Beauty and the Beast (2017)


Shall we dance?

(2017) Fantasy (Disney) Emma Watson, Dan Stevens, Kevin Kline, Luke Evans, Josh Gad, Ewan McGregor, Ian McKellen, Emma Thompson, Hattie Morahan, Stanley Tucci, Audra McDonald, Gugu Mbatha-Raw, Ray Fearon, Haydn Gwynne, Gerald Horan, Nathan Mack, Clive Rowe, Thomas Padden, Gizmo, Rita Davies, Adrian Schiller, Harriet Jones, Zoe Rainey. Directed by Bill Condon

 

Disney has of late taken the strategy of remaking animated classics as live action films. It has thus far been successful for them; Maleficent, Jungle Book and Cinderella have both been moneymakers for the studio. Now comes the most lavish and most recent of the animated classics to get a live action version.

The tale’s as old as time; Belle (Watson) is a bookish, intelligent young woman growing up in a provincial town in France in the 18th century. The daughter of Maurice (Kline), a widowed inventor, she happily borrows every book she can get her hands on and cheerfully ignores the advances of the young men of the town, particularly Gaston (Evans), a former soldier chafing in his idleness in a life of hunting and drinking, assisted by the loyal LeFou (Gad).

On the way to the market, Maurice gets chased by wolves onto the grounds of a creepy looking castle. It turns out to be inhabited by a dreadful Beast (Stevens) and living furniture who used to be the servants of the castle. When Maurice’s horse comes home without him, Belle knows something is wrong and races out to rescue her father. When she finds him locked up in a prison cell in the castle, shivering and sick, she offers to take his place and the Beast agrees.

What she doesn’t know is that the Beast and all who lived with him are victims of a curse leveled by a witch (Morahan) who was refused hospitality on a cold stormy night because she was ugly. Now time is running out on the curse which can only be broken by someone who loves the Beast and is loved by him. But Belle is beautiful; she can have any man she wants. Why would she want a Beast?

Although roughly based on the French fairy tale, this version more closely adheres to the 1991 Disney animated version and includes the songs written by the Oscar-winning duo of the late Howard Ashman and Alan Mencken and includes four new songs written by Mencken and lyricist Tim Rice. The results are lush and elegant, gathering many of the elements that worked so well in the original and transferring them note-perfectly into live action.

The production design here is intense and we feel that we are given a glimpse not necessarily into 18th century France so much as a France of myth and legend. It’s an idealized version that is at odds with the suffering amongst the poorer classes that was so great that they rose up and slaughtered their own ruling class. Here however, the ruling class in their rococo Versailles is beloved by the simple folk despite the cruelty and conspicuous consumption displayed by the palace’s occupant that was so egregious that he and all around him were cursed. Well, he had some daddy issues so I suppose he can be excused, right?

There also was much made over the “outing” of LeFou as Disney’s first outright gay character, but even that is a bit of a tempest in Mrs. Potts (Thompson). LeFou’s coming out consists of him dancing with another man (who is dressed as a woman for reasons I won’t get into here) for a few seconds of screen time at the movie’s conclusion. Considering the brouhaha it created in the religious right, I’m not surprised Disney is taking baby steps towards inclusion (there are also a couple of interracial couples among the castle’s inhabitants) but it does feel like the studio didn’t have the courage of their convictions here.

Still, one must commend them for at least trying and for not bending to pressure, refusing to re-cut the movie for Malaysian censors who banned the film from their country based on those few seconds of screen time. Personally, I think the studio should have cut the film a little more judiciously; it runs over two hours long which is about 45 minutes longer than the original animated feature. Condon and writers Stephen Chbosky and Evan Spillotopoulos flesh out the backstory, explaining why Belle’s mother is out of the picture and why the Beast’s human prince was such a rotten individual among other things and it makes the movie a little too ponderous for its own good. Several little princesses in full regalia at the screening Da Queen and I attended got extremely restless during the movie’s final half hour.

But the ending is definitely worth it. It is slightly different than the animated version and the difference is enough to really tug at the heartstrings and create an emotional catharsis that warms the cockles even as you’re wiping away the tears. I didn’t expect to like this as much as I did; everything I heard about it made me fear that it was a bloated mess and in some ways it is, but there is enough heart here that it actually becomes a worthwhile viewing. Plenty of little princesses are going to be demanding that their parents add this to their video collection not too long down the line when it becomes available.

Chances are, you’ve already seen this and if you haven’t, I strongly urge you see it on the big screen while you still can. The amazing special effects deserve the best possible presentation. Even if you aren’t required to see it by a child in your life, this is actually a fine motion picture for adults, if for no other reason the nostalgia that it evokes. It truly is a tale old as time.

REASONS TO GO: The special effects are gorgeous. The film has a lot more heart than you’d expect from an effects-heavy fantasy.
REASONS TO STAY: There’s a little too much ephemera.
FAMILY VALUES: There is some violence and action sequences, scenes of peril and a few frightening images.
TRIVIAL PURSUIT: Ian McKellen was originally offered the part of Cogsworth for the 1991 animated version and turned it down (David Ogden Stiers eventually took the role) but he chose to accept it this time out.
CRITICAL MASS: As of 5/4/17: Rotten Tomatoes: 71% positive reviews. Metacritic: 65/100.
COMPARISON SHOPPING: Cinderella
FINAL RATING: 7.5/10
NEXT: The Dinner

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Tony Robbins: I Am Not Your Guru


Primal screaming.

Primal screaming.

(2016) Documentary (Netflix) Tony Robbins, Joe Berlinger, Dawn Watson, Bonnie-Pearl “Sage” Robbins, John Turbett, Sarah Fosmol, Diane Adcock, Jerrisa Escota, Vicki St. George, Tad Schinke, Julianne Hough, Maria Manounos. Directed by Joe Berlinger

 

Tony Robbins is a giant, both in a literal and a figurative sense. He is built like a professional wrestler, sure, but it is in the field of self-help that he stands out even more than he does in a crowd. He has for all intents and purposes become a brand name.

Every year he conducts a six day and night immersion experience entitled Date with Destiny near his South Florida home. More than 2,000 guests attended the 2014 version and acclaimed documentary filmmaker Joe Berlinger – himself an attendee at an earlier DwD – brought his cameras along.

First off, let’s clear up a misconception that the title may be in part responsible for. This isn’t about Tony Robbins so much as it is about his methods. We see him at work, and it comes off essentially as a concert film and the similarities between a Tony Robbins seminar and a rock concert are a little unsettling. The star comes onstage to a swell of loud energetic music, his fans jump and scream and applaud and he raises his arms in triumph. All that is needed is two thousand flicked BICs to fully realize the comparison.

We get to see the people who come to this seminar/celebration,  and the stories that they tell range from first world problems (a woman who has difficulties in choosing the right man) to deeper issues (a young 19-year-old girl whose father is a drug addict) to the truly horrifying story of the star “intervention” (as Robbins refers to them as) – Dawn Watson, a beautiful young Brazilian woman who grew up in a religious cult in which sex was available to anyone in the cult upon demand; starting at age six (!) Watson was called upon to provide sexual favors for anyone who wanted them without having the right of refusal because, according to the cult leaders, sex was how we show our devotion to God. It had messed her up but good, unsurprisingly.

In some ways these interventions resemble an old fashioned camp meeting with the sick being healed with the laying on of hands. It isn’t quite that simple, fortunately – Robbins asks some penetrating questions and requires those he intervenes with to be brutally honest with themselves and certainly that kind of psychiatric practice is one I can relate to. Any kind of life change begins with complete honesty and accountability.

Still, I can’t help but feel a bit skeptical and maybe that’s because Berlinger really doesn’t ask any tough questions or, really, any questions at all. This is in effect a 115 commercial for Robbins, which tells me that Berlinger isn’t the right guy to make this movie; he’s not only had a drink of the Kool-Aid but he has been guzzling it ever since. A little bit more objectivity would have been welcome.

There is a fascination in watching Robbins go about his work and there’s no doubt that he is sincere about wanting to help others find their full potential and overcome sometimes crippling issues that keep them from enjoying the most out of life. I don’t necessarily think he’s a charlatan, despite my misgivings; he seems to have a fairly grounded education in psychological study and he does have a pretty good gift at understanding people and their needs. He has the charisma to inspire trust and he can have a total stranger answering the most personal and intimate of questions without batting an eyelash. I don’t think it’s an exaggeration to say that Robbins is the Andre the Giant of self-help.

The environment has a lot to do with whether or not this stuff works or not. The people who are there are there because they want to be – and paid over $5K for the privilege (NOTE: That was in 2014. If you wanted to go to the 2016 version, you’d have to pay almost $8K to go – if you could get tickets since it’s been sold out for quite awhile). People come from all over the world to attend and I found it amazing that there is a whole team of translators working in a booth nearby and broadcasting translations into headsets that non-English speakers wear. We do get a good look behind the scenes and see the army of technicians, team leaders and other workers make sure the event runs smoothly. From that aspect, it’s fascinating how much detail goes into each and every session and we get a sense of how Tony chooses those interventions he wishes to conduct.

What we don’t get is insight into who Tony Robbins. We hear, on more than one occasion, how growing up with an abusive mother and living with the pain of that condition led him to an obsession with helping people overcome their pain but what we don’t really get is a roadmap that takes us from Point A to Point B. Robbins appears to be an intensely private person and that’s okay, but we really don’t get much more than what we see at the sessions. His wife Sage comes on late in the movie to assert that what we see with him is really what we get – that he’s like that pretty much all the time, but it still doesn’t let us in much. That does make this a difficult documentary to like.

I would be curious to do a follow-up with some of the interventions that we see. We do get a graphic that tells us that the gal who broke up with her boyfriend on the phone because Tony advised her to got back together with him, and the gal with the drug abusing father reconnected with him, among other interventions.

This isn’t very critical of Robbins and maybe it doesn’t have to be. Certainly those who can’t afford the big time fees to go to one of these things might at least partially benefit from this condensed version keeping in mind that at one of these there are team exercises as well as well as these main hall encounters with Robbins – the sessions last 8-12 hours each day and involve a great deal of work on the part of the participant. Nonetheless this may appeal to people who are looking for answers and searching for a direction on where to find them, or who just want to see Robbins in action. All others, be warned that this is more of a puff piece than a hard-hitting documentary.

REASONS TO GO: You get the sense of Robbins’ commitment to those seeking his help.
REASONS TO STAY: Occasionally feels contrived and manipulative.
FAMILY VALUES: There’s a whole lot of profanity, some sexual references and some very adult themes.
TRIVIAL PURSUIT: The movie premiered at the fifth annual American Documentary Film Festival earlier this year.
BEYOND THE THEATER: Netflix
CRITICAL MASS: As of 8/9/16: Rotten Tomatoes: 44% positive reviews. Metacritic: 51/100.
COMPARISON SHOPPING: Decoding Deepak
FINAL RATING: 6/10
NEXT: Cafe Society