Beauty and the Beast is a 1991 American animated musical romantic fantasy film produced by Walt Disney Feature Animation and released by Walt Disney Pictures. It is based on the 1756 fairy tale of the same name by Jeanne-Marie Leprince de Beaumont (who was only credited in the French dub),[6] while also containing ideas from the 1946 French film also of the same name directed by Jean Cocteau.[7] The film was directed by Gary Trousdale and Kirk Wise (in their feature directorial debuts) and produced by Don Hahn, from a screenplay by Linda Woolverton.
Beauty and the Beast focuses on the relationship between the Beast, a prince who is magically transformed into a monster and his servants into household objects as punishment for his arrogance and cruelty, and Belle, a young woman whom he imprisons in his castle in exchange for her father's freedom. To break the curse, the Beast must learn to love Belle and earn her love in return before the last petal from an enchanted rose falls, or else he will remain a monster forever. The film stars Paige O'Hara and Robby Benson as the voices of Belle and the Beast, respectively, as well as the ensemble voices of Richard White, Jerry Orbach, David Ogden Stiers, Jesse Corti, Rex Everhart, and Angela Lansbury.[8]
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Walt Disney first attempted to adapt Beauty and the Beast into an animated film during the 1930s and 1950s, but was unsuccessful. Following the success of The Little Mermaid (1989), Walt Disney Pictures decided to adapt the fairy tale, which Richard Purdum originally conceived as a non-musical period drama. After seeing a test reel, Disney chairman Jeffrey Katzenberg scrapped Purdum's idea and ordered that the film be a musical similar to The Little Mermaid instead.[8] Composer Alan Menken and lyricist Howard Ashman, both of whom previously worked on The Little Mermaid, returned to write this film's songs. Ashman, who additionally served as the film's executive producer, died of AIDS-related complications eight months before the film's release, and the film is thus dedicated to his memory.
An IMAX version of the film was released in 2002 and included the new song "Human Again", originally an eight-minute storyboarded musical sequence ultimately replaced with "Something There", but later revised in the 1994 musical as a five-minute piece. That same year, the film was selected for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant".[9][10] After the success of the 3D re-release of The Lion King, the film was reissued in 3D in 2012.[11] In 2014, Time magazine ranked Beauty and the Beast as the greatest film of the Disney Renaissance[12] and one of the greatest animated films of all time.
Other derived works and material inspired by the film, include a 2017 live-action remake of the film directed by Bill Condon, which was released on March 17, 2017, and a 2022 musical presentation of the film on ABC as part of The Wonderful World of Disney.
An enchantress disguised as a beggar woman visits the castle of a cruel and selfish prince, offering him an enchanted rose in exchange for shelter from a storm. When he refuses, she reveals her identity and transforms the prince into a beast and his servants into household objects. The spell will only be broken if the prince learns to love another and be loved in return before the last petal falls, or he will remain a beast forever.
Several years later, in a nearby village, Belle, the book-loving daughter of an eccentric inventor named Maurice, dreams of adventure. She frequently avoids Gaston, a narcissistic hunter who wants to marry her because of her beauty. En route to a fair to showcase his latest invention, an automatic wood chopper, Maurice gets lost after being attacked by wolves in the forest and seeks refuge in the Beast's castle. There, the Beast imprisons Maurice for trespassing. When Maurice's horse returns alone, Belle ventures out searching for her father, finding him locked in the castle dungeon. Belle agrees to take Maurice's place as the Beast's prisoner in exchange for her father's freedom.
Belle befriends the castle's servants: Lumire the candelabra, Cogsworth the clock, Mrs. Potts the teapot, and her son Chip, the teacup. When she wanders into the forbidden west wing and finds the rose, the Beast catches her and angrily forces her to flee the castle. In the forest, she is ambushed by a pack of wolves, but the Beast rescues her, injuring himself in the process. As Belle nurses his injuries, a rapport develops between them and as time passes, they begin falling in love.
Meanwhile, Maurice returns to the village and fails to convince the townsfolk of Belle's predicament. Hearing Maurice's statements about the Beast, Gaston bribes Monsieur D'Arque, the warden of the town's insane asylum, to have Maurice declared insane and locked up, which Gaston will use to blackmail Belle into marrying him in exchange for Maurice's release. Before they can act, however, Maurice leaves for the castle to attempt a rescue alone.
After sharing a romantic dance with the Beast, Belle uses the Beast's magic mirror to check on her father and sees him collapsing in the woods. The Beast releases her to save Maurice, giving her the mirror as a memento. After Belle takes her father to the village, a band of villagers led by Gaston arrives to detain Maurice. Belle uses the mirror to show the Beast to the townsfolk, proving her father's sanity. Realizing that Belle loves the Beast, a jealous and outraged Gaston locks Belle and her father in the cellar, and rallies the villagers to help him slay the Beast. Chip, who arrived at their house as a stowaway, activates Maurice's wood-chopping machine, freeing Maurice and Belle from the cellar.
When the villagers arrive at the castle, the Beast's servants fend them off. Meanwhile, Gaston attacks the Beast, who is too depressed from Belle's departure to fight back, but regains his spirit upon seeing Belle return. He defeats Gaston, but spares his life before reuniting with Belle. However, Gaston fatally stabs the Beast before losing his footing and falling to his demise.[a] As the Beast dies in Belle's arms, she tearfully professes her love for him just before the last petal falls. The spell breaks, reviving the Beast and restoring his human form along with his servants and castle. The Prince and Belle host a ball for the kingdom, where they dance happily.
Following the widespread critical and commercial success of Snow White and the Seven Dwarfs in 1937, Walt Disney sought out other stories to adapt into feature films, with Beauty and the Beast being among the stories he considered.[15][33] Attempts to develop the Beauty and the Beast story into a film were made in the 1930s and 1950s, but were ultimately given up because it "proved to be a challenge" for the story team.[15] Peter M. Nichols states Disney may later have been discouraged by Jean Cocteau having already done his 1946 version.[34]
Decades later, as Who Framed Roger Rabbit was nearing completion in 1987, the Disney studio resurrected Beauty and the Beast as a project for the satellite animation studio it had set up in London, England to work on Roger Rabbit. Richard Williams, who had directed the animated portions of Roger Rabbit, was approached to direct but declined in favor of continuing work on his long-gestating project The Thief and the Cobbler. In his place, Williams recommended his colleague, English animation director Richard Purdum, and work began under producer Don Hahn on a non-musical version of Beauty and the Beast set in 19th-century France.[35] At the behest of Disney CEO Michael Eisner, Beauty and the Beast became the first Disney animated film to use a screenwriter. This was an unusual move for an animated film, which is traditionally developed on storyboards rather than in a scripted form. Linda Woolverton wrote the original draft of the story before storyboarding began, and worked with the story team to retool and develop the film.[36]
Upon seeing the initial storyboard reels in 1989, Walt Disney Studios chairman Jeffrey Katzenberg was dissatisfied with Purdum's idea and ordered that the film be scrapped and started over from scratch. A few months after starting anew, Purdum resigned as director. The studio had approached John Musker and Ron Clements to direct the film, but they turned down the offer, saying they were "tired" after just having finished directing Disney's recent success The Little Mermaid. Katzenberg then hired first-time feature directors Kirk Wise and Gary Trousdale. Wise and Trousdale had previously directed the animated sections of Cranium Command, a short film for a Disney EPCOT theme park attraction. In addition, wanting another musical film, Katzenberg asked songwriters Howard Ashman and Alan Menken, who had written the song score for The Little Mermaid, to turn Beauty and the Beast into a Broadway-style musical film in the same vein as Mermaid. Ashman, who at the time had learned he was dying of complications from AIDS, had been working with Disney on a pet project of his, Aladdin, and only reluctantly agreed to join the struggling production team. To accommodate Ashman's failing health, pre-production of Beauty and the Beast was moved from London to the Residence Inn in Fishkill, New York, close to Ashman's New York City home.[35] Here, Ashman and Menken joined Wise, Trousdale, Hahn, and Woolverton in retooling the film's script.[15][36] Since the original story had only two major characters, the filmmakers enhanced them, added new characters in the form of enchanted household items who "add warmth and comedy to a gloomy story" and guide the audience through the film, and added a "real villain" in the form of Gaston.[15]
These ideas were somewhat similar to elements of the 1946 French film version of Beauty and the Beast, which introduced the character of Avenant, an oafish suitor somewhat similar to Gaston,[37] as well as inanimate objects coming to life in the Beast's castle.[38] The animated objects were, however, given distinct personalities in the Disney version. By early 1990, Katzenberg had approved the revised script, and storyboarding began again.[15][36] The production flew story artists back and forth between California and New York for storyboard approvals from Ashman, though the team was not told the reason why.[15] 152ee80cbc
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