and finds work with a gruff employer at a big house on a misty moor (or Tor…)  He’s unfriendly but secretly attracted to her, while she comes to see the value behind his unattractive exterior.  (Although no, there’s no first wife locked in a tower.)

This was an interesting one to read right after Heir to Sevenwaters, because it was once again two of my favorite archetype characters: a heroine who has to find her own strength and worth, and a dark hero with a heart of gold.  That’s not to say, however, that Caitrin and Anluan are the same characters as Clodagh and Cathal.  They have their own unique characteristics and paths to walk.

Caitrin has a particularly difficult journey, overcoming abuse in her past.  Marillier focuses less on the bruises and more on the psychological damage, which is deeper and far more complex.  I ultimately found Caitrin’s path to be immensely satisfying.  Anluan has different internal demons to overcome, and though we get less of his internal thoughts (Caitrin narrates, but we do get into Anluan’s journal) his development is intriguing too.

The magic is spooky at times, creepy at others, and delves into questions of good and evil and the hazard of judging too quickly whether someone is one or the other.  There’s a nice balance of character growth with unraveling mysteries and, as is usual for Marillier, the last hundred pages are breathless and hard to put down.

Highly recommended. 🙂

Author’s Site: http://www.julietmarillier.com/

Other reviews:
Ivy Book Bindings
Academics Go Clunk
The Book Rat
Anyone else?

Buy it here: Heart’s Blood

Star Trek: Into Darkness

On By cherylmahoneyIn Reviews, Science Fiction35 Comments

StarTrekIntoDarknessEnterprisePosterI went to see Star Trek: Into Darkness on opening night, and can happily report that I thoroughly enjoyed myself…although in the end, I feel mixed about the movie.  It was a very good time–and yet there are issues.  I feel rather that way about the previous movie too, although the particular issues are different ones.  The first (eleventh) movie had rather a mess of a plot but excellent characters and some fantastic moments.  This one had an engaging plot, made rather a mess of the characters…and had some fantastic moments.

The movie opens with the Enterprise on a routine survey mission that is on the brink of going horribly awry.  This felt a lot like an old-style Trek adventure, and was a very fun way to start the movie.  Kirk breaks regulations to pull a victory out of chaos, but is still smacked-down by Starfleet for breaking the rules.  This is quickly set aside, however, when Starfleet comes under attack from the mysterious John Harrison (Benedict Cumberbatch) and the Enterprise sets out to round up the fugitive.  Beyond that, it’s hard to discuss plot without serious spoilers.

Suffice to say, the plot was at times implausible or convoluted, but also exciting and engaging.  There are some good twists and very good chase sequences, although some of the action parts went on longer than necessary.  And there were far too many flashing lights!

Cumberbatch2But  there was also Benedict Cumberbatch.  Pardon while I gush.  I don’t think I would have enjoyed this movie half as much without Cumberbatch.  Whatever was wrong with the characters (I’ll get to that), the problem was not the villain.  He was completely awesomely amazing  every time he was on screen.  He was one of those villains who is just so damn cool that you want to root for him–while realizing fully that he’s a horrible person who must be stopped.  I’ve only ever seen Cumberbatch before in Sherlock, and this was like the evil Sherlock.  Sherlock if he really was a pyschopath, and not nearly as funny.  So.  Brilliant.

They hold back the reveal on his, shall we say, secret identity for quite a while and I won’t reveal it either.  But I heard a definite exhale go through the audience when it finally came out.  If you’re on the fence about seeing this movie, it’s worth it for Cumberbatch alone.

But he isn’t the only good thing in the movie.  Scotty, McCoy and Chekov are all really delightful every time they’re on screen–which, in the case of McCoy especially, was not often enough.  There are some very funny moments, which was good and bad–and I think that brings me up to why I feel mixed.  Some of the lines made me laugh…except that the characters shouldn’t have been saying them.

I had problems with the portrayal of the characters, and when I say “the characters” I think I mostly mean Kirk, though not exclusively.  Part of the trouble is the whole “prequel” concept that they set up in the last movie.  At the end of that movie, a group of (essentially) college students were put in charge of the top-of-the-line, pride of the fleet Starship Enterprise.  In this movie, the college students are running things–but they’re still behaving like college students.  They flirt, they argue, they have relationship discussions in the middle of a battle sequence, they disregard regulations and blithely expect to get away with it.

Now I’ll grant you, the original series characters always had their moments.  But there was also always a baseline of professionalism.  There was rank, there was protocol, there were regulations and procedures and a rational chain of command.  And they behaved (mostly) like professionals.  They felt like mature adults.  The dynamic and the interactions in this new movie just didn’t feel right to me for Starfleet officers, or for these characters.

I know this sounds like a nitpick, but the continued unprofessionalism was threaded throughout the movie, and when something is just a little bit wrong every third line of dialogue, that’s not a little thing anymore.  It was everything from Kirk making pointed-ear references (which is McCoy’s sole prerogative) to Sulu or Chekov saying things like, “I don’t know if I can do that but I’ll see what I can manage,” when the only appropriate response is “Yes, Captain.”  And then there was Scotty calling Kirk “Jim,” repeatedly.  Only Bones calls him Jim regularly, that’s what makes him special (or maybe I should say, his specialness lets him do it–not that anyone writing this seemed to understand that McCoy is important.  A different issue).  The worst was when Uhura and Spock had a relationship spat mid-landing party.  People: professionalism!  (The fact that they even have a relationship to have a spat about–that’s so wrong I can’t even touch it.)

The lack of maturity was especially a problem for Kirk, because they apparently decided to give him a character arc about needing to grow up into the role of captain.  And yeah, I know, prequel–except that he’s already captain, with the same crew he had on the original series, and the idea in that context that he doesn’t know what he’s doing yet and that, I don’t know, his pre-frontal lobe is still developing or whatever…no, it just felt wrong.  I love Kirk because he is every bit as awesome as he thinks he is, he always knows what he’s doing, and he always bends the rules in exactly the right way to get a victory and stay out of trouble.  Always.  If they want to tell a story about how he became that person, it should have happened before he was sitting in the Chair.

So much for my rant.  Just when I was getting thoroughly frustrated with things, though, we got into the last half-hour or so…which will be a spoiler to discuss.  So I’m putting it in white, highlight the next paragraph if you want to read it.

Loved the last portion of the movie.  I thought the role reversal of Kirk and Spock was mind-bendingly brilliant.  This is by far and away the best example so far of taking the altered timeline and doing something really clever with it.  Loved the chase sequence with Spock and Khan.  Loved that a tribble was part of the key to saving Kirk.  Loved that Khan was shown still alive–and smiling–at the end.  That man’s not going away (I hope).  Loved that Leonard Nimoy had a cameo.  It was a pretty much unnecessary cameo–except that he’s Nimoy, and therefore is necessary unto himself, it doesn’t have to do anything for the plot.

And though it is about the end, it’s not a spoiler to say that using the original music for the end credits gave me the warm fuzzies.  🙂  Suffice to say as a non-spoiler, the last half-hour was brilliant, and while I stand by my issues with the other portions of the movie, it brought me around to a positive on the movie overall.

Next time–because I trust there will be a next time–I’m hoping for more McCoy (please, more McCoy!), less flashing lights and weird reflections, more maturity from the crew and especially Kirk, and with any luck, more Benedict Cumberbatch!

Movie site: http://www.startrekmovie.com/