cinemabon
04-03-2017, 05:27 PM
Beauty and the Beast (2017) Disney Studios – directed by Bill Condon
If you liked the Gary Trousdale and Kirk Wise film (1991), you may find this adaptation more down-to-earth; with expanded backstory and dramatic presentations not possible in 1991’s style of animation. Director Bill Condon brought Alan Menken and Tim Rice aboard (who wrote four additional songs as well as score the film); they’d also written the Broadway score and libretto. This gave Condon the opportunity to make a big musical production. Disney initially wanted a gritty version with no music. Condon explained when he first refused: “It’s got to be a musical. All the songs are perfect. There isn’t a bad one in the bunch!” Disney offered again and this time sweetened the pot with a larger budget.
Grand sweeping gestures open this fantastic film that brings the original tale – La Belle et la Bête, written by French novelist, Jeanne-Marie Leprince de Beaumont (also an adaptation of an earlier 18th Century version) – to full life and in some instances, 3-D. I saw the standard screen version as I wanted to make comparisons between the live action and animated move. However, after seeing this film, there is no comparison. They are two distinct versions of the same story.
The opening number – crucial.
Belle makes her entrance and Emma Watson lights up the screen with her presence. No one else could have captured Belle’s sense of boredom mixed with curiosity as she does. Later, when lead roles require great depth, Watson delivers with all the dramatic presence a lead actress requires. And then there’s her voice. Shocking at how good she is and surprisingly easy on the ear; a definite pleasure. She moves about with easy grace, dancing through the opening scene with ballet precision. After seeing her for only ten minutes, I nominate her for the Julie Andrews club of English actresses gifted with great singing voices. Her voice is that good.
We’re all familiar with the opening; we even recall the Broadway critic’s remark in 1991 that “Beauty and the Beast is so good, it’s the best Broadway musical of the year.” Condon built on what the original film first showed in dramatic terms and expanded its depth by adding additional background.
The street action choreography is excellent. The sets realistic, kudos to props, well lit; the extras properly costumed; the secondary parts distinct, though hardly French (only a smattering in the animated version, too). The scene comes to a big “Consider yourself…” finish with a pull back and rousing chorus. I get chills just thinking about it. Disney hasn’t made a musical this good since “Mary Poppins.” The musical numbers are far from over. The four new songs reveal more about the character’s feelings. Alan Menken and Tim Rice have crafted some of the year’s best original songs.
The Drama
Kevin Kline has a difficult part – Maurice, the inventor – that borders on the fringe of getting it right; the same way Dick Van Dyke did in “Poppins.” However, he’s given some marvelous props and has some strong emotional moments with Belle, as in the prison scene and in the shop. Kline brought as much of his character as Ed Wynn brought to his character driven “Poppins” role. Given his history with film, Kevin Kline comes up to task when he needs to deliver in the crisis scenes. I’d say, here’s your Best Supporting Actor nom.
The choice of making the Beast a CGI character must have been a difficult decision for Condon. We’ve seen some CGI people (LOTR and Avatar) who are so good, you want to nominate them. It takes great care and precision to create those characters. Condon didn’t have the luxury of time that someone like Jackson had. Still, Beast is so good in several shots that you’d believe he was there.
The other major part – Luke Evans as Gaston – is given great bravado by Evans whose cautious riverboat ferryman in Lord of the Rings, brings down the dragon. Here, Gaston tries to slay the beast. Evans plays the egotistical hunting-maniac with comic perfection in the opening scenes and is one of Disney’s most complex villains to date. He’s just a huntsman who wants the girl. What’s wrong with that? In order to make him a villain, Condon and screenwriter Steven Chbosky do a slow reveal to his character that evolves throughout the film. Evans is another strong actor in a strong cast.
The musical numbers – how many times have you heard the song?
We all want to get on with it – we know the outcome – and get to our favorite songs! True? Of course, right. And when the movie finally gets around to the title song, we’re ready for it. Those sweeping camera moves but this time on a real set with real actors. Again, to mention the technical aspects, the photography by Tobias A. Schliessler A.S.C. surpasses work by “Poppins” D.P., Edward Colman (nominated for an Oscar). Outstanding photography in every scene, multiple angles, great lighting on the moody sets; this movie thrilled me start to finish.
I’ve made comparisons to “Mary Poppins” because if you had to create a gold standard for live action Disney films, “Poppins” would be the measure. “Beauty and the Beast” is a film that Walt Disney would be touting to the Academy as worthy their highest praise; right up there with other classic filmed musicals. Condon needs the directorial nod as well. In fact, if I had to nominate a movie for Best Picture of the Year today, this would be on the list. A thrill for those younger than twenty not used to seeing the animated film. To this generation, this will be one of their greatest musicals – one that surpasses any Broadway adaptation we’ve seen over the past two decades. Yes, Beauty and the Beast is that good. As a musical – and I know musicals better than anyone else I know, critic-wise – this one is a gem. Highly recommended.
If you liked the Gary Trousdale and Kirk Wise film (1991), you may find this adaptation more down-to-earth; with expanded backstory and dramatic presentations not possible in 1991’s style of animation. Director Bill Condon brought Alan Menken and Tim Rice aboard (who wrote four additional songs as well as score the film); they’d also written the Broadway score and libretto. This gave Condon the opportunity to make a big musical production. Disney initially wanted a gritty version with no music. Condon explained when he first refused: “It’s got to be a musical. All the songs are perfect. There isn’t a bad one in the bunch!” Disney offered again and this time sweetened the pot with a larger budget.
Grand sweeping gestures open this fantastic film that brings the original tale – La Belle et la Bête, written by French novelist, Jeanne-Marie Leprince de Beaumont (also an adaptation of an earlier 18th Century version) – to full life and in some instances, 3-D. I saw the standard screen version as I wanted to make comparisons between the live action and animated move. However, after seeing this film, there is no comparison. They are two distinct versions of the same story.
The opening number – crucial.
Belle makes her entrance and Emma Watson lights up the screen with her presence. No one else could have captured Belle’s sense of boredom mixed with curiosity as she does. Later, when lead roles require great depth, Watson delivers with all the dramatic presence a lead actress requires. And then there’s her voice. Shocking at how good she is and surprisingly easy on the ear; a definite pleasure. She moves about with easy grace, dancing through the opening scene with ballet precision. After seeing her for only ten minutes, I nominate her for the Julie Andrews club of English actresses gifted with great singing voices. Her voice is that good.
We’re all familiar with the opening; we even recall the Broadway critic’s remark in 1991 that “Beauty and the Beast is so good, it’s the best Broadway musical of the year.” Condon built on what the original film first showed in dramatic terms and expanded its depth by adding additional background.
The street action choreography is excellent. The sets realistic, kudos to props, well lit; the extras properly costumed; the secondary parts distinct, though hardly French (only a smattering in the animated version, too). The scene comes to a big “Consider yourself…” finish with a pull back and rousing chorus. I get chills just thinking about it. Disney hasn’t made a musical this good since “Mary Poppins.” The musical numbers are far from over. The four new songs reveal more about the character’s feelings. Alan Menken and Tim Rice have crafted some of the year’s best original songs.
The Drama
Kevin Kline has a difficult part – Maurice, the inventor – that borders on the fringe of getting it right; the same way Dick Van Dyke did in “Poppins.” However, he’s given some marvelous props and has some strong emotional moments with Belle, as in the prison scene and in the shop. Kline brought as much of his character as Ed Wynn brought to his character driven “Poppins” role. Given his history with film, Kevin Kline comes up to task when he needs to deliver in the crisis scenes. I’d say, here’s your Best Supporting Actor nom.
The choice of making the Beast a CGI character must have been a difficult decision for Condon. We’ve seen some CGI people (LOTR and Avatar) who are so good, you want to nominate them. It takes great care and precision to create those characters. Condon didn’t have the luxury of time that someone like Jackson had. Still, Beast is so good in several shots that you’d believe he was there.
The other major part – Luke Evans as Gaston – is given great bravado by Evans whose cautious riverboat ferryman in Lord of the Rings, brings down the dragon. Here, Gaston tries to slay the beast. Evans plays the egotistical hunting-maniac with comic perfection in the opening scenes and is one of Disney’s most complex villains to date. He’s just a huntsman who wants the girl. What’s wrong with that? In order to make him a villain, Condon and screenwriter Steven Chbosky do a slow reveal to his character that evolves throughout the film. Evans is another strong actor in a strong cast.
The musical numbers – how many times have you heard the song?
We all want to get on with it – we know the outcome – and get to our favorite songs! True? Of course, right. And when the movie finally gets around to the title song, we’re ready for it. Those sweeping camera moves but this time on a real set with real actors. Again, to mention the technical aspects, the photography by Tobias A. Schliessler A.S.C. surpasses work by “Poppins” D.P., Edward Colman (nominated for an Oscar). Outstanding photography in every scene, multiple angles, great lighting on the moody sets; this movie thrilled me start to finish.
I’ve made comparisons to “Mary Poppins” because if you had to create a gold standard for live action Disney films, “Poppins” would be the measure. “Beauty and the Beast” is a film that Walt Disney would be touting to the Academy as worthy their highest praise; right up there with other classic filmed musicals. Condon needs the directorial nod as well. In fact, if I had to nominate a movie for Best Picture of the Year today, this would be on the list. A thrill for those younger than twenty not used to seeing the animated film. To this generation, this will be one of their greatest musicals – one that surpasses any Broadway adaptation we’ve seen over the past two decades. Yes, Beauty and the Beast is that good. As a musical – and I know musicals better than anyone else I know, critic-wise – this one is a gem. Highly recommended.