Beauty and the Beast: A Provincial Remake, But Some New Magic Flickers
“You can’t judge people by who their father is,” Mrs. Potts sagely intones. This preoccupation with parentage is new to this version of Beauty and the Beast, Bill Condon’s half-enchanting, half-enervating remake of the 1991 animated classic. But while Mrs. Potts’ wisdom is undeniable—she speaks in the voice of Emma Thompson, after all—it is impossible to view this latest child of Disney without considering the long shadow cast by its progenitor. Every work of art must be judged on its own terms, yet the question lingers: Was there a genuine reason to make this movie, an artistic justification beyond the piles of cash that the studio is already raking in? Or, to turn another of Mrs. Potts’ observations into a question, is there something there that wasn’t there before?
Yes and no. Operating under the all-seeing mandate of a corporate overlord, Condon and his screenwriters, Stephen Chbosky and Evan Spiliotopoulos, have transported the original’s two-dimensional drawings into spit-and-glue live action with a predictable degree of fidelity. This immediately lowers the remake’s ceiling; imitation may be the sincerest form of flattery, but it is perhaps the laziest form of filmmaking. Yet this new incarnation of Beauty and the Beast, while expectedly faithful to the original, is not entirely a retread. Narratively, it has some additional backstory, which is arguably extraneous but which nevertheless adds heft to the movie’s thematic interest in the bond between parents and their offspring. Musically, beyond the instantly hummable hits from one of the biggest-selling soundtracks of the ’90s, it exhibits a handful of original songs, several of which are lousy but a few of which are actually pretty good. And of course, it features the services of a litany of estimable British and American actors, who help imbue an otherwise commercial enterprise with artisanal craft. Read More
