BEAUTY AND THE BEAST (2017)
Director : Bill Condon
Cast : Emma Watson, Dan Stevens, Luke Evans, Josh Gad, Kevin Kline, Emma Thompson, Ian McKellen, Ewan McGregor
Genre : Musical/Fantasy/Romance
Run Time : 2h 9min
Opens : 16 March 2017
Rating : PG (Some Intense Sequences)
You know how this story goes: Belle (Watson), who lives in a provincial French town with her father Maurice (Kline), is misunderstood by the townsfolk because she’s intellectually-inclined and doesn’t conform to the norms of the time. Belle catches the eye of the boorish Gaston (Evans), always accompanied by his sidekick Lefou (Gad), but Belle rebuffs Gaston’s advances. When Maurice loses his way in the woods and is held prisoner by a frightening Beast (Stevens), Belle volunteers to take her father’s place as the Beast’s captive. The Beast was formerly a handsome prince, who has been cursed by an Enchantress for his haughtiness and unkindness. The household staff of the castle were also cursed: the suave head butler Lumiere (McGregor) is a candelabra, fussbudget majordomo Cogsworth (McKellen) is a clock, and matronly head of the kitchen Mrs. Potts (Thompson) is a teapot. Belle must fall in love with the Beast to break the curse, but when Gaston learns of the Beast’s existence, he will stop at nothing to kill the Beast and take Belle for himself.
These days, the foundation stones of the House of Mouse are nostalgia. Beauty and the Beast is a remake of the landmark 1991 animated film, which was in turn based on the 18th Century French fairy tale by Gabrielle-Suzanne Barbot de Villeneuve. It’s easy to be cynical about the practice of live-action remakes, a practice Disney is keen on continuing. While there are elements to this lushly designed, beautifully photographed live-action remake that are worthwhile, it does hew closely to the venerated 1991 version. Director Bill Condon, who earned his musical cred with Chicago and Dreamgirls, dutifully assembles a work of prefab nostalgia.
This is not to say Beauty and the Beast is not enjoyable. This reviewer had goosebumps through much of the film, and there’s a novelty in seeing flesh-and-blood actors (alongside multiple computer-generated characters) telling this tale. There is an effort to stick a little closer to the original story. For example, the Beast imprisons Maurice because Maurice plucked a rose from the castle gardens, Belle having requested her father bring a rose back from his travels. That’s in this version. Stephen Chbosky and Evan Spiliotopoulos’ adaptation of Linda Woolverton’s screenplay includes flashes of rib-tickling wit.
The production design by four-time Oscar nominee Sarah Greenwood is sumptuous, with lots of dizzying details to take in. Jacqueline Durran’s costumes are similarly beautiful, but the friend whom this reviewer saw the film with noticed that the gold leaf details were printed onto the dress rather than sewn on. It’s also fun to parse when exactly this is set, given clues like Gaston having fought in “the war”, Belle reading Shakespeare to the Beast, the powdered wigs worn by the aristocrats, and the mention of the black plague, historical markers that were absent from the 1991 version.
Much of the nostalgia factor is directly linked to the music. The songs from the 1991 film, with music by Alan Menken and lyrics by the late Howard Ashman, have been etched into the collective consciousness. In this iteration, there are lush orchestral arrangements and some very pretty harpsichord parts.
However, this reviewer couldn’t suppress his disappointment that the songs from the stage musical adaptation, including If I Can’t Love Her, Home, Me and Human Again, are conspicuously absent. Instead, Menken has re-teamed with Tim Rice, the lyricist for the additional songs in the stage musical, to write a few new numbers. These include the Beast’s solo Evermore, which is a sweet torch song but is an also-ran replacement for If I Can’t Love Her, and Days in the Sun, a more melancholic take on the wistful Human Again. It seems odd that given how this started out as a direct movie adaptation of the stage musical, those songs are all gone. Menken and Rice are plenty talented, so the new songs are good – just not as good as what we had on Broadway.
Watson has stated that the character of Belle was a big influence on her when she was growing up, and as such she’s honoured to get to play her. While Watson is fully convincing as a feisty bookworm, since she spent around ten years playing one earlier in her career, there seems to be something missing. Perhaps it’s how iconic the animated Belle is, that it’s hard not to see Watson the actress/activist when looking at this Belle. Her singing voice has also been autotuned into oblivion, disappointing when compared to how lively and engaging voice actress Paige O’Hara’s performance was in the 1991 version.
Stevens sounds remarkably like the Beast’s original voice actor, Robby Benson. This version makes multiple attempts to render him as sympathetic as possible, to tamp down the icky Stockholm Syndrome connotations. As such, the Beast is never really fearsome, even when he’s locking up Maurice in the beginning. At times, his computer-generated visage seems suitably animalistic, and at others, it looks like hair has been digitally flocked onto Stevens’ face. He also looks more than a little awkward while singing.
Gaston steals the show, as Gaston is wont to do. Evans flings himself into the part with great aplomb, seemingly channelling Hugh Jackman, who played Gaston on stage in the Sydney production. Much has been made of how Lefou is “officially” gay, and it can’t help but seem like a marketing device to generate controversy more than anything else. Gad is ideal casting and a fine complement to Evans. Maurice is less of the clumsy, absent-minded elderly man he was in the animated film, Kline lending the character warmth and a degree of grounding.
The all-star cast extends into the actors voicing the enchanted objects. McGregor seems to be putting in the most work, affecting a French accent and having fun with the role. He shares great vocal chemistry with McKellen, whose voice sounds apt emanating from a stuffy, unyielding worrywart. Thompson does a full-on Angela Lansbury impression, which is quite charming. This also marks a reunion for Hermione and Prof. Trelawney. Stanley Tucci voices a new character, the court composer-turned harpsichord Cadenza. Broadway star Audra McDonald voices the wardrobe Mme. Garderobe, and gets to perform an aria that seems awfully like Prima Donna from The Phantom of the Opera. The enchanted objects must’ve been the biggest stumbling block in translating the animated film into live-action, and there are several moments which work much better in the 1991 film, Be Our Guest being chief among them.
Beauty and the Beast will charm and entrance large sections of moviegoers, but it seems preoccupied with hitting its marks, glancing down at the floor on occasion. Things get lost in translation, and Disney devotees will be locked into continuously comparing this with its animated forebear. Still, it will be largely futile to resist gasping when each petal falls off the rose, even though we know how it’s going to end.
Summary: While it’s largely bound by an enforced slavishness to the now-classic 1991 animated film, more than enough delights await within this refurbished castle.
RATING: 3.5 out of 5 Stars