Beauty And The Beast Essay

Much like ’s controversial, much-ballyhooed “lesbian couple” — two women who appeared in a extremely brief, silent reaction shot in the film — Le Fou is all PR blitz and no actual payoff.

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This is meant to explain why the entire town is so obsessed with Belle being, as the opening song says, “very different from the rest of us” and “a beauty but a funny girl.” The idea of Belle trying to overcome institutionalized sexism in a provincial town is a pretty heady one.

But again, the film does nothing with it, apart from a single line from Belle, late in the film, complaining about how she doesn’t fit in with the locals.

But given how much virtual ink the character has gotten, it’s baffling how little there is to him, not just as a gay man, but as a developed figure of any kind.

And he isn’t the only wasted opportunity in Condon’s remake.

, Condon described that character, the villain’s sycophantic sidekick Le Fou, as if his sexuality was a significant, foregrounded part of the plot, and as if it ultimately arrived at some major moment of truth: “He’s confused about what he wants.

It’s somebody who’s just realising that he has these feelings.

It’s a garish, strident film, as well as a profoundly unnecessary one.

And wherever its creators come up with fresh subplots or new character details, they tend to be poorly integrated, slapped erratically over the existing narrative like a half-assed coat of paint.

But it is a nice, exclusively gay moment in a Disney movie.” But when it arrives, that “nice, exclusively gay” moment is a one-second shot of Le Fou in a fancy ballroom-dance finale, accidentally shoved into the arms of a nameless man who’s wearing drag because of an earlier sight gag.

It isn’t an “exclusively gay moment,” it’s about a dozen vaguely campy frames.

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