Anchoring the film was Harry Potter alum Emma Watson , who brings an enormous social media following. Belle must love the beast before the last petal falls, but when it falls she must find a way to get to the beast before it’s too late.
beauty and the beast movie cast 2014 – Beauty And The Beast Filmed At Shepperton
When I was a toddler, I was addicted to Beauty and the Beast.” I would run across the living room, arms flung behind me, and stand in front of the television as Belle sang, I want adventure in the great wide somewhere, I want it more than I can tell…” I’ve watched it more times than I can remember. Elyse: So I loved it. LOVED IT. Would watch again a thousand times. I know intellectually it was not perfect and there are things that made me go wha?” but on an emotional level, it hit me just right. I was 9 when the first movie came out and I fell in love with it and watched it so much on VHS that I’m pretty sure my mom hates that movie now. So I think some of my happiness was definitely nostalgia.
When Belle (Emma Watson) emerges from her home in the poor provincial town, her dress appears to be bustled up into her belt. You immediately notice her petticoat since it is white and the rest of outfit is blue. I thought this would play into her character, with one of the townspeople addressing it and so forth. Nope. After a few more stanzas of her song, the dress is untucked as if nothing happened. Now I know what you are thinking, a continuity error? This is what I am complaining about? Well, it re-appears later in the film and again disappears without mention. Now, this is a Disney film. There are hundreds of people running around, capturing stills, applying make-up, and checking costumes. Hell, one of these people is the Continuity Director. It seems small and even petty, but when something can define a character or even a moment, especially in a fantasy film with talking dishware, you take notice of a moment like this and it becomes glaring when it happens again.
Belle meets Lumiere and Cogsworth, despite initially being freaked out by a talking candelabra and clock. The two were originally heads of the castle before the curse transformed them. Belle also meets Mrs. Potts (Emma Thompson), Chip’s mother who is now a teapot, plus Chip himself; Plumette (Gugu Mbatha-Raw), the maid and Lumiere’s girlfriend turned into a featherduster resembling a peacock; Madame de Garderobe (Audra McDonald), an Italian opera singer who is now a wardrobe; and Maestro Cadenza (Stanley Tucci), Garderobe’s husband and former composer who is now a piano. Lumiere guides Belle out of the dungeon and into a room in the East Wing. Garderobe dresses Belle in a ghastly frock, which gives Belle the idea to use the ribbons to climb down the tower.
That same night in Gaston’s Tavern, LeFou tries to cheer Gaston up by singing a song about how handsome, strong, and what a cool guy he is; not far into the song, he pays the villagers to join him. After the musical encouragement of their hero, Maurice enters the tavern, and in a panic, raves about a beast having possession of Belle in a castle. He begs to be helped in finding his daughter but is laughed at by the townsfolk. However, to Lefou’s utter surprise, Gaston offers to help and scolds the villagers for making a mockery out of Maurice’s worries. But after receiving a certain glance from Gaston, Lefou knows that he doesn’t actually believe the older man; he’s simply trying to win Belle from him.
Adults will likely notice the film’s obvious homosexual innuendos and recognize them for what they are. But will kids? In a different, more innocent time, I wonder if these scenes would have been viewed by youngsters as little more than silliness. Alas, however, we live in this activist age. A day when actors and directors and studios feel it necessary to insert such things in an attempt to normalize and elevate certain sexual choices. And, unfortunately, they’ve chosen to do so this time in a movie aimed at children.
Maurice in the original animated film is a short, chubby man. In this version, he is played by the rugged Kevin Kline. A village girl named Belle seeks adventure away from her hometown. When her father Maurice comes across the Beast’s castle, he is taken prisoner by the Beast. Belle offers to take his place, and the Beast agrees.
Disney’s live-action remake of its 1991 animated classic, starring Emma Watson as a pitch-perfect Belle, is a sometimes entrancing, sometimes awkward mixture of re-creation and reimagining. However, this is played with a bit during “Gaston”; while the original version had the townspeople singing Gaston’s praises on their own, in this version LeFou has to bribe and cajole them into doing so.
There are a few moments — a climactic high-elevation fight scene that looks like every other climactic high-elevation fight scene; a chase through the forest involving wolves — where the digital seams show, and you’re aware of the cold presence of lines of code behind the images. Most of the time, though, you are happily fooled. More than that: enchanted. The most dazzling visual flights are matched to the best of Howard Ashman and Alan Menken’s songs. Be Our Guest” in particular is a choreographic extravaganza that enfolds decades of Disney history (all the way back to Snow White” and Fantasia”) in contemporary cinematic craft.
Count yourself in for 2 hours and 9 minutes of the new Beauty and the Beast. This makes it almost an hour longer than the original, which clocks in at 1 hour and 24 minutes. Even in the absence of the hot-button issue already discussed, young children might be frightened by several dark moments in the movie, including attacks by wolves and Gaston’s violent assault on the Beast’s castle.
Elyse: I thought it was weird that everything else was so clearly set in a certain time period, but they departed from that with Belle. Like Dan Stevens wore hose and high heels and FUCKING TEMPLE CURLS. Belle’s costume should have been more historically accurate if I have to see Dan Stevens with temple curls. I think he might have had a French braid, too. I don’t know.
If the studio is indeed looking to expand the franchise, then a Gaston movie is a no-brainer. After all, they’ve already found success with other villain-centric films like Maleficent and have similar projects – see: Cruella – on the way, too. What’s more, Evans’ Gaston is easily one of the most popular villains from these remakes. Whereas fans criticized the depiction of, say, Jafar and Scar in Aladdin and The Lion King, everyone praised Evans for perfectly recreating the cartoon character.
Upon learning of the Beast, Gaston vows to kill him. He incites a mob of angry townspeople to march on the castle with clubs and pitchforks. A fight breaks out between the human attackers and the anthropomorphized furniture. The townspeople are battered and beaten back—burned, jabbed, thumped and smashed.
The best part about the movie is the relationship between Belle and Beast, who are played by Emma Watson and Dan Stevens. The movie is a whimsical romance and it relies entirely on the chemistry between the two characters. Watson and Stevens are enchanting, with Watson stealing the show in every scene she appears in. The adoration the two have for each other is palpable and it’s that earnest love which makes the pair enjoyable to watch.
Disney’s live-action adaptations list now includes Dumbo,” with Tim Burton directing; Aladdin,” directed by Guy Ritchie; The Lion King,” with Jon Favreau behind the camera; Cruella,” starring Emma Stone; and The Little Mermaid,” with Lin-Manuel Miranda coming aboard with Mr. Menken to write additional songs. The strategy, set by Alan Horn , Disney’s movie chairman, replicates what Disney-owned Marvel Studios has done with superhero films — take characters that have permeated popular culture and elevate them by bringing on top stars and serious filmmakers.
We’re told that Gaston is a captain who fought in the wars, which gives us more background for his militarism and eagerness to take up arms against the beast. And the servants are etched out in more detail and depth: they’re not just complements to the Beast and Belle’s love story. They have their own narrative.
Ten years later, a beautiful young girl named Belle makes her way into town one morning in order to get a book from the local bookseller. On the way she expresses her wish to live in a world like her books, full of adventure, while the townspeople note her unparalleled beauty but find her love of books odd (“Belle”). Belle has also attracted the attention of Gaston (the local hunter and town hero), who admires her only for her beauty.
We have been waiting to see the real-life version of Belle’s iconic yellow ballgown for a while, and it’s truly lovely. But there are a few additions to her formal look. To go with her dancing outfit, she wears a golden ear cuff (rather than the plain earrings she had in the animated version), which lends a more modern feel, and a delicate golden necklace. But she has lost one item since 1991—the long yellow gloves.
Stevens’ facial expressions were also captured and applied to the Beast’s physique. But because the effects team couldn’t use his reactions and dialogue readings from set, the actor had to re-perform scenes at a booth of Digital Domain’s domain. Not as glamorous as a castle ballroom.
Initial Beauty and the Beast” reviews have been mostly positive, with critics praising Ms. Watson’s strong-willed Belle; Sarah Greenwood’s sumptuous production design; and Mr. Condon’s vivid handling of the household objects — even Mrs. Potts.
The Prince was hosting a debutante ball at his castle when a beggar woman appeared at his castle and offered a single rose as payment for shelter from an oncoming storm. The Prince turned her away twice, prompting the beggar to reveal herself to be an enchantress. The Enchantress placed a powerful spell upon the kingdom, turning the Prince into a beast and the servants into animated household objects, while also wiping all memory of the castle from the nearby village’s inhabitants. If the Beast was unable to love another and earn that person’s love in return, by the time the last petal on the enchanted rose fell, he would remain a beast forever, and in addition his servants would become inanimate antiques.
The LeFou imbroglio is an immense wasted opportunity. Promoting Beauty and the Beast by touting its daring inclusivity (or, grotesquely, its tribute” to lyricist Howard Ashman ), makes for a lot of attention-grabbing articles. But the actual execution is dull — or mildly offensive, given that Disney’s first official” gay character (ignoring its coded ones and fan-canon ones ) is a catty, clingy, regressive, confused” stereotype. Beauty and the Beast isn’t necessarily the right forum to explore the nuances of the gay experience. But given how much virtual ink the character has gotten, it’s baffling how little there is to him, not just as a gay man, but as a developed figure of any kind.
Elyse: The inclusion of more of a backstory for Belle was really great. It also helped develop the romance between Belle and the Beast. They didn’t fall in love immediately after a random snowball fight. The timeline was still compressed, but it gave it a little depth.
In the original Beauty and the Beast book, Beauty is the youngest child in a family of six (three boys and three girls). Maurice, who works as a merchant, loses all of his cargo in a sea storm at the beginning of the story. This tempest is what causes Beauty’s family to take up residence in a peasant household. While Beauty’s sisters have a difficult time adjusting to this less luxurious lifestyle, Beauty is able to adjust just fine.
The Toronto production opened at the Princess of Wales Theatre on July 25, 1995, and closed on August 30, 1997. The production starred Kerry Butler as Belle and Chuck Wagner as the Beast, and Terry Doyle as Maurice. Notable replacements included Melissa Thomson as Belle and Steve Blanchard as the Beast. The lesser known Halifax production at the Neptune Theatre was the longest running production in the theatre’s history.
What Beauty and the Beast rises or falls on is the love story, and here, allowed to slow down to let in intimate moments, the movie catches fire. Hobbled by a motion capture process that forced him to walk on stilts and wear a huge muscle suit covered in Lycra, Stevens goes beyond the call of family-musical duty to give us a flawed human being instead of a special effect; his is a Beast worth saving. Those are his eyes gazing down with passion at Watson’s Beauty, his voice choked with genuine ardor. And suddenly, in a movie built on the bones of what preceded it, there is something there that wasn’t there before. I’d call that an exhilarating gift.
This movie might just be the strangest entry on this list, despite the fact that it basically has the same plot as the other films. Much like Labyrinth,” which came out a year prior, it is a live-action musical which features some baffling dialogue, odd acting, and of course singing. But unlike Labyrinth,” there isn’t anything to prepare us for why characters who are not animated decide to just burst into song. Perhaps a few puppets would have prepared viewers better.
Beauty and the Beast marked Disney Animation’s return to fairy tales. Upon its release in 1991, the enchanting tale as old as time was beloved by critics and audiences alike, many of whom marveled at the film’s transcendent animation — not to mention that its central heroine completely revolutionized what it meant to be a Disney princess. Considered a smashing success for the studio, Beauty and the Beast even scored a historic Best Picture nomination at the Academy Awards.
You already knew this, and it might seem like an obvious one, but it makes a difference in unexpected ways. Of course, the new format means we get to see Emma Watson as Belle, and the Beast transform into a real human being played by Dan Stevens; a lot of the sets look different. But the live action changes the feel of other scenes, too—Gaston’s hunt for the Beast feels much more dangerous and charged than it did in cartoon form, and the town scenes are absolutely buzzing thanks to all the bustling people.
Condon has done marvelous movie musicals before: he wrote the script for Chicago (2002) and wrote and directed Dreamgirls (2005). But here he fails to translate the deft stylization of classic cartoon figures into flesh-and-blood performances or expressive digital images. The computer-generated versions of Lumière the candelabra (Ewan McGregory), Cogsworth the clock (Ian McKellen), Mrs. Potts the teapot (Emma Thompson), and the other living objects in the Beast’s enchanted palace, neither mirror the personalities of the voice actors nor take on lives of their own. In the cartoon, it’s just the opposite: Jerry Orbach’s Lumiére, David Ogden Stiers’s Cogsworth, and Angela Lansbury’s Mrs. Potts remain prime musical-comedy creations.