Of all the classic films (animated or live action) which have come from the world of Disney, Beauty and the Beast has always been one of the more sacred properties. The film proved a milestone in computer animation, was adored by critics and audiences alike, and became the first animated film in history to be nominated for Best Picture at the Oscars (a feat which wouldn’t happen again until Toy Story 3 scored a nom). When the idea of turning the film into a live-action musical remake came up, a number of eyebrows were raised all across the board from fans, film lovers, and even Angela Lansbury, who lent her voice to the original and secured her place in movie history by singing the film’s now iconic theme song. The fears surrounding the remake are valid, but thankfully not justified, as this new version directed by Bill Condon features a top production design, stellar musical numbers, and an overall energy and soul so full of glee and magic that even Lansbury herself wouldn’t be able to turn up her nose at it.
Condon and screenwriters Stephen Chbosky and Evan Spiliotopoulos revisit the tale of a young woman in 18th century France named Belle (Emma Watson) who finds herself a prisoner in a large castle belonging to a monstrous beast (Dan Stevens). Not long after arriving, Belle discovers that the majority of the home’s possessions, such as candlesticks and clocks, are actually alive. Through them, Belle discovers the nature of a curse placed upon the Beast as well as everyone who once resided in the castle; a curse which will only be broken if the Beast can ever finally learn to love.
The way Condon and company have reimagined Beauty and the Beast not only does the original justice, but wonderfully highlights the heart of the core fairy tale, which is an unconventional love story between two somewhat social misfits. The film achieves this not just through a screenplay which retains the joy and poetry of the old text, but also through a mix of new dialogue which takes the story to places only alluded to in the original, making this Beauty and the Beast feel both timeless and fresh. Most impressive, however, is the literal live-action recreation of shot-by-shot scenes from the animated film, with the best coming from the sequence in the ballroom between Belle and the Beast. Seeing such a memorable moment from childhood film come to life so many years later is the definition of pure magic.
Many will no doubt be anticipating how this new version treats Beauty and the Beast’s indelible collection of songs; each one is iconic in its own right. Thankfully the re-workings of these songs are tremendous, with each one taken to new levels and wondrous possibilities than ever thought possible. Even if Emma Thompson’s warbling of the title theme never had a prayer of touching Lansbury’s, the rousing joy of “Gaston” and the endless visual delights of “Be Our Guest” are worth the price of admission alone. Meanwhile the film’s new songs (from the original film’s legendary music making duo of Alan Menken and Tim Rice) are all worthy additions to the proceedings and help move both the story and the characters along. The best of these is without question “Evermore,” a tragic ballad in which the Beast laments the loss of his beauty as she rides away from the castle. While the original songs proved fun and infectious, the new ones truly deepen the story, making Disney’s first live-action musical since Pete’s Dragon worth the long wait.
As the title characters, Stevens and Watson play their roles the best they can. However, their roles are so iconic that the two are left with very little room to make Belle and the Beast their own, leaving them with nothing to do but make sure they sing in key, which they do. By contrast, Luke Evans has the right handle on the villainous Gaston, allowing him to be foolishly vain at certain times and decidedly evil at others. The same goes for Kevin Kline, who adds some unexpected depth to the proceedings as Maurice.
Such a large cast means that a few of the supporting players would surely get lost in the shuffle of characters. While this is true of Stanley Tucci’s Maestro Cadenza, the rest of the cast, which includes Ian McKellen as Cogsworth and Emma Thompson as Mrs. Potts, get ample time to have some fun with their parts. Only Ewan McGregor as Lumiere and Josh Gad as LeFou are weak links here, mainly because they’re the only ones stuck playing one note roles. While the former struggles in vain to sound more French than Spanish, the latter has nothing to do but hide his homosexuality as he continuously gazes lovingly on Gaston.
From the glitter of Dreamgirls to the mystery of Mr. Holmes, Condon has never failed to immerse his audience in a specific world they thought they knew and transform it and their perceptions entirely. His Beauty and the Beast isn’t without its share of areas that have some definite room for improvement, however. The comedy of the film (which is thankfully sparse) doesn’t rise above the juvenile level; this is inexcusable given the the fact Disney films now cater to audiences of all ages. Meanwhile, the film’s opening sequence mirrors something out of The Sound of Music, even culminating in an image of Watson singing on a mountain top, and the finale borders on pure slapstick before launching into full-on pantomime (even the much-talked about gay character moment is played for laughs). However, Condon doesn’t linger on these elements too long, instead succeeding in bringing out the story’s unending amounts of heart, magic, and romance in a way which will surely win over old fans and create new ones.
