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They invite her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast scares her into the woods. Belle is ambushed by a pack of wolves, but the Beast rescues her, becoming injured in the process.

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As Belle nurses his wounds, a spark develops between them. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses the book to visit her childhood home in Paris, where she discovers a plague-doctor's mask and realizes that she and her father were forced to leave when her mother succumbed to the plague. In Villeneuve, Maurice fails to convince the other villagers of the Beast and Belle's imprisonment. Gaston, seeing rescuing Belle as an opportunity to win her hand in marriage, agrees to help Maurice.

When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to be eaten by the wolves. Maurice is rescued by the town hermit Agathe, but when he tells the townsfolk of Gaston's crime and is unable to provide solid evidence, Gaston convinces them to send Maurice to an insane asylum.

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After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle reveals the Beast in the mirror to the townsfolk, proving her father's sanity. Realizing that Belle loves the Beast, a jealous Gaston claims she has been charmed by dark magic and has her thrown into the asylum carriage with her father.

He rallies the villagers to follow him to the castle to slay the Beast before he curses the whole village. Inside the asylum carriage, Belle tells her father that she knows what happened to her mother and showed him the rose rattle she took from her magical visit to their old, abandoned home. Maurice and Belle escape, and Belle rushes back to the castle. During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. He attacks the Beast in his tower, who is too depressed to fight back, but regains his spirit upon seeing Belle return.

He defeats Gaston, but spares his life before reuniting with Belle. However, Gaston treacherously shoots the Beast from a bridge, which then collapses as the castle begins to crumble, leading Gaston to fall to his death. The Beast then dies as the last petal falls, and the servants become inanimate. As Belle tearfully professes her love to the Beast, Agathe reveals herself as the enchantress and undoes the spell, repairing the crumbling castle, restoring the Beast and servants to their human forms and to the villagers' memories.

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The Prince and Belle host a ball for the kingdom, where they dance happily. Cast[edit]Emma Watson as Belle, a young benevolent bibliophile who develops feelings for the Beast and begins to see the humanity within him. Daisy Duczmal portrays an infant Belle.

Dan Stevens as Beast, a cold-hearted, selfish, unkind prince who is transformed into a beast and forced to earn back his humanity by learning to truly love and be loved in return, as well as to give rather than take. Stevens portrays the character through motion-capture. Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.

Kevin Kline as Maurice, Belle's protective widowed father who works as a music box maker and an artist. Josh Gad as LeFou, Gaston's flamboyant and long-suffering sidekick who bolsters his friend's ego but gets very little in return. Potts, the castle's motherly head housekeeper who has been transformed into a teapot. Rita Davies portrays the enchantress in her beggar woman form. The film was released posthumously after Davies' death.

Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup. Potts' husband and Chip's father. Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth's wife. Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink. Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.

Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove. Thomas Padden as Chapeau, the prince's valet who has been transformed into a coat rack. Tom Turner[2] as The King, the prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.

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Harriet Jones as The Queen, the prince's mother who died of an illness when he was a child. Dale Branston as Villeneuve's residential baker. Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read. Vivian Parry as the Village Lass' mother, an unnamed seamstress.

Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes. Condon later explained that 'after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, 'We're interested in a musical to a degree, but only half full of songs. So I backed out for a minute, and they came back and said, 'No, no, no, we get it, let's pursue it that way.

Horn with the decision to make the film as a musical: 'We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn't a musical at that time. But we just couldn't get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again? Horn, as he had previously run Warner Bros. The facial capture for the Beast was done separately in order to 'communicate the subtleties of the human face' and '[capture the] thought that occurs to him' which gets 'through [to] the eyes, which are the last human element in the Beast.

In the original version of the scene, it was Jones's character, the Prince's mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince now played by Adam Mitchell.

Both Goodman and Garrett's names were mistakenly featured in the original theatrical release's credits, but was later corrected in home releases. In Bill Condon's opinion, that original score was the key reason he agreed to direct a live-action version of the movie. In fact, Frank Rich described it as the best Broadway musical of The animated version was already darker and more modern than the previous Disney fairy-tales.

Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it's not just being literal, now other elements come into play. It's not just having real actors do it'. While ultimately accepting the opportunity, she said: '[The] first Beauty and the Beast decision was made with my husband.

Now I'm making decisions on my own.

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It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way'. She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career.

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According to Dion, 'I was at the beginning of my career, it put me on the map, it put me where I am today'. Also, Josh Groban was announced to be performing the new original song 'Evermore' six days later. The stream was broadcast onto YouTube. A sing along version of the film released in over 1, US theaters nationwide on April 7, The movie was an awards push as the —18 awards season heated up. Beauty and the Beast was released on 4K Blu-Ray on March 10, along with the original animated film. It also became the second-biggest musical ever overall at the time, behind Disney's Frozen Critics said the film was playing like superhero movies amongst women.

It was the second-biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney. It became the first film since Rogue One: A Star Wars Story also a Disney property in December to make over a billion dollars, and did so on its 29th day of release.

Of those, approximately 1, cinemas were sing-along versions. It added major markets like France and Australia. Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third-biggest ever behind the two James Bond films Skyfall and Spectre. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time—around two months—to market the film nationwide.

The release date was strategically chosen to coincide with White Day. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The website's critical consensus reads, 'With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material.

Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: 'It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy. He also commented on the advantage of its using both motion capture and CGI technology, writing: 'Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast'. A Missing in Action '.

He also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences. David Sims of The Atlantic wrote that the film 'feels particularly egregious, in part, because it's so slavishly devoted to the original; every time it falls short of its predecessor which is quite often , it's hard not to notice'.

It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly. He felt the film needed more life and depth, but praised Watson's performance as the 'one of the film's stronger elements'. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs. Because you've seen the movie—it's such a tiny thing, and it's been overblown.

We have interracial couples—this is a celebration of everybody's individuality, and that's what's exciting about it. A board member of the company stated that the Ministry of Information's censorship department had requested it to stop its screening and edit it for things the Ministry deemed offensive.

Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale. Belle actively argues and disagrees with [Beast] constantly.