For this week’s Movies with Jeff we will be talking about a remake of a classic cartoon from 1991: director Bill Condon’s live action version of Disney’s “Beauty and the Beast” (2017).
“Beauty and the Beast” follows a recent Disney trend of remaking their old cartoon movies into live action features. This movement began last year with “The Jungle Book” (2016) and will continue in the future with features like “Mulan” (2018) and “Aladdin” (TBA) next up on the remake block.
“Beauty and the Beast” stays true to its original text for the most part; however, the audience does gain insight into what happened to Belle’s (Emma Watson) mother. Through some good ‘ole fashioned magic, the audience learns that Belle’s mother died of the plague.
Although this plot point falls into the typical Disney troupe of the mother always dying or being dead, this version of the film provides insight into some previously unanswered questions. If the audience had seen the original cartoon, then it will come as no surprise that the mother is dead. A clearer time stamp is placed on the film through its clarification of the reason behind the mother’s death.
Another interesting aspect brought to audiences by the film is that spectacle remains supremely important. In cinema, spectacle is most easily defined as the visual elements of film. For “Beauty and the Beast,” the spectacle is in the beautiful sets and backgrounds of the castle.
As the arguably most famous song from the film and a part that demonstrates spectacle well, “Tale as Old as Time,” harbors the scene in which Belle and the Beast (Dan Stevens) dance together. The scene is simply beautiful due to the impeccably stunning backdrop.
The spectacle of the film is also present in the spontaneous moments of song because people, or in the case of this movie, candlesticks and clocks, are part of the spectacle. The opening sequence and song, “Belle,” acts as both a set up to the beauty and newness of the remake, while still allowing the audience to feel comfortable with a song that most of us know.
Another aspect of the film that had audiences talking was Josh Gad’s portrayal of LeFou, which received a large amount of media attention before the film was released. LeFou, who plays Gaston’s sidekick, was the first openly gay Disney characters.
Judging by the backlash to the film, a movie theatre in Alabama and the refusing to show the film and a Russian law making trying to get the film banned in the country because it was gay propaganda, this aspect was supposed to be a very prominent part of the film. The scene in question that had people up in arms was nothing more than a three second quick cut of LeFou and another man dancing together.
This portrayal would be a shock to the majority of moviegoers if the last film they saw was from the 1950s. Back at that time, during which Hollywood censorship followed a set of runs called the Hays Code, homosexuality could not be depicted in film. Because this type of sexuality could not explicitly be shown, characters would instead be coded as homosexual. A great example of this type of coding can be seen in the film “Pillow Talk” (1959).
The buildup of LeFou’s character by media made it appear like his sexuality would be at the forefront of his character. The representation of his homosexuality seemed to be more of an afterthought; just another case of sexuality being blown out of proportion in film.
In a time when it seems like film audiences are getting a plethora of remakes instead of original ideas, “Beauty and the Beast” puts a new spin on an old classic. By changing its classic cartoons into live action features, Disney gives the audience a new perspective on the same topic.
Until next, take care of yourself and each other. I’m Jeff at the Movies.