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The Phantom of Manhattan |
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 The Phantom of Manhattan byFrederick Forsyth St. Martin’s Press 177 pages, 1999 ISBN 0312246560 Reviewed by Julie Failla Earhart In Frederick Forsyth’s latest novel The Phantom of Manhattan he answers many of the questions left by the Phantom’s original creator, Gaston Leroux. When we last saw Erik (the Phantom’s given name and a great trivia question), it was 1894 Paris. The reader presumes that Erik has been killed by the mob that searched for Christine Daae in the cellars of the Paris Opera House. Forsyth’s novel opens in 1906 Paris with Madame Giry (mistress of the chorus and the corps de ballet) on her deathbed, making her confession to Father Sebastien. It is through this confession that we learn how Erik came to haunt the Opera House. The story then shifts to Manhattan where we learn of Erik’s escape from the cellar and his journey to America. We also learn, rather vaguely, of Erik’s rise as one of the richest and most elusive men of the city. It’s all a little too neat and tidy, but Forsyth does a good job in re-creating the voices of Giry and Erik. The story’s narrator then shifts to Armand Dufour, a French lawyer dispatched to deliver Giry’s final letter to the mysterious financial wizard - Erik. The lawyer, who speaks very little English, bumps into Charles "Cholly" Bloom, a reporter for the NEW YORK AMERICAN (with characterization and voicing are right on target), who helps Dufour deliver the letter to Erik’s penthouse. We also learn that Darius (remember him as the Persian’s servant?) is the front man for Erik’s empire, and that is what allows Erik to maintain his obscurity. Based on the information provided in Giry’s letter, Erik learns he and Christine Daae have a son - which implies that Erik raped the young girl while holding her hostage in the Paris cellars. In order to see his son, Erik decides to build an Opera House. Through Darius, he employs Oscar Hammerstein - not the musical genius but his grandfather - that will rival the splendor of the Metropolitan (Ed. Note: The mention of the Hammerstein name is disconcerting because the familial tie isn’t revealed until the epilogue.) The world’s greatest opera singers are invited to perform a new American opera, author unknown, but readers will ascertain that ANGEL OF SHILOH is Erik’s creation. Among the singers invited is the Vicomtesse Christine De Chagny, nee Daae and wife of Raoul. Christine and her son, Pierre, arrive in America to much acclaim and anticipation. This is where the story, for me, unraveled and became convincing. It seems that Cholly Bloom is always at the right place at the right time, which is just too coincidental and contrived. While Forsyth does a great job in voicing the character, it feels like a cheap trick employed by the author. Erik makes his presence known by sending Pierre a toy monkey (prominent in the beginning of the Andrew Lloyd Webber musical, but incidentally never appears in the original text) that plays MASQUARDE when the boy reverses the mechanical workings. Still terrified of her long-ago abductor, Christine searches for a connection with Erik. The two meet, and I won’t destroy the surprises that await the reader. These few chapters are riveting and keep the reader guessing as to the final outcome of the novel. However, I was disappointed in the novel’s final chapter - too predictable, neat and tidy. The Phantom of Manhattan is a short novel that reads quickly. Forsyth does a remarkable job in re-creating the voices from Leroux’s original tale. It’s worth the read, especially if you enjoyed Leroux’s tale. |
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