Those glimpses of the film show us a visual evocation of the much beloved 1991 Beauty and the Beast so striking as to be almost self-plagiarised. It’s also because of the other references it contains. If the 2017 Beauty and the Beast trailer strikes such a chord, it isn’t just because it exploits the power of the original tale.
The trailers for Disney’s latest have drawn a colossal amount of views, and make for interesting further interpretions. And this year, we are treated to a new version starring Emma Watson.
There are straightforward adaptations – from Jean Cocteau’s superlative surrealistic take in 1946 to the 2014 Christopher Gans film – but also countless rewritings, most notably Stephenie Meyer’s wildly successful Twilight series (from 2005). Their mutual love, as she reaches adulthood, must evolve – her request that he pluck a rose for her, with all its implications of romance, must, we subtly understand, remain unrealised.īeyond this psychoanalytical reading, Beauty and the Beast draws some of its success from transportable moral lessons: never judge anyone on their appearance love someone for who they are inside (although when you’re Beauty, the Beast somehow isn’t required to make the same effort of imagination).īut those explanations do not exhaust the mystery of why the fairy tale continues to fascinate all over the globe. For that to happen, she must detach herself from her father. On a crudely symbolic level, Beauty and the Beast tells the tale of a young woman taming her fear of masculinity – of the size and savagery of men, of the secrecy surrounding sexuality. Originally published in 1740 by Gabrielle-Suzanne Barbot de Villeneuve, the fairytale was subsequently rewritten and abridged by another French woman, Jeanne-Marie Leprince de Beaumont, 16 years later. The narrator’s literal reading hints at the most obvious interpretation of the fairy tale, which sees a comeback this month in Disney’s live action remake of the classic 1991 animated Oscar-winning film starring Harry Potter star Emma Watson. … Did that mean that all over the globe, in all innocence, women were marrying beasts? In Jeanette Winterson’s Oranges Are Not the Only Fruit (1985), the young female narrator stumbles upon a book of fairy tales and recoils at the story of Beauty and the Beast, musing: Beauty and the Beast remake: A traditional tale with a modern twistĭr Clementine Beauvais, from the University of York's Department of Education, discusses bringing Disney's classic tale, Beauty and the Beast, back to the big screen in a live-action remake featuring a more modern-day Belle:
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