Year of release: 2017 Directed by Bill Condon. Starring Emma Watson, Dan Stevens, Luke Evans, Josh Gad, Kevin Kline, Ewan McGregor, Ian McKellen, Emma Thompson, and Audra McDonald.
That Beauty and the Beast, Disney’s latest live action adaptation of one of their animated classics, works as well as it does, is an impressive testament to the power and beauty of Alan Menken and Howard Ashman’s score, which is the main star of this movie.
After the success of the live action updates of Cinderella, The Jungle Book, and Pete’s Dragon, it was only a matter of time before Beauty and the Beast received the same treatment, especially considering there already was a successful Broadway musical based on the 1991 animated film. However, considering those three aforementioned films all notably broke with their far less than perfect predecessors, the 1991 animated Best Picture nominee is in many people’s opinion (including my own) the finest work of art that Disney has ever produced. As might be expected, director Bill Condon’s excessive reverence for the original results in a copying of the source material, which inevitably pales in comparison.
I do not mean to suggest that this Beauty and the Beast is bad; for the most part, I more or less enjoyed it, as needless as it was. The production design is exquisite; the cast is solid; and of course, Alan Menken and Howard Ashman’s score sounds great with any decent performers.
In my mind, the biggest problem is that in addition to the unoriginal copying of the animated film, down to camera movements and costume design, is that the few times this film does break away and introduce something new, those changes are rarely for the better.
For instance, the film opens by acting out the entire prologue in which the Prince (Dan Stevens) is cursed and transformed into the Beast. While we get to see some lovely set design and hear Audra McDonald sing (more on that momentarily), seeing the Beast as a Prince undermines his ability to frighten us by turning him into something of a deserving victim. The notion that he’s a real monster, not just a monstrous person, heightens the Stockholm Syndrome element of the fairytale, and it also makes both his ultimate transformation and Belle’s heroism more dramatically satisfying.
Even the one good change from the original is undermined by later changes that should have been rejected in early drafts of the script, never mind being shot. Maurice (Kevin Kline) and Belle (Emma Watson) have a wonderfully supportive and intelligent relationship which starkly contrasts the bumbling old crackpot whom Belle supports in the original. However, in this film there is no possibility for the townspeople to say, “Crazy old Maurice,” which inspires Gaston’s devious plot to force Belle’s hand in marriage. Nonetheless, the film is beholden to that plot point, and the way in which it is now set up necessitates other changes to the original which are so evil and sinister that they seem jarringly out of place in a fairytale geared toward family audiences. To make things worse, those changes occur two scenes before the title number, which really impacts our ability to enjoy the gorgeously lush song.
Regarding the performance of the title song, Emma Thompson has an excellent voice, and while she unfortunately has to stand in the shadow of Angela Lansbury’s iconic performance, she proved herself capable of that when she played Mrs. Lovett in the NY Philharmonic production of Sweeney Todd three years ago. The more striking change, at least for me, was the decision to change the key of the song from the warm and rich D-flat major of the original to a cooler and higher pitched E-flat major. That’s the biggest difference, and probably the main reason many people will say the song is has less emotion here than it does in the original.
As to the rest of the cast, everyone gives their roles their all, even if all of them are outperformed by their counterparts in the original. Emma Watson is a fine singer, but she notably has the weakest voice of the entire cast, which is a little bit of a problem, considering she’s the lead. Her feminist portrayal of Belle comes across effortlessly. As Gaston, Luke Evans has a surprisingly good tenor, which is a notable change from Richard White’s baritone, and Evans makes the bullying malevolence of the villain even more apparent. Josh Gad’s fairly sympathetic portrayal of Le Fou is another break with the original, as is his overhyped “gay moment,” which consists of three fleeting sight gags about trite stereotypes.
The staff of the castle gives enjoyable vocal performances, even if their character design lacks imagination compared to the castle itself. Ian McKellen (Cogsworth) is a fitting curmudgeon, Ewan McGregor (Lumiere) has so much zeal in his performance that he overcomes his goofy French accent. Emma Thompson (Mrs. Potts) is enough of a comforting presence without copying Lansbury. Audra McDonald (the wardrobe) has by far and away the best voice of everyone (as to be expected), and it is a massively missed opportunity that she only has two brief verses to sing.
Finally, as the Prince and the Beast, Dan Stevens’ performance definitely lands more on the prince side of the character, which I think is problematic, because it weakens his transformation. Stevens has a very good baritone, and his performance of the Beast’s new solo, “Evermore” by Menken and Tim Rice, is haunting and beautiful. That performance, coupled with Josh Groban’s rendition over the end credits makes me fairly confident in saying that song will win the Oscar for best original song. It’s also a pretty great song which naturally fits into the original score.
As much as I would want to resent this film for being an uninspired attempt to replicate the original when there were so many possibilities to take this fairytale in a new direction, there’s enough good material that I have to give credit where credit is due and admit that the film was a mostly enjoyable rendition of the tale as old as time, even if it can’t hold a candle to Disney’s animated masterpiece.
Personal recommendation: B-
Content Advisory: A couple risqué sight gags, intense scenes of peril and menace. MPAA rating: PG
Suggested Audience: Teens and up