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Beauty and the Beast

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Here’s a wild thought – Bill Condon’s remake of Disney’s animated classic, that arrives complete with songs, talking candelabra, clock and tea pot, not to mention a mo-capped Beast (Dan Stevens) as well as Belle (Emma Watson) in the expected attire, is a parable about Donald Trump’s America. Wait, come back! Condon devotes a good portion of the film to the Beast’s enchanted castle, surrounded by perpetual winter and occupied by all manner of eccentric characters, but equal attention is paid to the ‘provincial town’ where Belle and her father Maurice (Kevin Kline) reside. The villagers are a varied bunch, but share narrow beliefs and easily thralled by Gaston (Luke Evans), a charismatic local celebrity with great force of personality, who is self-centred and conceited, contemptuous of women and expects everyone to adulate him. Sound familiar? More tellingly, the villagers are easily swayed by Gaston’s charisma to (spoiler alert) go after someone different. The Beast is the most obvious example, but Belle herself is a social pariah while Gaston easily convinces the townsfolk that Maurice is mad, while the minor yet significant character Agatha (Hattie Morahan) is similarly ostracised for not adhering to social mores that Gaston exploits and epitomises. And yet it is these different people, those who are ‘Other’, that display the humane qualities of empathy, kindness and compassion. While the overall story arc is of course about love, a central conceit of not judging by appearances and instead accepting and embracing difference pervades the film. Beauty and the Beast therefore continues Disney’s progressive streak that includes Zootopia and Queen of Katwe. Long may the House of Mouse continue this open door policy.

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