Gaston Louis Alfred Leroux (6 May 1868, Paris, France – 15 April 1927) was a French journalist and author of detective fiction.
In the English-speaking world, he is best known for writing the novel The Phantom of the Opera (Le Fantôme de l'Opéra, 1910), which has been made into several film and stage productions of the same name, such as the 1925 film starring Lon Chaney; and Andrew Lloyd Webber's 1986 musical. It was also the basis of the 1990 novel Phantom by Susan Kay.
Leroux went to school in Normandy and studied law in Paris, graduating in 1889. He inherited millions of francs and lived wildly until he nearly reached bankruptcy. Then in 1890, he began working as a court reporter and theater critic for L'Écho de Paris. His most important journalism came when he began working as an international correspondent for the Paris newspaper Le Matin. In 1905 he was present at and covered the Russian Revolution. Another case he was present at involved the investigation and deep coverage of an opera house in Paris, later to become a ballet house. The basement consisted of a cell that held prisoners in the Paris Commune, which were the rulers of Paris through much of the Franco-Prussian war.
He suddenly left journalism in 1907, and began writing fiction. In 1909, he and Arthur Bernède formed their own film company, Société des Cinéromans to simultaneously publish novels and turn them into films. He first wrote a mystery novel entitled Le mystère de la chambre jaune (1908; The Mystery of the Yellow Room), starring the amateur detective Joseph Rouletabille. Leroux's contribution to French detective fiction is considered a parallel to Sir Arthur Conan Doyle's in the United Kingdom and Edgar Allan Poe's in America. Leroux died in Nice on April 15, 1927, of a urinary tract infection.
When the new managers of the Paris Opera House ignore their predecessors warnings about the hideous Opera ghost stalking the theatre, it is a fatal mistake. Tortured by unrequited love for the beautiful young singer Christine Daae, the mysterious figure living in the depths beneath them has been awaiting his chance to strike. And when Christine suddenly disappears after a triumphant singing performance, it becomes clear that the phantom s time has come. Filled with colour and theatrical spectacle, this thrilling gothic tale has enthralled readers with its mystery, eerie suspense and tragic story of love turned into deadly obsession.
读过的书不多,上海译文出版社典雅的封面设计,良好的纸张一直给我留下了很好的印象。 但是我这次看这本《剧院魅影》的时候,居然会读不下去,以至于上豆瓣吐槽。。。 声明我这是第一次接触剧院魅影或者歌剧魅影,看这本书之前我完全不知道该故事讲的是个什么所以然。 所以...
評分关于剧院建筑构造的一切真假难辨,只想亲自去巴黎剧院一探究竟。8年前开始迷上音乐剧《歌剧魅影》,直到现在才读了原著,读的过程中会自然想象音乐剧的情景。当然,也有很多东西是音乐剧布景无法展现的,很多憎恶、恐惧感和悬念也是音乐剧不曾着重渲染的。音乐剧的魅力...
評分哎,正所谓天妒英才,才华横溢的埃利克却有着魔鬼般的容貌,试问如果埃利克有着英俊的相貌,那么在他的一片痴情下,克里斯蒂娜还会选择拉乌尔么?
評分从Majestic Theater回来后就一直很想收音频以及把原著读一遍。 从现场音乐剧,到25周年纪念版,到各个版本的the Phantom of Opera选段比较,到2004电影版,再到原著,虽然时间线上其实不太符合,但原著用的是考据的写法,这样的顺序歪打正着倒很合适。 本以为关于关于歌剧魅...
評分可惜的是爱情从来都不是一件理智的事情。这句话用来讲《歌剧魅影》的故事,就是美女与野兽的爱情绝对不会成立。要么是怪兽变回英俊的王子,要么是相拥着死去,除了死没有第二条路。《歌剧魅影》这个故事也是一样。 如果以非歧视的口吻议论,艾瑞克的丑陋并非是一件可怕的事,...
大學時候和室友一起看瞭電影,當時感覺電影非常具有戲劇性,沒想到多年以後竟然讀瞭原版小說,感覺比電影要差一些,主要是其中部分情節太離奇,有點超越理解範圍
评分大學時候和室友一起看瞭電影,當時感覺電影非常具有戲劇性,沒想到多年以後竟然讀瞭原版小說,感覺比電影要差一些,主要是其中部分情節太離奇,有點超越理解範圍
评分在倫敦西區第一次看音樂劇看得就是《歌劇魅影》,音樂劇劇情簡化得比這部小說簡單得多所以看音樂劇就算不完全聽清楚演員唱的歌詞配閤精彩的舞颱效果和歌舞還是能懂的~就算不懂光看視覺和聽覺效果這部音樂劇還是很值得看。迴到小說總的來說情節還是吸引的,看完再去看音樂劇應該會有更深的理解和感受,如果有機會也想再看一次!
评分經典愛情故事,經典恐怖愛情故事
评分大學時候和室友一起看瞭電影,當時感覺電影非常具有戲劇性,沒想到多年以後竟然讀瞭原版小說,感覺比電影要差一些,主要是其中部分情節太離奇,有點超越理解範圍
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