Beauty & the Beast 2017: The Great Lesson Revealed

(*Disclaimer: this is not a review of the 2017 film, but an rather an essay on the value of the story as portrayed in both Disney films.)

Last year, my friend and I were arguing about the story of Beauty & the Beast as portrayed in the Disney classic: “I hate the faulty logic behind the curse, that he [the Beast] must make someone else fall in love with him in order to prove that he has become truly selfless. It really ought to be the other way around, that his simple ability to love without expecting anything in return is what should free him.”

 I believe that G.K. Chesterton (pictured left) has the answer to his quibble with the story line: “There is the great lesson of Beauty and the Beast, that a thing must be loved before it is lovable.” However, like many brilliant Chesterton quotes, his words require a little unpacking. The first thing that came to mind when I encountered this quote was a passage from I John 4:19, “We love because He first loved us.” In other words, we fallen human beings are only able to love selflessly because Beauty Himself showed us the example of unconditional love. We were created by and for a God who is Love itself, and this Love became incarnate and died upon the cross to show us what real Love looks like. But how does this pertain to the story of Beauty and the Beast?

THE PROLOGUE GOT IT WRONG

First of all, to be fair to my friend, the conditions for breaking the curse as described in the prologue are misleading. According to the narrator, “If [the Beast] could learn to love another, and earn her love in return before the last petal fell, the spell would be broken.” A more accurate description might read, “If he could learn to love by BEING LOVED by another, the spell would be broken.” Human beings are not born knowing how to love — it is something that we must be taught through knowledge and experience. In the new Disney 2017 adaptation, it becomes clear that the Beast’s selfishness and unkindness stem largely from his upbringing by his cruel father and from the neglect of the loving but fearful castle staff. What little the Beast had learned of sacrificial love from his mother was long forgotten on the fateful night when the enchantress cast her curse.

BELLE IS THE NATURE OF LOVE

From the beginning, Belle represents the nature of love: she cannot help but love. This is apparent from the first time the audience meets her in her little village. Even though Belle is misunderstood and disliked by many of the locals, she is kind towards them and does what she can to help those in need — such as teaching a young girl to read, or giving a few coins to the mysterious beggar woman, Agatha.

After her imprisonment, Belle is the first to selflessly reach out to the Beast. This moment takes place after the Beast has fought off the pack of wolves and lays wounded and helpless in the snow. Belle has the chance to escape and regain her freedom. Instead, she brings the Beast safely home to the castle where she subsequently nurses him back to health.*

*Now, one might argue that it was the Beast who went after her first. This is true, but the Beast had everything and nothing to lose. His motives were still tainted by selfishness: Belle may have been the only chance he had to break the curse (it’s not as though women were just stumbling into the enchanted castle on a regular basis). If he died in the attempt, his life of misery would simply end.

THE BEAST LOVES BECAUSE BELLE FIRST LOVES HIM

It is in being loved by Belle that the Beast begins to learn to love selflessly. However, unconditional love is twofold, for it includes both the ability to love others and to love one’s self. According to C.S. Lewis, we all have an unloveable aspect within us, and we must learn to love even that (see Lewis’ The Four Loves). This is what is lacking in the Beast’s transformation. This is why the curse remains unbroken after he releases Belle at the end of the famous dance scene.  Although the staff exclaim, “It’s because she doesn’t love him!” this is clearly not true, for only moments ago we all saw the tears of sorrow and gratitude in Belle’s eyes as she says goodbye to him. The Beast has learned to love selflessly, but he has to embrace his own self-worth in order to break the curse.

OVERCOMING SHAME/LOVING YOURSELF

To illustrate my point, let’s turn to another literary example. In Sigrid Undset’s novel Kristin Lavransdatter, we meet the married couple Ragnfrid and Lavrans. Lavrans is a charismatic leader, a virtuous man, and a loving husband. In many ways, he is an ideal match, yet Ragnfrid often comes across as cold and bitter towards him as well as her children.

Later on *SPOILER ALERT* the author reveals that Ragnfrid was unfaithful to her husband in the early years of their marriage. Ragnfrid regrets her sin, but her sense of shame is so great that she is unable to love/forgive herself, hence her bitterness. She cannot understand how someone like Lavrans (or even her children) can love her. She cannot see any redeeming quality within herself. This is particularly evident when Lavrans shows her any kind of gesture of love. These gestures make Ragnfrid feel uncomfortable, because in them she has to feel or experience his love, a love which she has yet to understand.

UNCONDITIONAL LOVE INCLUDES ACKNOWLEDGING YOUR OWN VALUE

The Beast is similar to Ragnfrid: although he does not behave coldly towards Belle’s kindness, he has yet to forgive himself. He has repented, but he does not understand how someone could love him because of the wretchedness of his past life, which has brought him to his current state. For this reason, he falls into despair as soon as Belle leaves the castle. When Plumette proposes that Belle may return, he rejects the idea, saying, “No. I set her free.” In his mind her departure confirms that he is unloveable. He has yet to learn the power of unconditional love: the ability to see both the beauty and the ugliness within others and one’s self and to love both in spite of the ugliness. (Of course, the magic of unconditional love is that the ugliness of past sins vanishes in its transformative power!)

However, the Beast’s transformation is completed during Gaston’s attack. It is only when Belle returns that he begins to defend himself, as he realizes that he is worth saving. The live action film brings home this transformation more so than the original film: when the Beast traps Gaston, the villain begs, “Don’t hurt me, Beast!” The Beast responds, “I am not a Beast,” reaffirming that he has embraced his own value. His transformation is reinforced by his treatment of Gaston: instead of imprisoning him or killing him, he tells Gaston to leave and never come back. The Beast chooses love over hatred, sending his enemy away rather than taking his life.

The transformation of the Beast is not that Belle loves him but rather that the Beast can — and does — unconditionally love himself and others.

BELLE: I LOVE YOU

Does this undermine Belle’s profession of love in the pivotal moment of the film? Not necessarily. The Disney adaptation of Beauty & the Beast is among the first fairytale films to portray its heroine as a three-dimensional character, meaning that the allegory component of Beauty & the Beast is somewhat compromised. For this reason, Belle is portrayed as imperfect and even somewhat prideful. She, too, undergoes her own transformation over the course of the story, giving up her life plans to save her father and subsequently befriending the Beast and his enchanted companions. At the end of the film, it is clear by her actions that she reciprocates the Beast’s love (the audience has watched their relationship progress from friendship to romance throughout the second half of the film). However, love demands expression in actions and words. For this reason, it is significant that Belle declare her love verbally moments before the Beast’s transformation. For it is then that the the Beast, the wintry castle, and his enchanted companions exchange their mechanical and grotesque forms for their true selves. (Also, fun literary tangent/parallel: The castle is to the Beast what the portrait is to Oscar Wilde’s Dorian Gray, only the Beast has a happy ending).

This truth is portrayed in both the original Disney classic and in the 2017 remake. However, while I agree that the remake is imperfect, controversial, and sadly somewhat tainted by political agenda, I argue that it still possesses truth and beauty. Furthermore, the 2017 adaptation is far more successful than its predecessor in fleshing out the personal journey of the Beast over the course of the film. While the movie may require parental discretion, I believe that the remake of this beloved classic is worth watching and enjoying.

ABC's Once Upon a Time Season 1: A Review

I figured it was about time I posted something about one of my latest entertainment discoveries: ABC's television series, Once Upon a Time.

Ginnifer Goodwin and Joshua Dallas star as
Snow White and Prince Charming, respectively,
in the ABC tv drama series Once Upon a Time. 

  First, a little background on my experience with TV series:  I was actually never one for watching television series.  The most dedicated I have ever been to watching a tv series was in the case of HGTV's Design Star and The Next Foodnetwork Star. Since these shows aired during the summer when I have a little bit more down time, I gave myself excuse to watch them, but the school year was absolutely off limits. I didn't need another distraction from my studies! However, when I heard the premise of ABC's new TV series Once Upon a Time, I decided to give this one a chance. The premise I speak of is the idea of a "parallel universe" between the fantasy world and reality.
I first came across this idea when I first read  The Shadow of the Bear, a modern retelling of the Grimm fairy tale Snow White and Rose Red by Regina Doman. Towards the beginning of the novel, heroine Rose Brier asks,
"Have you ever felt that there was something going on in life that not everyone was aware of? ... As though there's a story going on that everyone is a part of, but not everybody knows about -- a sort of drama, a battle between what's peripheral and what's really important. As though the people you meet aren't just their plain, prosaic selves, but are actually princes and princesses, gods and goddesses, fairies, gypsies, shepherds, all sorts of fantastic creatures who've chosen to hide their real shape... Or have forgotten who they really are."
This idea fascinated me and since that day I have made it a type of hobby to identify the fairy tale character and/or species of friends and acquaintances. But to see this idea developed not just in a movie but in a TV series seemed like a fantastic idea filled with promise and entertainment.
I didn't start into the series until December 2011, so I had a few episodes to catch up on. I was hooked by the first episode, and while I have not been pleased with everything that the series has to offer, I definitely thought its faults were overshadowed by its virtues, making it a worthwhile pastime.

I am not an expert in regards to television series but I am sure that, just like any form of storytelling, elements such as relatable characters, their development, dialogue, and plot are the keys to a successful story. I thought that while the writers did an excellent job in presenting multi-faceted, relatable characters, the show fell a little short in regards to dialogue at times.
Another complaint among fellow viewers was how slow the plot seemed to progress. I did not take issue with this factor.  The plot progression may have dragged at times, but the funny thing about it was that I wasn't bored in the least! I think this was mainly because of two factors: 1) the constant switching back and forth between the real world and the fantasy world (I say "fantasy" because Wonderland comes into the show for one episode); and 2) character exposition.  These two factors are very much related, for while you are learning about the character's place and occupation in Storybrooke, in the fairy tale world you are receiving a lot of the character's backstory: past events that affect the present and that may even reveal a new perspective. So, while there may not be a lot going on in an episode, you did receive a lot of valuable information about the character.
Which brings me to one of the show's strengths: characters! The characters come across as REAL. This may have been the show's greatest strength. Many of us have grown up with these fairy tale characters: Pinocchio, Snow White, the Mad Hatter, Grumpy the Dwarf.  We know them (or at least we think we do) and love them.  This presents a challenge for the screenwriters because everyone has a preconceived image of who they are and what they are about, and no one wants to be disappointed! Fortunately, screen writers Adam Horowitz and Edward Kitsis had character development as one of their primary focuses: "As people, you've got to see what the void in their heart or in their lives is to care about them... For us, this was as much about the character journeys and seeing what was ripped from them in coming to Storybrooke -- going at it that way as opposed to making it the 'break the curse show.'" Producer Adam Horowitz adds, "The idea is to take these characters that we all know collectively and try to find things about them that we haven't explored before. Sometimes it's a story point, sometimes it's a thematic connection, sometimes it's a dilemma they face in both worlds that is similar." One of my favorite examples of this is found in the Mad Hatter/ Jefferson and his separation from his little girl, Grace.

The Mad Hatter a.k.a. Jefferson, played by Sebastian Stan

Speaking of learning about aspects of characters that we haven't explored before, the show did have some surprises both good and bad. The show took a lot of liberties with the portrayal of the stories and characters, such as the one I mentioned above where the Mad Hatter has a daughter. I am going to be upfront here and say that, as an artist, I like creative license. I think artists do have a right to take liberties with stories : they don't have to follow the original Grimm fairy tales or the Disney adaptions. Dometimes this led to the discovery of a darker side to some of our beloved heroes and heroines, or a sympathetic side in the case of the finely acted villains, Regina a.k.a. the evil queen and Mr. Gold/Rumplestiltskin.
An example of the darker twists of the story was the affair between Mary Margaret and David in the real world.  This drove me nuts. I came very close to giving up the show, it was getting so bad. What bothered me the most about it was the inconsistency between David and James. There was a conflict between the Prince Charming/James of the fairy tale world and the David of the real world. James was courageous, honest, a person of integrity, while David was weak-willed. Then it occurred to me that David's behavior was also a result of the curse. Similar to Adam's fall from grace in the story of Christianity, David has fallen victim to the power of the Queen's curse. What also reconciled me with this aspect of the story was that the affair was hardly painted in a positive light. The audience sympathized with Catherine, and they certainly weren't painted as victims to the disdain of the Storybrooke community.

Hansel and Gretel alongside the evil queen a.k.a. Regina, played by Lana Parilla

We also received some sympathetic moments with Rumplestiltskin/Mr. Gold and the Queen/Regina. Regina is not completely evil. Her love for her adopted son, Henry, is genuine (at least it seems to be, thus far) and she is devoted to him and his safety. Though she does have her moments when you utterly despise her, and one of my favorite parts of a story are villains that you just love to hate! Rumplestiltskin,in spite of his decrepit, slimy appearance and his devious personality, had me and several other girls "aww"ing as we watched him (as a stand-in for the Beast) develop a relationship with the courageous Princess Belle. The multi-faceted portrayals of both the good and evil sides of the spectrum I think is a major part of what has made the show a success, and I am looking forward to the next season, rumored to start sometime next fall!

Fairy Tale News!

Here is the first poster for Pixar's next movie "BRAVE" due to come out next summer! This is Pixar's first fairy tale and tells the story of a Scottish princess named Merida. Here's the plot synopsis!

"Brave is set in the mystical Scottish Highlands, where Merida is the princess of a kingdom ruled by King Fergus and Queen Elinor. An unruly daughter and an accomplished archer, Merida one day defies a sacred custom of the land and inadvertently brings turmoil to the kingdom. In an attempt to set things right, Merida seeks out an eccentric old Wise Woman and is granted an ill-fated wish. Also figuring into Merida’s quest — and serving as comic relief — are the kingdom’s three lords: the enormous Lord MacGuffin, the surly Lord Macintosh, and the disagreeable Lord Dingwall."

I am a great lover of fairy tales, so I have high hopes for this movie! The original title was going to be "The Bear and the Bow," but was changed some time ago. I don't mind, but I still hope that there is a bear in the movie and that he is a good bear. I am a devoted fan of good bears in fairy tales, such as the Grimm fairy tale Snow White and Rose Red. The teaser trailer is due to come out within the next twenty-four hours, and I am tapping my foot impatiently. 

Here is one of the first released images from the movie. I love her red hair! Of course she would have red hair, the little Scottish maid. I look forward to meeting her. The film looks like it's going to be gorgeous from the screen cap!

But speaking of red-haired heroines, this brings me to another piece of fairy tale news. One of my favorite fairy tale retellings, The Shadow of the Bear by Franciscan University graduate Regina Doman has been made into a student film due to premier tonight in Minnesota. The story is based off of the fairy tale afore mentioned, Snow White and Rose Red, the story of two maidens and two enchanted princes. But what makes or breaks a retelling for me are the twists that are added to the tale, what makes it original. In this version, the tale is told in New York City, with no magic, witches, or enchantments, at least not by your textbook definition. The retelling also has a Catholic twist to it, has several illusions to other works of literature, especially G.K. Chesterton, one of the most valiant 20th century defenders of both fairy tales and Christianity. What else does it contain? Well, not to be cliche, but ... 

"Sports. Knights. Nuns. Ninjas. Minstrels. Miracles.

Princesses. Priests. Chases. Escapes. Rescues. Revenge. Torture. True love!" 

This is by far one of my top ten favorite books: I have reread the novel several times (something I don't usually do), I have done numerous sketches of scenes from the book, compiled soundtracks, even composed a few themes on the piano in hopes one day they would make a movie of it. But now I am very excited to say that the film will be released sometime this summer on DVD! It has taken several years to make this project a reality. Below I have posted some links to little clips of the movie the director (her blog can be found here) has posted as filming took place. Many thanks to Elizabeth for all of the heart and soul she put into making this film happen!

Clip #1: 

Chess Scene

Clip #2:

Snowball Fight

Enjoy the clips and I hope you might add The Shadow of the Bear to your reading list!

Once Upon A Time

Once Upon A Time
By Henry Meynell Rheam. 1908.

Cinderella

Cinderella
By Valentine Cameron Prinsep. 1899.