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Roya Baalbaki

Dr. Tabitha T. Clark

ENGW1111

April 6, 2021

Compare / Contrast Essay

Beauty and the Beast Franchise

“Tale as old as time” (Trousdale) is a phrase that will automatically get you to resonate

with a folklore that dates back over 4,000 years Beauty and the Beast ("Fairy Tale Origins…”).

As a Disney franchise with four adaptations (Wiggan) it goes without saying that it has left a

mark on the world. Going back to its origins, the fairy tale La Belle et la Bête was found in a

collection of stories entitled “La Jeune Ameriquaine et les Contes Marins” written by French

author Gabrielle-Suzanne Barbot de Villeneuve in 1740 that was actually built upon the real-life

story of Catherine and her soon to be husband Petrus Gonsalvus. Peter suffered from

hypertrichosis (known as werewolf syndrome); a condition that leads to the intense growth of

hair on the body (Matthews). Despite the centuries present between one version of the story to

the other, all the adaptations revolve around the central theme of inner beauty. Starting with the

1991 Disney animated classic, a stupendous sensation that is hard to pick holes in, the directors

Gary Trousdale and Kirk Wise came up with a quality, animated fairy tale that is, of course,

more than just a movie – it was a whole universe and a tale freshly retold (Variety). This movie

was then re-imaged into a $160 million live-action version as a “lovingly crafted movie, and in

many ways a good one” (Gleiberman para. 1). This 2017 live-action remake starring Emma
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Watson as Belle and Dan Stevens as the Beast is considered “an enraptured piece of old-is-new

nostalgia.” (Gleiberman para. 1). Having these two works situated 26 years apart brings forth a

significant amount of differences where gender and ethics function as the most note-worthy and

discernible two.

The 1991 adaptation of Beauty and the Beast takes on the representation of toxic

masculinity, a term that came into existence around the 1980s and 90s, which accounts for its

dissimilar depiction as compared to the 2017 version. More specifically, it highlights the

stereotype of a superior male that embodies a more in-charge and in-control role illustrated

through masculine looks and egocentric actions. In the scene where Belle is walking home with a

book in her hand, Gaston pops up in front of her, snatches the book away and in an unconcealed

manner says, “Belle it is about time you got your head out of those books and paid attention to

more important things, like me” (Trousdale). As he throws her book, the angle the scene was

shot in shifts to the ground level showing the book in the mud, Belle on the floor and most

importantly giving prominence to Gaston’s muscular legs blocking Belle from her book. The

issue Gaston embodies is that he doesn't acknowledge or recognize Belle but rather projects his

masculine precedence on her. This depiction of Gaston’s megalomania is mirrored throughout the

rest of the movie, precisely in the scene where he “proposes” marriage to Belle. Gaston saying,

“this is [Belle’s] lucky day” emphasizes the fact that he is an asset to her life which in effect

enshrines his existence as opposed to hers. Moreover, it is not just the fact that he set up a

wedding for the two before even proposing, expecting that she will approve without any doubt

but goes further than that and heightens his conceitedness as he stops in the middle of his phrase

to look at himself in the mirror. This stereotype of superiority is illustrated again as Gaston walks
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into her house with assertiveness and says, “You know Belle, there is not a girl in town who

would not love to be in your shoes. This is the day”, stops to take a look at himself and reverts to

clean his teeth using his tongue, then smiles to himself in assertion, lets out a satisfied “ah” and

he proceeds to say, “this is the day that your dreams come true”. Taking staging into

consideration, the presence of the mirror places emphasis on Gaston’s supremacy.

Although the basic principles of what is considered to be “manly” embedded in Gaston’s

looks and actions were stretched out from the original into the live remake, the blinded

glorification of Gaston’s unhealthy habits embodied by the villagers is an endeavor that was

contrasted in the 2017 version. In Beauty and the Beast (2017) when all the townspeople were

gathered up at the bar, LeFou, being one of mindless adherence to Gaston starts singing in an

aim to cheer him up. Because the villagers are not on Gaston’s side and do not perceive him in a

heroic manner, LeFou had to pay them to sing. The initial noncompliance of the villagers is a

statement of opposition and resistance to Gaston’s self-esteem and self-admiration. It signifies

the start of a change that is built up throughout the preceding scenes. As a result, LeFou becomes

more aware of the true person Gaston really is. He starts by slowly speaking up to him,

something that is evident in the scene where Gaston leaves Maurice to die in the woods. LeFou

speaks up and says, “Do we maybe wanna consider less gruesome alternatives?” (Condon).

Comparing this role as opposed to his animated one, we notice that LeFou embodies more heroic

qualities. Towards the end of the movie, he undergoes a major change in which he officially

abandons him. Given these points, we can note that the live-action remake of Beauty and the

Beast can be considered a step towards advancement in the face of the typical male stereotype.
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Additionally, another key point to mention is that each version of the movie touches upon

and centralizes around a different theme of ethics. On one side, we have the 1991 production that

concentrates on the motif of loyalty and on the other side, we have the 2017 live remake that

focuses on the importance of family heritage. In the 1991 animated version, loyalty is a subject

matter that is repeatedly presented. LeFou is characterized as one who is blindly loyal to Gaston.

Despite the fact that Gaston was a tyrant oppressor over him, LeFou unambiguously went along

with it and awarded Gaston with unfading imperishable support. If we think about staging,

LeFou is shown with Gaston in almost every scene. Whether it is by standing next to him or

running after him, he is constantly by his side impulsively and mindlessly supporting his every

decision. In somewhat a similar manner, Cogsworth and Lumiere are faithful and devoted to the

Beast. They are not just servants who make sure that everything is in place catering to the beast’s

liking, but they actually have formed a friendship in which they stay true and loyal to him. If we

think about costuming “in the 1991 version of the film, the only animated movie to be nominated

for a Best Picture Oscar” (Driscoll) both characters are illustrated in yellow hues. According to

Hurlbut Academy; a professional online platform for film education, yellow is used to indicate

honor and loyalty. Their attire and ensemble as a whole give an insight to their character and

position in the Beast’s life.

Equally as important but different from the original, the main theme that is centered

around in the live remake is family, and more particularly the importance and relevance of

family heritage. This adaptation shines a light on the development of the cast’s personality which

accounts to an add-on to their character, and in due course, the plot as a whole. First, Belle

finding out about her family’s past is considered an essential element that her selfhood is built
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upon. In the eyes of the villagers, Belle is a strange girl and in due course, this perception the

townspeople had left a mark on her and resulted in her putting herself down. But, visiting Paris

with the Beast and getting an insight to her mother’s past validated her uniqueness as an

individual especially making her become a character with more agency. This does not only stop

at Belle but goes further and gives a reason why Maurice left the love of his life to save his

daughter. Putting these two together reinforces Belle’s will to save her father. As for the Beast,

learning that his father was a horrible man explains why the Beast is the way he is. Nevertheless,

it portrays the Beast through a different lens, specifically one that is more humble. In the

flashback scene of the death of the Beast’s mother, the Beast is found singing the song “Days in

the sun”. With this in mind, the lyrics "Days in the sun, When my life has barely begun, Not until

my whole life is done, Will I ever leave you" (Condon) enable the audience to empathize with

him especially because they give an insight and backstory to the Beast’s childhood. As has been

noted, having a familial incorporation to the storyline is considered an asset and attraction that

ties the story all together. In view of the ethical concepts tackled from one adaptation to the

other, we can come to a conclusion that the remake shifts the attention from the blinded loyalty

focused in the 1991 original to the significance of family history present in that 2017 live-

remake.

Given these points and taking a look at both works as a whole, the realization of the shift

in ideology of the real world in terms of gender and ethics is validated in the shift from one

adaptation of Beauty and the Beast to the other. Having character development as their focal

point and illustrating different matters of ethical recognition, these themes fit and suit all aspects

of society. All things considered, this franchise crystalizes the modification and alteration in real
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life values and puts them into illustration through stylistic changes in characters, plot, dialogue,

lighting and staging. Despite that, the moral of the story being that beauty is in the eye of the

beholder and that it is skin deep stay true to itself. Keeping in mind that this franchise has given

rise to many adaptations, it could be presumed that there are more that will follow. With that

being said, and for future reference, additional modifications like the jettison of singing and a

focus on staying true to its treasured core motive and story will adhere to the changing values of

society.
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Works Cited

“Colors in Filmmaking - What Do YOURS Represent?” Hurlbut Academy, 16 Aug. 2019,

www.hurlbutacademy.com/colors-in-filmmaking/.

Condon, Bill, director. Beauty and the Beast. Walt Disney Pictures, 2017

"Fairy Tale Origins Thousands of Years Old, Researchers Say." BBC News. BBC, 20 Jan. 2016. Web.

01 Apr. 2021.

Gleiberman, Owen. "Film Review: 'Beauty and the Beast'." Variety. Variety, 04 May 2017. Web. 25

Mar. 2021.

Matthews, Mimi. “Beauty and the Beast: From French Folklore to Victorian Romance.”

#FolkloreThursday, 8 Feb. 2019, folklorethursday.com/folktales/beauty-beast-french-folklore-

victorian-romance/.

Trousdale, Gary, and Wise, Kirk, director. Beauty and the Beast. Walt Disney Pictures, 1991

Wiggan, Alex. "How Many Disney Beauty and the Beast Films Are There?" It's A Stampede! 30 July

2020. Web. 01 Apr. 2021.