If you have a phobia for talking anthropomorphic objects, this movie will trigger you terribly.Īs is necessary in these things, Belle must be captured by the Beast, who must not get along with her until he falls for her. Also cursed are his servants, transformed into all of the following: a candle, clock, wardrobe, teapot, tea cup, feather-duster, hat rack, and harpsichord. The Beast, of course, is a cursed aristocrat, who can only turn back into his aristocratic human self when a woman truly loves him in his beastly form. Maurice is captured by the Beast for stealing a rose, so Belle must try to rescue her father. That castle is enchanted and ruled by a massive, talking Beast. While traveling away from town one day, Belle’s father Maurice (Kevin Kline) gets lost in the forest, only to stumble upon a remote castle. The young Belle (Emma Watson) lives in a provincial French town-she can’t tell us enough how provincial it is-where she’s pursued by the narcissistic braggart Gaston. The story is all sanitized Disney fairy-tale.
On the question of cloning, most people, after watching this one, will probably answer “meh.” This 2017 “Beauty and the Beast” is good enough for the kids, and curiosity-inducing enough for those who want to see Belle in the flesh. Several shots, including repeated long-shots of the Beast’s castle, will blatantly suggest, “Come to Disneyland, where spending has no limits!” Belle will pose again and again and again as a princess. Candles and feather-dusters will sing “Be Our Guest.” The beast will huff and puff, and then sigh and brood about love. According to my ever-dimming recollection, this 2017 live-action version of “Beauty and the Beast” repeats the beloved 1991 animated version nearly step for step. The new Disney musical “Beauty and the Beast” raises the question of whether cloning is ethical.
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