Tale as Old as Time: The Art and Making of Beauty and the Beast

Several famous movies, such as Willy Wonka and the Chocolate Factory and The Sound of Music, have books devoted to them. Some may believe the same could not apply to a single animated Disney movie, but film critic Charles Solomon's books have proved otherwise.

One of Solomon's books describes the making of Disney's Beauty and the Beast, from its folkloric origins to the 2017 remake. It begins with an introduction from Bill Condon, who directed the live-action film, and ends with acknowledgements. Most of the chapters in between discuss certain aspects of the animated film (creating songs, characters, world, etc.).

Each chapter is named after a lyric from a Beauty and the Beast song. For instance, the first chapter on the origins is "True as It Can Be," the chapter on the initial film is "Finding You Can Change/Learning You Were Wrong," the chapter on creating the characters is "True That He's No Prince Charming," etc. There is also a related image and quote at the beginning of each chapter. For instance, the first chapter features an illustration from the original French fairy tale. 

The book, in all its chapters, features detailed information about the film's predecessors, production, and legacy. Solomon incorporates quotes from those involved with the projects, as well as accompanying illustrations. These include, of course, early concept art for the animated film. 

Solomon did not explain every aspect of Beauty and the Beast. For example, the last chapter on the live-action remake did not explain why the filmmakers toned down Gaston and Belle's dynamics. However, it provides several hints that suggest answers; many are revealed through quotes and pictures. 

One thing I could critique was the lack of mention of Clairce, Belle's would-be sister, in the chapters focusing on the animated film's production. I understand why the filmmakers removed Clarice, but Solomon forgot to provide an answer for those who do not. Since I understood why, though, the lack of explanation did not bother me.

In addition, the chapter on the animated film's release showed a picture of concepts for merchandise that were not discussed in the text; the only merchandise mentioned was a sweater given to Howard Ashman. I would have liked to learn more about the merchandise became some appeared to be household products, which Disney doesn't sell anymore. However, that's probably nitpicking.

Tale as Old as Time: The Art and Making of Beauty and the Beast is a must-read for fans of the animated/live-action films and/or the stage production, giving almost all the information they need to know.

Have you read Tale as Old as Time: The Art and Making of Beauty and the Beast?

Disney Princess: Beyond the Tiara

Disney princesses have become more prevalent in pop culture since the debut of Snow White and the Seven Dwarves. Their influence has been so great that there is now a book about it. 

Emily Zemler's book on the Disney princesses features sections on their origins, reimaginings, merchandise, fashion, theme parks/resorts, fandom, and impact along with an introduction and an afterward. Before that, there's a foreword section by Ariel's voice actor, Jodi Benson. At the end is a timeline listing all the Disney princess media chronologically by year, from 1937's Snow White and the Seven Dwarves onward. 

Besides the well-researched information, the book has pop-out colors and well-arranged visuals. There are places in which the pictures seem out-of-place (such as the unmentioned Frozen II purse alongside the Disney scary moment purses), but most of them support the text. 

It is creative how Zemler named each section of the book after a Disney princess song. The origins section is "Once Upon a Dream" (Sleeping Beauty), the reimaginings section is "A Whole New World" (Aladdin), the merchandise section is "Part of Your World" (The Little Mermaid), and so forth. A monochromatic chart repeating images from the titled musical number also precedes each section. 

As informative and insightful as Disney Princess: Beyond the Tiara is, there are areas where I still have questions. For instance, in the "Part of Your World" section, Zemler wrote about how, because Walt Disney intended the animated Cinderella for all ages, the merchandise was for both kids and adults. She then wrote about the only merchandise for the Disney Renaissance films being toys. Are these films targeted only to children, then? If not, why don't they sell Disney-themed household products anymore?

There are some areas that discuss adult fans of Disney princesses, mainly the fashion and fandom sections. However, the influence section mainly talks about the films' impact on children. As someone who has only been influenced by some of the animated films as an adult, it feels lonely being a fan because these are widely perceived as being made exclusively for children. 

However, I still got some positive insights from the influence section. I enjoyed reading about how the Cinderella inspired Frozen director Jennifer Lee to stand up to bullying. Such positive influences stood out to me because early Disney princesses often get accused for giving girls "bad role models." 

I also enjoyed reading the fandom section, especially when it talks about fans cosplaying as Disney princesses in different ways. Such cosplays inspire me to reimagine the princesses in my own ways. 

As a fan-oriented book, Disney Princess: Beyond the Tiara does not address criticism nor negative influences from the princesses. It also does not answer every question readers might have about them. What the book can do, though, is give fans more insight into every aspect of the Disney princesses in a way that celebrates these iconic characters. 

Have you read Disney Princess: Beyond the Tiara? What do you think about it?

Aschenputtel (2010 German-Language)

There are many film adaptations of Cinderella, but most of them are based on the Charles Perrault tale. The Brothers Grimm version is different, and adaptations are rare.

That could be because many perceive the tale as too dark for children. Walt Disney adapted the popular French version because he felt the Brothers Grimm tale was too violent. However, I would not say that, besides the heel cutting, adaptations of the Brotheres Grimm tale are much darker than, say, the live-action Disney adaptation.

A 2010 German-language film from the German company ZDFtivi is one example. While mostly faithful to the original version, the film reduces its gory moments. For instance, since there is only one stepsister (Clotilde), there is only one scene showing a bloody heel. 

Many of the changes in the film involve the increase in dramatic blows. For example, the mother dies after collapsing at a dance party rather than lying in bed. Plus, Marie (this version's Cinderella figure) and Clotilde fight before Marie becomes a servant. There are also several moments of raised tension, such as Clotilde and the stepmother increasingly noticing Marie with Prince Leonard.

Plus, there is an element that calls back to Disney's versions: Marie got locked inside her house not once, but twice. The moment where Marie gets herself out without a man saving her, in addition to planting and relying on a magic tree, serves as an extra moment showcasing her resourcefulness. 

The German-language Aschenputtel may have more tension than the original tale, but not much more depth. While Marie was resourceful, she was not active. Instead of having a clear goal, Marie passively put up with the abuse from her stepfamily. Her relationship with her dead mother is also hardly explored as the only thing they did together was dance. Her mother did not even assure God would watch over Marie as she did in the literary version. She only spoke to her through the dove. 

However, Prince Leonard got a bit of depth. He talked with and about Marie more. Prince Leonard even painted a picture of Marie after the second dance. 

The palace, especially with its white and yellow color combination, is stunning. These colors, which also appeared on other buildings, and the wigs on the castle staff give the film a sense of pure eighteenth-century Europe. The characters may have spoken in German (preventing me from understanding much about them), but I heard France mentioned a few times. 

Another highlight of the film was the score. The classical music playing at the dances sounded as if they came from famous classical composers. 

Overall, the German-language Aschenputtel is a faithful but creative adaptation. The German language will make the story confusing for those unfamiliar with the language and the characters still lack depth, but the visuals, music, and new twists make it a worthwhile watch for fans of the Brothers Grimm tale on YouTube. 

Have you seen and/or want to see the German Aschenputtel?

The King's Daughter

There are plenty of fairy tale movies that do not come from Disney, nor are based on well-known stories. The King's Daughter is a perfect example.

Even though it centers on King Louis XIV "the Sun king," The King's Daughter took inspiration from a novel: The Moon and the Sun by Vonda N. McIntyre. While the film suggests King Louis had a daughter named Marie-Josèphe, there is no information about her real-life counterpart. 

A fairy tale based on both history and literature is unique. How do I know it's a fairy tale? Like many early Disney movies, The King's Daughter opens and closes with a storybook. There are also mermaids in the story, which nods to Peter Pan and The Little Mermaid. Plus, the story centers around the common feature of fairy tales: a royal family (in this case, a king and princess). 

The film opens explaining Marie-Josèphe's love for water and being raised in a convent. Yet, it reveals little about her goals. That makes the film feel more like a sequence of actions than a stitched-together story. It would have felt differently if they focused more on Marie-Josèphe's life in the convent and less on her father ordering the capture of mermaids early on. 

Marie-Josèphe develops a relationship with her father throughout the first act and eventually, as in most fairy tales, falls in love with Benoit (not Napoleon, the husband of the only real-life Marie-Josèphe I can identify). Their fishing area date, especially the set with the Tudor building, was a delight to watch. 

While Marie-Josèphe develops strong relationships with men, she also develops close bonds with other women. She hangs out with servant Magali many times through the film. Marie-Josèphe befriends a mermaid who eventually helps her, too. 

I also enjoyed the Christian references in the film. While Marie-Josèphe gets treatment for an injury, for instance, she says God will help her. King Louis XIV references God many times, too. 

The costumes all seem fit for royalty-Marie-Josèphe's pink outfit stood out among the rest. Her braided wrap-around hairstyle was also memorable. Unfortunately, the same cannot be said about the lighting. As with many live-action films, the lighting sometimes gets too dim. This especially happens in dark scenes with storms and waves. 

The King's Daughter is far from perfect, but those seeking a non-Disney live-action fairy tale will enjoy this. The history may or may not be accurate, but I especially recommend this for French history fans. 

Have you seen The King's Daughter? What do you think about it?

Fairy Tales for Families?

Fairy tales are either described as being more for adults (violent content) or for children (squeaky-clean content). At least, this binary has been so for over a century. 

The distinction was different when the Brothers Grimm began catering fairy tales to children; child-friendly once meant more violent. The violence (i.e. pecking the stepsisters' eyes out in Cinderella) would scare children into obedience and other positive virtues. However, such violence would today be considered more for adults. 

People have constructed the children's/adult binary to describe the target audiences of fairy tales. Perhaps the binary has been constructed for stories, in general. Our modern culture suggests adults and children cannot share the same forms of entertainment, thus widely perceiving family films as "just for kids."

This article is about fairy tales for families. Before I discuss the topic, I must clarify the difference between stories for children and stories for families.

Children's Stories

Children's stories are strictly for children; adult presence is not expected. Parents and caregivers might read the stories or watch the shows with their kids, but they are engaging in it for the kids and not necessarily for themselves. Yet, children's shows try to be tolerable by, for example, excluding "baby talk."

Stories for young children (ages 2-6) usually teach basic educational content (Sesame Street) or simple lessons (Bluey). Educational content and straightforward lessons are also present, though more complex, in stories for primary-age children (ages 6-9). Stories for older children (ages 9-12), though, delve into the complexity often found in novels and blockbuster films. 

As it applies to fairy tales, children's stories usually have some kind of repetition in their plots. For example, there's the Beast's multiple marriage requests in Jeanne-Marie Leprince de Beaumont's Beauty and the Beast, the three balls in the Grimm Brothers' Cinderella, Jack's three trips up the beanstalk, and the refusals of the hen's housemates to help with the chores in The Little Red Hen.

Family Stories

Family-oriented stories are still suitable for children, but they feature adult jokes and/or mature themes that make it more enjoyable with age. The storylines are easy for children to follow but complex enough to engage teenagers and adults. 

Books, especially not novels, cannot be for entire families because reading is an exercise that must grow with age. However, plenty of adults enjoy children's books; several children's novels eventually become wholesome family films. Disney's Tuck Everlasting, though originally written for children, delves into themes about the meaning of life, ones that resonate with all ages. 

Family-Oriented Fairy Tales

When applied to fairy tales, then, a family-oriented version touches on mature themes while remaining appropriate for children. However, Charles Perrault's Cinderella and Little Red Riding Hood, though not solely for children, lack mature themes. They do lack the repetition found in some Grimm tales, helping these stories age better. 

The same can be said about Disney's Snow White and the Seven Dwarves, Cinderella, and Sleeping Beauty; people consider these family movies, but adult themes are also lacking. Besides, these stories are rather simplistic, making them seem more like children's films on the surface.

The Disney fairy tale has only delved into mature topics and more complex storylines since the Renaissance era (1989-1999). The Little Mermaid is about a father letting go of his daughter, for instance, and Beauty and the Beast is about a woman resisting sexism and finding intimacy. 

When The Little Mermaid premiered, half of the viewers were teens and adults. Beauty and the Beast was a hit among childless dating couples. Since then, Disney has continued to prove fairy tales could appeal equally to children and adults by inserting mature themes. The Princess and the Frog is about a young woman working to open a restaurant. Tangled is about a gaslit young woman overcoming trauma. Even if adult themes were lacking, as in Aladdin and Frozen, the complex storylines ensured widespread appeal. 

Conclusion

For a fairy tale to appeal to a wide audience, it can have adult themes but needs a lack of repetition and a complex storyline with well-developed characters. Children should still be able to follow it, but they will discover new things in the stories as they grow up. 

How do you think a fairy tale could target the general population?

Is Disney's "Beauty and the Beast" Problematic? (Christian Perspective)

Image source: https://wallpapers.com/wallpapers/beauty-and-the-beast-stained-window-6ka0ttbc4drnjuc1.html

The classic Disney animated Beauty and the Beast is one of the most famous love stories around. In fact, it appears among the AFI's Top 100 Passions list. However, is Beauty and the Beast really a fulfilling love story? Or does it glorify abuse?

Controversial Romance

Belle and Beast's relationship is quite controversial because the Beast initially captures Belle. Plenty of people have argued Belle does not have Stockholm Syndrome, but some have argued their relationship is unhealthy in other ways; for example, it convinces young girls they can change abusive partners through nurturing care. 

I have read articles explaining how dysfunctional the relationship is. However, none of them are written from a Christian perspective. As a Christian, I find it crucial to watch films with Biblical values.

Anna Menta is one of many who, in her 2017 Elite Daily article, argues Beauty and the Beast is merely a film that glorifies abuse. Even after Belle nurses the Beast, as Menta writes, "He gives her morsels of confusing kindness-such as the library-that in theory, make it seem like he's treating her right, but maintains total control over her freedom."

Yes, I see how kindness can be used to mask manipulation, but I think that more clearly defines the live-action film than the animated one. In the cartoon, the Beast develops feelings towards Belle's kindness and, thus, desires to be like her; that's why he gives her the library. In the 2017 live-action remake, though, the Beast hands over the library to get Belle to stop quoting books-and she falls for it anyway. 

Image source: https://wallpapers.com/wallpapers/cartoon-disney-princess-belle-9ovok98aiva8bhoq.html

Belle's Dreams Fulfilled?

I have also read arguments claiming Belle never got the adventure she wanted; instead, she got a man. If you pay attention to the bookshop scene during the opening number, though, Belle clearly describes her favorite book as being about "far off places, daring sword fights, magic spells, a prince in disguise." She ended up reversing a magic spell at a mysterious castle and meeting a cursed prince. This being said, the Beast gave Belle the adventure she wanted. 

Some people, especially in our individualistic culture, also view Belle's choice to take her father's place at the Beast's castle as problematic. However, sacrificial love is encouraged in scripture. John 15:13 reads, "Greater love has no one than this, that someone lay down his life for his friends" (Holy Bible, English Standard Version). By the end of the animated film, the Beast learns to exhibit sacrificial love himself. 

Alongside escaping her provincial village, Belle wanted to be accepted for who she is. She refused to change herself to please men, but she was still lonely and desperate for love. Prolonged loneliness can be toxic and is discouraged by scripture. After God created Adam, He says in Genesis 2:18, "It is not good that the man should be alone" (Holy Bible, English Standard Version). The Beast learned to treat Belle the way for her inner qualities rather than her beauty, thus giving her the community she needed. 

Image source: https://wallpapers.com/picture/beauty-and-the-beast-pictures-ic32pmwxps4ka46c.html

Evaluating Belle and Beast's Relationship

While women should never try to change abusive partners, it is also possible for abusers to repent. Micah 7:19 reads, "He will again have compassion on us; he will tread our iniquities underfoot. You will cast all our sins into the depths of the sea" (Holy Bible, English Standard Version). This being said, God forgives all sinners who repent.

Besides, Belle never tries or intends to change the Beast in the animated film. The only moment I could see the possibility is when Belle nurses the Beast. However, the Beast has already started to change by then. I also read an online comment pointing out that Belle held the Beast accountable for his actions rather than trying to change him. In the remake, though, Belle used book quotes to change the Beast.

Belle certainly never tried to change Gaston, who displayed much more red flags than the Beast (telling her not to read, showing up uninvited, forcing her into marriage, etc.) Gaston is much less predatory in the remake; I think the creators maybe did't want to show kids woman abuse. However, kids need to know that the world is not always safe place; women still face sexism today. Parents need to talk about the issue with their children as well as explaining the difference between repentent and nonrepentent sinners. 

There are certainly cases in which victims of abuse believe they can change their partners (who may refuse to repent). However, blaming Beauty and the Beast for this attitude ignores the trope's prevalence in other media. For instance, it occurs in Adventure Time and The Simpsons. 

The Real Problem

I understand why Beauty and the Beast has been accused of romanticizing violence, though. As with all other Disney princess stories, it is heavily marketed to girls in their early childhood years, a time when they cannot yet separate fantasy from reality. I doubt they can understand the difference between changing yourself with outside guidance and directly changing someone else. Hence, a child under six might read the film as being about a woman changing a man, which can later hinder their ability to overcome abuse. 

Parents should definitely talk about Belle and the Beast's relationship with their children when watching the film. However, it needs to happen at the right time; children below first grade might be too young to understand the complex relationship dynamics. If children do end up watching the film before age six (because it's so common), parents need to limit their exposure to it and tell them it's "pretend." 

Even if Belle and the Beast's relationship is problematic, that's why children must distinguish a fairy tale from real life. What works in a fantasy romance will probably not work in real life. Besides, movies in general are not meant to model behavior; they are meant to challenge our views about things. Movies can teach kids about issues such as sexism, but parents should discuss it with them for best results. 

Conclusion

Disney's Beauty and the Beast can be problematic if misused as a babysitter, but it does encourage Biblical values such as forgiveness and sacrifice. Parents might need to clarify the story to children at first, but they can eventually view it as an allegory of sacrificial love rather than a model for real life. 

Do you think Beauty and the Beast is problematic?

RESOURCES:

Holy Bible. English Standard Version, Crossway, 2016. 

Menta, Anna. "The 'Beauty and the Beast' Love Story Doesn't Hold Up to Emma Watson's Feminism." Entertainment, Elite Daily, 17 Mar. 2017, https://www.elitedaily.com/entertainment/film/beauty-and-the-beasts-abusive-relationship-emma-watson/1828119. 

Cinderella (Disney Live-Action)

Over the past decade, Disney has been remaking several of their animated classics. Most of them suffer from politically correct agendas, excessive similarity to the originals, and/or poor writing. Before 2017, though, remakes were much more creative.

Cinderella is my favorite of Disney's remakes. Alice in Wonderland and Maleficent added adult twists to the classic stories. Cinderella, along with 2016's The Jungle Book, reimagined the classic stories in new genres/formats while remaining family-friendly. While the original 1950 animated film was a simplistic musical, the live-action version is more of a romantic drama.

Cinderella actually has the feel of a faith-based drama; Ella's promise to live according to her mother's dying words ("Have courage and be kind") provides a lot of emotional depth. Ella grows up attached to her mother and father and their home, which has belonged to her family for generations. Once Ella's father dies several years after her mother, she puts up with Lady Tremaine's abuse because of an attachment to her home. It took a few romantic encounters with Kit to help Ella let go. 

Some people have had a problem with the lack of songs; they say it takes memorability away. I could understand their perspective, but it helps the remake stand on its own. The emotional scenes were also enough to make this film memorable. Besides, there are some references to the songs: for instance, Ella hums "Sing, Sweet Nightingale" once and her stepsisters play it on the piano. 

While Disney's other remakes are more serious, Cinderella celebrates miracles. Ella's mother believed in fairy godmothers; a beggar woman whom Ella helped turned into her fairy godmother. This redefines fairy godmothers; if you help someone, they will help you. Besides, Ella and her fairy godmother actually work together to prepare for the ball. Her fairy godmother no longer appears from out of nowhere and does everything for Cinderella. Ella's fairy godmother even narrates the story, which is a creative twist. 

Alongside the emotional depth, there is some humor. Most of the comedic moments occur during the transformation scenes; the pumpkin blowing up was memorable and the transformations of the goose and the lizards made me laugh. 

In the cartoon, the conflict between the mice and Lucifer supplied much of the comedy (and I felt it was a tonal issue). They remain present, and the mice still help Ella, but they no longer speak. It is impressive how well the producers tweaked the story for a live-action format. Some would argue the transformation moments I mentioned above are cartoonish, but not so much as a bouncing, dancing pumpkin.

Lady Tremaine's cartoon counterpart executed most of her cruelty by giving orders. She is much crueler in the remake, though. Since Lady Tremaine lost her lover, she has been protective of her family's status. To do so, she tries to ruin Ella's life as much as possible. Lady Tremaine calls Ella names and even tells her a story about her being a burden. 

The live-action Anastasia and Drisella dress and behave in childish ways (i.e. fighting and refusing to do chores). Lady Tremaine seems to condone their immaturity, even though her daughters are adults. 

One of the best changes they made to the live-action remake has to do with the prince. Kit's cartoon counterpart, Prince Charming, silently gives in to his father's plan. He is now much more involved in his future. After meeting Ella in the woods, her words on kindness impressed Kit so much that he convinced his family to invite everyone to the ball. 

Some could argue Cinderella was more passive in the remake, especially because she does not try to escape after being locked in the attic. I get that critique, but that was the moment Ella discovered her inner connection to her parents; she did so by singing a song her mother once sang to her. 

Besides, Ella is much more active than her cartoon counterpart in other ways. She no longer puts up with her abusive stepfamily full-time; she escapes into the woods after the first time she's called "Cinderella." If she did not run off, Ella would not have met Kit. In addition, Ella had to go into town to hear about the ball and the slipper. If Ella stayed home full time, she would never have escaped. 

Alongside having more complex and relatable characters than the cartoon, the live-action Cinderella has more mature themes. Since Ella finds the connection to her family inside of her and lets go of her home for better things, Cinderella touches on familial legacy and detachment. 

The emotional depth, fresh format, traditional values, and the colorful set and costumes make Cinderella stand out among Disney remakes. It touched me more than any of Disney's other live-action films. 

Have you seen Disney's live-action Cinderella? What do you think about it?