Beau and the Beast

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Once Upon a Time episode " Skin Deep" (2012), starring Emilie de Ravin as Belle and Eric Keenleyside as Maurice. In this show, Rumplestiltskin (portrayed by Robert Carlye) was amalgamated with the Beast and the Crocodile form Peter Pan. Gettell, Oliver (January 26, 2017). "Beauty and the Beast: Josh Groban records new song Evermore". Ew.com. Archived from the original on February 25, 2017 . Retrieved March 2, 2017. a b Maane Khatchatourian. "Beauty and the Beast Music Video: Ariana Grande John Legend Sing Theme". Variety. Archived from the original on March 7, 2017 . Retrieved March 8, 2017. Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets, while commending the inclusion of Gad's character of LeFou as the first LGBT character in Disney. [192] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Stevens' portrayal of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation. [193] A. O. Scott of The New York Times praised the performance of Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy." [194] William Wells Newell published an Irish American variant simply titled Rose in the Journal of American Folklore. In this version, the Beast takes the form of a lion. [70]

and 60s Horror Movies B". The Missing Link. Archived from the original on 31 December 2009 . Retrieved 21 April 2010.Hernández de Soto, Sergio. Biblioteca de las Tradiciones Populares Españolas. Madrid: Librería de Fernando Fé. 1886. pp. 118-121. Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Menken, Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical". [53] Menken returned to score the film's music, which features songs from the original film by him and Ashman, plus new material written by him and Rice. [54] Menken said the film would not include songs that were written for the Broadway musical and, instead, created four new songs. [55] However, an instrumental version of the song "Home", which was written for the musical, is used during the scene where Belle first enters her room in the castle. [56]

Fairy tale origins thousands of years old, researchers say". BBC News. 20 January 2016 . Retrieved 20 January 2016.

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Italo Calvino included a version on Italian Folktales titled Bellinda and the Monster, inspired mostly from Comparetti's version, but adding some elements from De Nino's, like the Tree of Weeping and Laughter.

Beauty and the Beast, a planned animated film that was to be directed by Don Bluth and distributed by Columbia Pictures. It was announced in 1984 and subsequently canceled in 1989. [87] [88] Beauty and the Beast 4K Blu-ray Release Date March 10, 2020, archived from the original on February 3, 2020 , retrieved February 3, 2020 Uther, Hans-Jörg (2004). The Types of International Folktales: A Classification and Bibliography, Based on the System of Antti Aarne and Stith Thompson. Suomalainen Tiedeakatemia, Academia Scientiarum Fennica. p.252. ISBN 978-951-41-0963-8. The urban opening is unusual in fairy tales, as is the social class of the characters, neither royal nor peasants; it may reflect the social changes occurring at the time of its first writing. [81]Baudot, Georges (1976). "La Belle et la Bête dans le folklore náhuatl du Mexique central". Cahiers du monde hispanique et luso-brésilien. 27 (1): 53–61. doi: 10.3406/carav.1976.2049.