I have mixed feelings about the current trend Disney have for live action remakes of their animated movies. While The Jungle Book worked for me, I was less fussed on Cinderella and Maleficent, and the fact that a live action Dumbo is on the way fills me with dread, although as I am soon to marry a Disney addict I have resigned myself to my fate. Taking on one of the studios best efforts was a big gamble, but thankfully this one pays off.
The story is simple enough, a vain and selfish Prince (Dan Stevens) refuses to help an old woman shelter from the rain but it turns out she is actually a powerful enchantress. She curses him by turning him into a beast, and he will remain a monster until he learns to love and wins the love of another. The enchantress also curses all the residents of the castle turning them into objects related to their jobs, which seems a bit harsh and if the Beast doesn’t succeed in finding a love before the last petal falls from a magic rose they will become inanimate objects for good and he will remain a beast for ever.
Years later we meet Belle (Emma Watson), an intelligent and free spirited young woman who lives in the nearest town. The locals aren’t too sure about her, regarding her love of reading and individuality as peculiar, nonetheless her beauty has caught the attention of Gaston (Luke Evans), the local hero who is a vain, self centred braggart. She spurns his advances and dreams of there being more to life. Her father, Maurice (Kevin Kline), is a maker of clockwork machines and leaves to sell them at market, however, on the road back he is waylaid and finds a mysterious, crumbling castle. He attempts to take a rose for his daughter but is imprisoned.
Belle sets off to find him, and arrives at the castle, where concerned for her father’s health she volunteers to take his place. Maurice’s claims are dismissed in town, although Gaston sees an opportunity to exploit the situation.
Meanwhile, at the castle Belle befriends the Beast’s cursed servants and slowly begins to discover there is more to the Beast. Similarly, her presence serves to quell his anger and he begins to care for his hostage. Their relationship, encouraged by the servants strengthens but Belle misses her father and when she becomes aware of his troubles is upset. The Beast allows her to leave.
Will Belle be able to save her father? Will she return to the castle? What will Gaston do when he discovers the existence of the beast? And will the curse ever be broken?
This remake works for same reasons that the updated version of The Jungle Book did, by honouring the original through the use of certain aspects, but by giving characters a different spin and adding new touches. Characters like Maurice, Gaston and his sidekick La Fou (Josh Gad) are given more background and are slightly more complex.
Maurice is the best example, with Kevin Kline moving away from the clownish, mad-inventor of the animated version to create a sadder figure. Belle’s mother is long deceased at the start and his grief is evident throughout, and the backstory adds more emotion to the tale. Also, his character here rings truer with the clever, independent young woman he has raised.
But despite this the main strength is the magical, charming romance at the centre and here credit goes to the leads. Emma Watson is perfectly cast as Belle, and does a great job of making her a likeable, strong character. Belle is a great heroine, free thinking and brave, she nobly sacrifices herself for her father and faces the Beast fearlessly. Throughout she shows strength, intelligence and kindness.
She handles the singing wonderfully, and is utterly charming throughout. Similarly Dan Stevens’ vocal work as the beautifully realised Beast is expressive enough for it to work, conveying the feelings that develop between them.
The central romance unfolds at a decent pace, and the film benefits from giving the Beast more backstory beyond that he was just a bit of a wanker. It also explains why the rest of the castle don’t hate him, feeling partly responsible for failing in to raise him to be a good man.
One thing the film does well is quickly cover up some of the plot holes from the original, like the fact that the town seem oblivious to the giant castle mere miles away, with the enchantress having cast a spell for them to forget all about it and the people are there. This also means there is a nice touch of when the mob storms the castle some feel deja vu and one of the villagers always has a sense of having lost something, it being revealed it is the loved ones he had at the castle…
These changes are well done and mostly serve to make the film play better as a live action piece as a straight adaptation might have suffered in translation. But there are plenty of moments that are retained, notably in costume and music. The ballroom scene in the original is an iconic scene and was groundbreaking for the time, and it helps that the castle is just as beautiful here and that the dance scene is one of the most moving moments in the film. The song remains an absolute wonder, and the scene is magical, prompting one small child in the cinema to actually cheer and applaud at the end.
Other scenes are translated to varying degrees of success, the swagger of “Gaston” is a standout here, especially as fresh jokes are added and Josh Gad is brilliant as Le Fou. Luke Evans as well impresses, capturing the strutting, arrogant character wonderfully even though he isn’t roughly the size of a barge. While Evans is reliable as ever, I left the film suspecting that Dwayne Johnson would have been brilliant for the part, especially if he channeled the charismatic arrogance of his wrestling days.
However, for me “Be Our Guest” didn’t match the original, and Ewan McGregor’s Lumiere wasn’t half as charming as Jerry Orbach’s and the character design for him and Ian McKellen’s Cogsworth were made a bit too “realistic” and a lot less endearing or friendly looking than their animated counterparts.
Similarly Mrs Potts isn’t quite as cute as her old self, but is voiced by the ever excellent Emma Thompson, who takes over from Angela Lansbury and does a stellar job.
But these are minor quibbles and the movie does well in bringing new things to the table. There is a new musical number, performed by the Beast that is genuinely moving and as I mentioned earlier the characters and some story aspects are changed. The fact that the servants are becoming increasingly inanimate is a heartbreaking touch, with them all moving towards losing their humanity. In fact a sequence where they are transformed is an emotional gut punch that had my eyes a little watery.
Before it’s release a lot was made of the fact that Le Fou was being turned into a gay character. The fact is that Josh Gad’s character is far more complicated than the original and his sexuality is only a part of that. Le Fou is loyal and clearly in love with Gaston, but it is suggested that the two have been together a long time, having served together in an unspecified war. Le Fou’s admiration for his friend is clear, but what is a nice addition is the fact that he is not just a dimwit who goes along with everything. His conscience starts to peak through, and there are moments when he acts as a calming, soothing presence for Gaston, staying his hand.
As Gaston’s obsession with Belle grows and he reveals his true, selfish nature Le Fou realises he has made a mistake and tries to make it right. It’s nice that a secondary character, largely a buffoon is given a bit more depth and Gad is consistently amusing.
All in all this is a very successful film which tells a familiar story in an utterly charming way, beautiful to look at and entirely engaging. I was sucked in early on and utterly captivated, in much the way that six year old Chris was back in 1992. In fact, I’d say this packs more of an emotional punch than the original.
It’s a delight from start to finish, with the familiar and the new combining to make a film which is great in it’s own right. MWF loved it as well, so hardcore Disney fans can rest assured that it doesn’t let the house of mouse down.
Verdict: A wonderful, magical experience which uses the animated version as a jumping off point to go in new directions and add greater depth. Moving, amusing and utterly, marvelously charming. 8.5/10.
Any thoughts? You know what to do. BETEO.
This week saw the passing of Alan Rickman, a truly great actor who appeared in many great movies like Die Hard, Robin Hood: Prince of Thieves, Love Actually, Galaxy Quest, Dogma and Sense & Sensibility, where he oozed dignity and decency as Brandon.
To a younger generation he will always be known as Professor Snape in the Harry Potter series. Leading the tributes were his former costars, including the former child stars of those films.
Emma Watson tweeted several times, one of which included this image and quote.
It made sense for Watson, a vocal campaigner for women’s rights to post this but she was soon under attack from various tweeters who felt she was out of line for “pushing her own agenda” and exploiting Rickman’s death.
Frankly these comments are utterly daft and disrespectful. These strangers are attacking someone who actually knew Rickman for years for how they grieve and remember him. As fans it hurt us, but for those who knew him it must have been far worse.
Also, why shouldn’t she post this?
All of us can comment on his acting abilities, and I’m sure Watson will praise his skills as a performer. What she’s doing with this quote is showing that as well as being a marvellous talent he was a decent bloke with sensible views.
The quote shows him in a good light, it shows a man who believed in a equality and unlike many online knew what feminism is about.
Watson probably chose this message because it echoed her views and also because it’s statements like this that are part of the reason she admired and now mourns Alan Rickman.
Exploiting his death? No, just showing why she respected him.
The sad thing is that people felt the need to attack someone and object to an “agenda” which is about equality and fairness. Read the above definition, that’s what Watson and Rickman support, equal opportunities and rights for everyone.
If you attack that you’re basically coming out in favour of a system which places some above others just because of their gender, and that’s a crap thing to defend.
So, I think Watson did nothing wrong and those objecting come from a position of ignorance or hostility.
In closing, I just want to say Rest in Peace, Alan Rickman, you were a great actor, I never tired of watching you and thanks for all the great work you left us.
Any thoughts? You know what to do. BETEO.
Don’t tell me this blog isn’t educational.
The official name for writer’s cramp is graphospasm.
Following the death of Bon Scott AC/DC approached Slade front man Noddy Holder to become their new singer. I like a bit of Slade’s shouty glam rock but don’t think he’d have worked out and Brian Johnson was definitely the right choice.
The place in the world that eats the most Spam per person is Hawaii. Oddly, this never came up on Magnum P.I.
In the time of Pompeii prostitutes went by nicknames, among those uncovered are:
- Panta- Everything
- Culibonia- lovely bum
- Kallitremia- Super crotch, which is surely one of the great unused band names.
More black people speak Afrikaans than white people- I guess this makes sense but I always associate the language with racist white people.
In Scooby Doo Velma’s surname is Dinkley.
Buddy Holly’s vision was so bad (20/800) he couldn’t read the top line of an optician’s chart.
Emma Watson is the most dangerous person on the internet, with 1 in 8 sites reached by searching for her being malicious. It’s even riskier if you add “nude pictures” to your search query. (Proof)
The Soft Cell version of “Tainted Love” isn’t the original version and is actually a track from the 60s originally performed by Gloria Jones, and it’s rather funky.
Any thoughts? You know what to do. BETEO.