Characters
Ribaldi/Rigoletto- Ribaldi is a deformed, mysterious man who comes to the town of Castle Gate and, supposedly, begins buying people's homes and land. It is later revealed that he is a kind, generous person who has suffered a mysterious injury. He is filled with self-pity and is often cold and angry, lashing out at those around him, but quickly repents. He is a gifted singer and composer, and it is hinted that he is the cursed fairy prince, Rigoletto.
Bonnie- Bonnie is a naive young girl who goes to work for Ribaldi in order to save her home. She quickly realizes that Ribaldi is not the monster everyone believes him to be, and tries to help him learn to be kinder and happier.
Hans- Ribaldi's butler, Hans, is a comical man with a French accent. In the beginning of the film he is seen at one of Bonnie's singing competitions, and it is assumed that he has been sent there by Ribaldi to spy on the singers. Ribaldi treats him cruelly, but Hans is devoted to his master and seems to genuinely care for him. He often plays the piano during Bonnie's music lessons.
Georgie- One of Bonnie's friends, Georgie is a poor girl from the village who suffers from a neglectful and abusive father. Ribaldi is especially kind to Georgie, and saves her life when she falls into a river that is known to be dangerous.
Porter- Georgie's brother, who speaks with stutter. While visiting Ribaldi he looks into a "magic" mirror and is suddenly cured of his speech impediment. Ribaldi teaches him that his father is a sad man who needs love and understanding during the hard times of the Great Depression. Because of Ribaldi, Porter is able to forgive his father, and the two are eventually reconciled.
Read more about this topic: Rigoletto (film)
Famous quotes containing the word characters:
“It is open to question whether the highly individualized characters we find in Shakespeare are perhaps not detrimental to the dramatic effect. The human being disappears to the same degree as the individual emerges.”
—Franz Grillparzer (1791–1872)
“To marry a man out of pity is folly; and, if you think you are going to influence the kind of fellow who has “never had a chance, poor devil,” you are profoundly mistaken. One can only influence the strong characters in life, not the weak; and it is the height of vanity to suppose that you can make an honest man of anyone.”
—Margot Asquith (1864–1945)
“When the characters are really alive before their author, the latter does nothing but follow them in their action, in their words, in the situations which they suggest to him.”
—Luigi Pirandello (1867–1936)