document_title: Thor (film)

question_text: who plays thor's father in the movie

question_tokens: who plays thor 's father in the movie

text: Thor (film)

text: Plot[edit]

text: In 965 AD, Odin, king of Asgard, wages war against the Frost Giants of Jotunheim and their leader Laufey, to prevent them from conquering the nine realms, starting with Earth. The Asgardian warriors defeat the Frost Giants and seize the source of their power, the Casket of Ancient Winters.

text: In the present,[N 2] Odin's son Thor prepares to ascend to the throne of Asgard, but is interrupted when Frost Giants attempt to retrieve the Casket. Against Odin's order, Thor travels to Jotunheim to confront Laufey, accompanied by his brother Loki, childhood friend Sif and the Warriors Three: Volstagg, Fandral, and Hogun. A battle ensues until Odin intervenes to save the Asgardians, destroying the fragile truce between the two races. For Thor's arrogance, Odin strips his son of his godly power and exiles him to Earth as a mortal, accompanied by his hammer Mjölnir, now protected by an enchantment that allows only the worthy to wield it.

text: Thor lands in New Mexico, where astrophysicist Dr. Jane Foster, her assistant Darcy Lewis, and mentor Dr. Erik Selvig find him. The local populace finds Mjolnir, which S.H.I.E.L.D. agent Phil Coulson soon commandeers before forcibly acquiring Foster's data about the wormhole that delivered Thor to Earth. Thor, having discovered Mjolnir's nearby location, seeks to retrieve it from the facility that S.H.I.E.L.D. has constructed, but he finds himself unable to lift it and is captured. With Selvig's help, he is freed and resigns himself to exile on Earth as he develops a romance with Foster.

text: Loki discovers that he is Laufey's biological son, adopted by Odin after the war ended. A weary Odin falls into the deep "Odinsleep" to recover his strength. Loki seizes the throne in Odin's stead and offers Laufey the chance to kill Odin and retrieve the Casket. Sif and the Warriors Three, unhappy with Loki's rule, attempt to return Thor from exile, convincing Heimdall, gatekeeper of the Bifröst—the means of traveling between worlds—to allow them passage to Earth. Aware of their plan, Loki sends the Destroyer, a seemingly indestructible automaton, to pursue them and kill Thor. The warriors find Thor, but the Destroyer attacks and defeats them, prompting Thor to offer himself instead. Struck by the Destroyer and near death, Thor's sacrifice proves him worthy to wield Mjölnir. The hammer returns to him, restoring his powers and enabling him to defeat the Destroyer. Kissing Foster goodbye and vowing to return, he and his fellow Asgardians leave to confront Loki.

text: In Asgard, Loki betrays and kills Laufey, revealing his true plan to use Laufey's attempt on Odin's life as an excuse to destroy Jotunheim with the Bifröst Bridge, thus proving himself worthy to his adoptive father. Thor arrives and fights Loki before destroying the Bifröst Bridge to stop Loki's plan, stranding himself in Asgard. Odin awakens and prevents the brothers from falling into the abyss created in the wake of the bridge's destruction, but Loki apparently commits suicide by allowing himself to fall when Odin rejects his pleas for approval. Thor makes amends with Odin, admitting he is not ready to be king; meanwhile, on Earth, Foster and her team search for a way to open a portal to Asgard.

text: In a post-credits scene, Selvig is taken to a S.H.I.E.L.D. facility, where Nick Fury opens a briefcase and asks him to study a mysterious cube-shaped object,[N 3] which Fury says may hold untold power. An invisible Loki prompts Selvig to agree, and he does.

text: Cast[edit]

text:
Chris Hemsworth as Thor: The crown prince of Asgard, based on the Norse mythological deity of the same name. Director Kenneth Branagh and Marvel Studios chief Kevin Feige chose Hemsworth after a back-and-forth process in which the 27-year-old actor was initially dropped from consideration and then given a second chance to read for the part.[11] Hemsworth stated that he gained 20 pounds for the role by eating non-stop and revealed that "It wasn't until Thor that I started lifting weights, it was all pretty new to me."[12] Regarding his take on the character, Hemsworth said, "We just kept trying to humanize it all, and keep it very real. Look into all the research about the comic books that we could, but also bring it back to 'Who is this guy as a person, and what's his relationship with people in the individual scenes?'"[13] About approaching Thor's fighting style, he remarked, "First, we looked at the comic books and the posturing, the way [Thor] moves and fights, and a lot of his power seems to be drawn up through the ground. We talked about boxers, you know, Mike Tyson, very low to the ground and big open chest and big shoulder swings and very sort of brutal but graceful at the same time, and then as we shot stuff things became easier."[14] Dakota Goyo portrays a young Thor.
Natalie Portman as Jane Foster: A scientist and Thor's love interest. Marvel Studios stated in an announcement that the character was updated from the comics' initial portrayal for the feature adaptation.[15] When asked why she took the role, Portman replied, "I just thought it sounded like a weird idea because Kenneth Branagh's directing it, so I was just like, 'Kenneth Branagh doing Thor is super-weird, I've gotta do it.'"[16] Portman stated that she really wanted to do a big effects film that emphasized character, and getting to do it with Branagh was a new way of approaching it, relative to Star Wars.[17] Regarding her preparation for the role Portman remarked, "I signed on to do it before there was a script. And Ken, who's amazing, who is so incredible, was like, 'You can really help create this character'. I got to read all of these biographies of female scientists like Rosalind Franklin who actually discovered the DNA double helix but didn't get the credit for it. The struggles they had and the way that they thought – I was like, 'What a great opportunity, in a very big movie that is going to be seen by a lot of people, to have a woman as a scientist'. She's a very serious scientist. Because in the comic she's a nurse and now they made her an astrophysicist. Really, I know it sounds silly, but it is those little things that makes girls think it's possible. It doesn't give them a [role] model of 'Oh, I just have to dress cute in movies'".[18]

tag: ul

text:
Tom Hiddleston as Loki: Thor's adoptive brother and nemesis based on the deity of the same name. Hiddleston was chosen after previously working with Branagh on Ivanov and Wallander.[19] Initially, Hiddleston auditioned to play Thor but Branagh decided his talent would be better harnessed playing Loki. Hiddleston stated that, "Loki's like a comic book version of Edmund in King Lear, but nastier." Hiddleston stated that he had to keep a strict diet before the start of filming because "Ken [Branagh] wants Loki to have a lean and hungry look, like Cassius in Julius Caesar. Physically, he can't be posing as Thor".[20] Hiddleston looked at Peter O'Toole as inspiration for Loki as well, explaining, "Interestingly enough, [Kenneth Branagh] said to look at Peter O'Toole in two specific films, The Lion in Winter and Lawrence of Arabia. What's interesting about ... his performance [as King Henry] is you see how damaged he is. There's a rawness [to his performance]; it's almost as if he's living with a layer of skin peeled away. He's grandiose and teary and, in a moment, by turns hilarious and then terrifying. What we wanted was that emotional volatility. It's a different acting style, it's not quite the same thing, but it's fascinating to go back and watch an actor as great as O'Toole head for those great high hills".[21] Ted Allpress portrays a young Loki.
Stellan Skarsgård as Erik Selvig: A scientist doing research in New Mexico who encounters Thor.[22] Skarsgård stated that he was not initially familiar with the comic book version of Thor.[23] As to why he took the part, Skarsgård remarked, I "chose Thor because of [director] Kenneth Branagh. The script was nice and we got to rehearse and talk to the writers and do some collaborating in the process to make it fit us. So I had a very happy time on it. What I always try to do is immediately do something I just haven't done so I get variation in my life. I've made about 90 films and if I did the same thing over and over again I would be bored by now. I try to pick different films, I go and do those big ones and having done that I can usually afford to go and do some really small obscure films and experiment a little".[24]
Colm Feore as Laufey: King of the Frost Giants and Loki's biological father, based on the mythological being of the same name, who in myth was actually Loki's mother.[25] Feore stated it took five hours for his makeup to be applied.[26] About his character, Feore remarked, "I am the King of Frost Giants. And if you've seen any of the Frost Giants, you know that I am, of course, the Napoleon of Frost Giants. We've got some massive, fabulous guys who dwarf me and come in at around eight-and-a-half feet, nine feet. But, no. Can't you tell by the commanding presence? I am the boss".[25] He said the Shakespearean training he shared with Hopkins and director Branagh helped keep production moving briskly, saying that "during the breaks, Tony, myself and Ken would be talking in Shakespearean shorthand about what the characters were doing, what we thought they may be like, and how we could focus our attention more intelligently. These were discussions that took no more than a few minutes between takes, but they allowed Ken, Tony and [me] to understand each other instantly without Ken taking an hour away to explain to the actors exactly what was going on. So that was enormously helpful."[27]
Ray Stevenson as Volstagg: A member of the Warriors Three; a group of three Asgardian adventurers who are among Thor's closest comrades, known for both his hearty appetite and wide girth.[28] Stevenson previously worked with Kenneth Branagh in the 1998 film The Theory of Flight, and with Marvel Studios as the titular character in Punisher: War Zone. Stevenson wore a fat suit for the role, stating, "I've tried the suit on, and what they've done is kind of sex him up: he's sort of slimmer but rounder.". Stevenson said, "He's got every bit of that Falstaffian verve and vigor, and a bit of a beer gut to suggest that enormous appetite, but he's not the sort of Weeble-shaped figure he is in the comics. He's Falstaff with muscles. I've got this amazing foam-injected undersuit that flexes with me."[29]
Idris Elba as Heimdall: The all-seeing, all-hearing Asgardian sentry of the bifröst bridge, based on the mythological deity of the same name.[30] Elba said Branagh's involvement was a major incentive to take the role: "[Branagh] called me up personally and said, 'I know this isn't a big role, but I would really love to see you play it.' It's Kenneth Branagh. I was like, 'Definitely'".[31] About the role Elba remarked, "I did green screen for the first time! I wouldn't like to do a whole movie of green screen, though. You kind of forget the plot a little—like being in a Broadway play and doing it over and over and forgetting your line halfway through".[32] Elba stated he has made a four-picture commitment with Marvel Studios.[33] Elba's casting prompted a proposed boycott by the Council of Conservative Citizens and a debate amongst comic book fans, some insisting it was wrong for a black man to play a Nordic god. In response Elba called the debate "ridiculous".[34][35][36]
Kat Dennings as Darcy Lewis: A political science major who is Jane Foster's intern.[37] Dennings described her character as Foster's "little helper gnome".[17] Dennings stated that her role was expanded during the rehearsal process.[38] Dennings explained, "She's kind of like a cute, clueless, little puppy or maybe a hamster. There wasn't much on the page for the Darcy role to begin with and I didn't even see a script before I took the job so I didn't really know who Darcy was at first. But she really evolved—she's so much fun now even. She's very Scooby-Doo if that makes sense. She's always three steps behind and reacting to what's happening with these great expressions ... She gets things wrong and doesn't care."[39]
Rene Russo as Frigga: The wife of Odin, queen of Asgard, mother of Thor and adoptive mother of Loki, based on the mythological deity of the same name.[40] Russo stated in March 2011 interview that she has signed on for possible sequels, joking that, "Eventually they'll kick me out, so who knows how many I'll do".[41]
Anthony Hopkins as Odin: The ruler of Asgard, father of Thor, and adoptive father of Loki, based on the mythological deity of the same name.[42] In an interview Hopkins stated he knew nothing of the comic. About the film he said, "It's a superhero movie, but with a bit of Shakespeare thrown in".[43] Hopkins stated, "I'm very interested in that relationship between fathers and sons", and that, "My father's relationship with me was cold. He was a hot-blood character but to me, cold. When I was young, he expressed his disappointment because I was bad in school and all of that. He didn't mean any harm, but I felt I could never meet up to his expectations." Hopkins expressed that he found a personal resonance in the Odin role, saying, "He's a stern man. He's a man with purpose. I play the god who banishes his son from the kingdom of Asgard because he screwed up. He's a hot-headed, temperamental young man... probably a chip off of the old block but I decide he's not really ready to rule the future kingdom, so I banish him. I'm harsh and my wife complains and I say, 'That is why I'm king.' He's ruthless, take-it-or-leave-it. Women are much more forgiving; men are not so forgiving. I know in my life, my karma is, 'If you don't like it, tough, move on.' And I move on. I'm a little like Odin myself".[44] In May 2016, Mel Gibson stated he was approached about the role but "didn't do it".[45]
Tadanobu Asano as Hogun: A member of the Warriors Three, primarily identified by his grim demeanor and as the only member who is not an Æsir.[28] Ray Stevenson said of Asano's character, "He doesn't speak much but when he does, everybody shuts up. But also in the healing room where everyone licks their wounds, he's the guy who just goes about his business".[46]
Josh Dallas as Fandral: A member of the Warriors Three, characterized as an irrepressible swashbuckler and romantic.[28] Stuart Townsend was initially cast after Zachary Levi was forced to vacate the role due to a scheduling conflict.[28][47] However, days before filming began, Townsend was replaced by Dallas citing "creative differences".[48] Dallas said he believed that Fandral "would like to think of himself a philanderer. He would like to think of himself, I was saying, as the R. Kelly of Asgard. He's a lover, not a fighter". Dallas mentioned that Errol Flynn was an inspiration for the character stating, "He was a big inspiration for the character and for me. I watched a lot of his movies and kind of got that into my bones. I tried to bring out that little bit of Flynn-ness in it. Flynn had a lot of that boyish charm that Fandral's got...."[46]
Jaimie Alexander as Sif: A warrior and Thor's childhood friend based on the mythological deity of the same name. Alexander was best known for her portrayal of Jessi XX on the ABC Family series Kyle XY.[49] Alexander said that she was familiar with Marvel Comics before having taken the part, having grown up with four brothers.[50] Alexander said the part required hours a day in the gym, though training is not unfamiliar to her, explaining she was one of few girls on her Colleyville, Texas, high-school wrestling team.[51] Alexander described her character as "one of the guys" and that, "She's a very talented, skilled warrior and can stand on her own against any villain in the film". About her relationship with Thor she stated, "She is very loyal to Thor and cares a lot about protecting him and protecting Asgard".[52]

text: Additionally, Clark Gregg reprises his role as S.H.I.E.L.D. agent Phil Coulson from the Iron Man films.[53] Adriana Barraza plays diner owner Isabella Alvarez and Maximiliano Hernández plays S.H.I.E.L.D. agent Jasper Sitwell. Joseph Gatt, Joshua Cox, and Douglas Tait portray Frost Giants.[54][55] Stan Lee and J. Michael Straczynski have cameo appearances as pick-up truck drivers,[56][57] Walter Simonson has a cameo appearance as one of the guests at a large Asgardian banquet,[58] and Samuel L. Jackson and Jeremy Renner have uncredited cameos as Nick Fury and Clint Barton, respectively.[59][60]

text: Production[edit]

text: Development[edit]

text:
"Thor's powers are godly, yes ... But at the end of the day, he's a man ... Odin sends him to Earth because he's not perfect. He's brash, arrogant. Even over-confident ... he also bleeds. He struggles. Life kicks him where it hurts the most ... You want to feel Thor's rage when he rages. You want to see him fight like hell, and take as much as he dishes out -- maybe more. You want to have a visceral reaction to the guy, and what happens to him. You don't want his adventures to be clean and antiseptic. You want to see the dirt, and grime and blood. You want to feel every bone crunching moment of every fight. And when he unleashes the storm, you want to feel like you're seeing the power of a GOD at work."
—Ashley Miller, co-writer of Thor, about the project[61]

tag: div

text: Sam Raimi originally envisioned the idea for Thor after making Darkman (1990); he met Stan Lee and pitched the concept to 20th Century Fox, but they did not understand it.[62] Thor was abandoned until April 1997, when Marvel Studios was beginning to expand rapidly.[63] The film gained momentum after the success of X-Men (2000). The plan was for Thor to be made for television. UPN was in talks for airing it; excited by the prospect, they pushed for a script and approached Tyler Mane to play Thor.[64] In May 2000, Marvel Studios brought Artisan Entertainment to help finance it as a film, but by June 2004 the project still had yet to be patronised by a studio.[65][66][67] Sony Pictures Entertainment finally purchased the film rights, and in December 2004 David S. Goyer was in negotiations to write and direct.[68] By 2005, though there were talks between Goyer and Marvel, Goyer was no longer interested, though at this point the film was still set to be distributed through Sony Pictures.[69]

text: Mark Protosevich, a fan of the Thor comic book, agreed to write the script in April 2006, and the project moved to Paramount Pictures, after it acquired the rights from Sony.[70] That year the film was announced to be a Marvel Studios production.[71] In December 2007, Protosevich described his plans for it "to be like a superhero origin story, but not one about a human gaining super powers, but of a god realizing his true potential. It's the story of an Old Testament god who becomes a New Testament god".[72] In August 2007 Marvel Studios signed Matthew Vaughn to direct the film.[73] Vaughn then rewrote Protosevich's script in order to bring down the budget to $150 million, as Protosevich's first draft would have cost $300 million to produce.[6] He intended to start filming in late 2008[74] and after the success of Iron Man, Marvel Studios announced that they intended to release Thor on June 4, 2010, with Iron Man 2 being used to introduce the character of Thor.[75]

text: Pre-production[edit]

text:
"Thor, at his best, has always had a classic bent in terms of his history, the way he speaks and the often Shakespearean dramas that surround him.  That kind of dialogue and character needs someone who comes from a classically trained background in order for it not to sound forced or artificial. Branagh is the perfect choice."
—J Michael Straczynski, co-writer of Thor, on Kenneth Branagh[76]

text: Vaughn was released when his holding deal expired in May 2008, at which point Marvel set Protosevich to work on a new draft and began searching for a new director.[77] Guillermo del Toro entered talks to direct the film. Del Toro was a fan of Jack Kirby's work on the comics, and said that he loved the character of Loki, but wished to incorporate more of the original Norse mythology into the film,[78] including a "really dingy Valhalla, [with] Vikings and mud".[79] However, del Toro ultimately turned down Thor to direct The Hobbit. By September 2008 D. J. Caruso had been discussing taking on the project, though he did not read the script.[80] Later that month, Kenneth Branagh entered into negotiations to direct,[81] and by December 2008, Branagh confirmed that he had been hired. He described it as "a human story right in the center of a big epic scenario."[82] Branagh stated that he hoped to begin filming in January 2010[83] and Marvel Studios set back the release date of the film from its scheduled July 16, 2010 date to June 17, 2011, almost a full year later.[84] They later moved the release date to May 20, 2011, to distance the film's release from that of Captain America: The First Avenger, another Marvel Studios film that was scheduled to be released on July 22, 2011.[85] In October 2008, Daniel Craig was offered the role, but ultimately turned it down, citing his commitments to the James Bond franchise.[86]

text: In February 2009, Samuel L. Jackson, who had briefly portrayed Nick Fury at the end of the film Iron Man, signed on to reprise the role in Thor as part of an unprecedented nine-picture deal with Marvel Studios.[59] However, in an April 2010 interview, Jackson stated that he would not be appearing in Thor. When asked why not Jackson explained, "I have no idea. I'm not in charge of making those kinds of decisions. I thought I was; they said I was in the trades, and I was like, 'Ooh! I got a job!' I called my agent he said, 'Naw, you're not in it.' I was like, 'Well shit, they need to pay me if they're gonna put my name in it.'"[87] Later in the month, Jackson revealed that he would be filming a scene for Thor to serve as "connective tissue" for The Avengers.[88] Also in February, a casting call went out looking for actors with certain physical attributes to audition for the role of Thor.[89]

text: In May 2009, Chris Hemsworth was in negotiations to portray the title role after a back-and-forth process in which the 25-year-old actor was refused early on, then given a second chance to read for the part. Hemsworth's brother, Liam also auditioned for the role, but was passed on by Marvel Studios head Kevin Feige.[11] The next day, Marvel announced that Tom Hiddleston, who had worked with Branagh before and had initially been considered to portray the lead role, had been cast as Loki.[19] In June 2009, Feige confirmed that both Hemsworth and Hiddleston had signed on.[90] Feige mentioned that the film would take place on both modern day Earth and Asgard but Thor's human host, Dr. Donald Blake, would not be included.[90] In July 2009, Marvel announced that Natalie Portman would portray Jane Foster.[15] Jaimie Alexander and Colm Feore were reported to have joined the cast in September, with Alexander portraying Sif and Feore's role unrevealed, though it was thought to be a villain.[49] In an interview with Swedish news site Ystads Allehanda, Stellan Skarsgård stated that he had joined the cast, though he did not specify his role.[22] By late October Anthony Hopkins had been cast as Odin in the film.[42] The following month, Marvel announced that they had cast the Warriors Three; Fandral was to be played by Stuart Townsend, Hogun was to be played by Tadanobu Asano and Volstagg was to be played by Ray Stevenson.[28] Idris Elba was announced to have joined the cast, portraying Heimdall.[30] Natalie Portman revealed that Kat Dennings would be involved in the project, portraying Darcy, a coworker of Portman's Jane Foster.[37][91]

text: In December 2009, Rene Russo was cast as Frigga, Thor's stepmother and Odin's wife.[40] Later that month, actors Joseph Gatt, Troy Brenna, and Joshua Cox had been cast in the film, though none of their roles were revealed.[54] In January 2010, Adriana Barraza had joined the film's cast, in a supporting capacity.[92] Only days before filming began, Stuart Townsend was replaced by Joshua Dallas as Fandral, citing "creative differences".[48] When Spider-Man 4's production stalled, Paramount and Marvel Entertainment pushed up the release of Thor by two weeks to the then vacated date of May 6, 2011.[93]

text: The Science & Entertainment Exchange introduced Marvel Entertainment, Kenneth Branagh, "the screenwriter, and a few people on the design and production side of things" to three physicists (Sean Carroll, Kevin Hand, and Jim Hartle), as well as physics student Kevin Hickerson, to provide a realistic science background for the Thor universe. The consultation resulted in a change in Jane Foster's profession, from nurse to particle physicist, and the terminology (Einstein-Rosen bridge) to describe the Bifrost Bridge.[94]

text: Filming[edit]

text: In October 2008, Marvel Studios signed a long-term lease agreement with Raleigh Studios to photograph their next four films—Iron Man 2, Thor, Captain America: The First Avenger and The Avengers—at Raleigh's Manhattan Beach, California facility.[95] Production Weekly reported that filming on Marvel's Thor was scheduled to begin in Los Angeles mid-January, then move to Santa Fe, New Mexico from March until late-April.[96] Principal photography began on January 11, 2010.[97] A few days after filming began, Clark Gregg signed on to reprise his role from Iron Man and Iron Man 2 as Agent Coulson.[53] In February, Paramount Pictures entered negotiations with Del Mar, California to use a 300-yard stretch of beach to film a scene for Thor involving six horses running down the terrain. Paramount said this coastline was ideal because its gradual slope of sand down to the waterline creates excellent reflective opportunities on film.[98] On March 15, 2010, production of Thor moved to Galisteo, New Mexico where Cerro Pelon Ranch,[99] an old-fashioned Western film town, was extensively modified for the shoot.[100][101]

text: Branagh, a fan of the comic book since childhood, commented on the challenge of bridging Asgard and the modern world: "Inspired by the comic book world both pictorially and compositionally at once, we've tried to find a way to make a virtue and a celebration of the distinction between the worlds that exist in the film but absolutely make them live in the same world. It's about finding the framing style, the color palette, finding the texture and the amount of camera movement that helps celebrate and express the differences and the distinctions in those worlds. If it succeeds, it will mark this film as different.... The combination of the primitive and the sophisticated, the ancient and the modern, I think that potentially is the exciting fusion, the exciting tension in the film".[102]

text: By April, the prospect for filming parts of Thor in Del Mar, California had fallen through. Paramount Pictures sent a letter informing the city that it has instead chosen an undisclosed Northern California location to film a beachfront scene for the film. The letter cited cost concerns with moving production too far away from its headquarters.[103] Filming wrapped on May 6, 2010.[13]

text: Post-production[edit]

text: In October 2010, casting calls revealed the film would be undergoing an undisclosed number of reshoots.[104] In March 2011, scenes involving Adriana Barraza were removed from the theatrical cut of the film during the editing process. Branagh sent a letter of apology explaining the reasons for the cut and desire to work with Barraza again in the future. In response Barraza stated, "It saddens me because the movie is great and because I was acting alongside some tremendous actors that I admire very much, but I understand the nature of films, and it's not the first or last time that scenes will be cut".[105] Barraza appears in only one scene in the film's theatrical cut. In that same month, Douglas Tait revealed that he performed for motion capture of the Frost Giants.[106] On his hiring, Tait said "I am 6'5" and have a lean, athletic build, and they hired guys who were 6'7" and taller, and weighed over 250 pounds (110 kg). When the film was being edited, they wanted to make them even bigger and move faster. They auditioned people again and Kenneth Branagh chose me to perform the motion capture movements of the Frost Giants".[106] In April 2011, the IMAX Corporation, Paramount Pictures and Marvel Entertainment announced that they have finalized an agreement to release the film in IMAX 3D, continuing the partnership which began on Iron Man 2.[107] Branagh stated that the 3-D process initially made him cringe but said "We came to feel that in our case 3-D could be the very good friend of story and character for a different kind of experience". Although the film was shot in 2D, Feige stated that the "special effects for the film were conceived and executed from the beginning in 3D".[108] The post-credits scene that sees Nick Fury approach Erik Selvig to ask him to study the Tesseract, was directed by The Avengers's director, Joss Whedon.[109]

text: BUF Compagnie served as the lead visual effects vendor working on the film,[110] with Digital Domain also providing work on the film.[111] Branagh stated that BUF, who developed the effects for the race through space, were inspired by Hubble photography and other images of deep space. Branagh stated he sent paintings from classic studies by J. M. W. Turner to Digital Domain when creating Jotunheim.[112] Peter Butterworth, VFX supervisor and co-founder of Fuel VFX, said the most challenging task was interpreting what the Bifröst would look like, "You can't Google what these things look like—they are totally imagined and within the heads of the stakeholders. So to extract that and interpret it for the big screen was an interesting challenge creatively. Technically, probably creating fluid simulations that could be art-directed and used for both the Bifröst and Odin's chamber shots. Part of the difficulty with solving these is that we had to ensure they would work in stereo.[113] In the film, Odin enters what is known as the "Odinsleep" in his chamber to regenerate. Butterworth stated, "For Odin's Chamber, we developed a dome and curtain of light rays that hover over Odin's bed. This dome of light suggests harnessed power and energy that revitalizes him as he sleeps. We took a lot of reference from the natural world such as the corona of the sun and gave the sleep effect plenty of volume and space".[113]

text: Music[edit]

text: The film's score was written by composer Patrick Doyle, a frequent collaborator of Branagh. Doyle described Thor as   "the most commercially high profile film I have done since Frankenstein",[114] adding that the composing process had the challenge of trying to find a tone that fit the duality of Asgard and Earth. Thus Doyle and Branagh had frequent discussions on the musical direction,[115] with the director suggesting a contemporary feel and having a balance between the music and "grand images [that] were not in any way hyperbolized", and the composer in turn implementing "a strong sense of melody, which he responds to in my work". As Doyle declared that his own Celtic background made him familiar with Norse mythology, an old Celtic folk song also provided the inspiration for Thor's leitmotif.[114] A soundtrack album was released by Buena Vista Records in April 2011.[116]

text: The film also features a song by the Foo Fighters, "Walk", in both a scene where a powerless Thor shares some boilermakers with Selvig in a roadhouse, and the film's closing credits. Marvel president Kevin Feige stated that "Walk" was a last minute addition, that the crew felt had "these eerie appropriate lyrics and themes" upon hearing it. Branagh in particular thought that "these lyrics about learning to walk again" were appropriate "of [a] movie about redemption, learning to be a hero."[117]

text: Release[edit]

text: Thor held its world premiere at the Event Cinemas theatre in George Street, Sydney on April 17, 2011,[118] with the film opening on April 21, 2011 in Australia.[119] The following weekend it opened in 56 markets,[120] while the premiere at the El Capitan Theatre in Los Angeles, California took place on May 2, 2011.[121] Thor opened on May 6, 2011 in the United States,[119] in 3,955 theaters (of which 214 were IMAX 3D and 2,737 in 3D, a record amount).[122][123][124]

text: Marketing[edit]

text: In July 2010 Marvel Studios held a Thor panel at the 2010 San Diego Comic-Con International during which Kenneth Branagh, Chris Hemsworth, Natalie Portman, Kat Dennings, Tom Hiddleston, and Clark Gregg discussed the film and showed some clips from it.[17] A few days later, this footage was leaked on the internet.[125] The first television advertisement was broadcast during Super Bowl XLV on the Fox network in the United States. The rate for advertising during the game was approximately $3 million per 30-second spot.[126] Marvel Studios and Acura launched a joint viral marketing promotion at the 2011 Chicago Comic & Entertainment Expo.[127] Other official promotional partners included Burger King, Dr. Pepper, 7 Eleven, and Visa.[128] In May 2011 Marvel Entertainment's President of Print, Animation and Digital, Dan Buckley, and Marvel Comics Editor-In-Chief, Axel Alonso, rang the NYSE closing bell in celebration of the theatrical release of Thor.[129]

text: A post-credits scene in the film Iron Man 2 showed Coulson reporting the discovery of a large hammer in the desert. Rick Marshall of MTV News believed it to be the weapon Mjöllnir belonging to Thor, writing, "It continues the grand tradition of connecting the film to another property in development around the Marvel movie universe."[130] In the commentary track of Iron Man 2' home media, Iron Man 2's director, Jon Favreau, stated that "this is a scene from [the set of] Thor ".[131]

text: Marvel Animation announced a 26-episode animated series in November 2008, to air in late 2010 before the release of Marvel Studios' film.[132] The company released an animated direct-to-video film,  Thor: Tales of Asgard, to coincide with the live-action film.[133]

text: A video game titled Thor: God of Thunder based on the film was developed by Sega using the voices and likenesses of actors Chris Hemsworth, Tom Hiddleston and Jaimie Alexander, and was released on May 3, 2011.[134]

text: Home media[edit]

text: In July 2011, Marvel Studios and Paramount Pictures announced the release of Thor on Blu-ray 3D, Blu-ray Disc and DVD. The discs were released by Paramount Home Media Distribution on September 13, 2011 in three editions: a single-disc DVD, a 2-disc Blu-ray-DVD combo pack, and a 3-disc Blu-ray/DVD/3D combo pack. All sets come with deleted scenes and a "Road to The Avengers featurette. The 2-disc and 3-disc packs includes a digital copy, the first in a series of Marvel One-Shots, The Consultant, and 7 behind-the-scenes featurettes.[135]

text: Branagh said that the DVD includes at least 20 minutes of deleted scenes. Branagh stated the footage contains "things like the Asgardian parents, Odin and Frigga, played by the beautiful Rene Russo, there's some beautiful scenes in there that I think people will enjoy. And certainly Thor and Loki interacting in different ways that just fill in a little bit of a back story, that was part of our rehearsal and research."[136] In its first week of release, Thor took the number one spot on Blu-ray/DVD sales chart and topped Home Media Magazine's rental chart for the week.[137]

text: The film was also collected in a 10-disc box set titled "Marvel Cinematic Universe: Phase One – Avengers Assembled" which includes all of the Phase One films in the Marvel Cinematic Universe.[138] It was released by Walt Disney Studios Home Entertainment on April 2, 2013.[139][140]

text: Reception[edit]

text: Box office[edit]

text: Thor earned $181.0 million in North America and $268.3 million in other territories for a worldwide total of $449.3 million.[7] It was the 15th highest-grossing film of 2011.[141]

text: Thor earned $25.5 million on its opening day in the United States and Canada, including $3.3 million from Thursday previews,[122] for a total weekend gross of $65.7 million. $6.2 million of the gross came from IMAX 3D, while 60% of the gross was from 3D screenings.[123][124] It became the tenth highest-grossing film of 2011 in the United States and Canada,[142] and the highest-grossing comic-book film from May–August 2011.[143]

text: Thor's opening in Australia generated $5.8 million and placing second behind Universal Pictures' Fast Five. The film's box office was just 1% more than Iron Man opening in Australia in 2008, Marvel's most popular release at the time.[144] The following week, Thor opened in 56 markets and took in $89.2 million through the weekend.[120] The film's highest grossing markets were the United Kingdom ($22.5 million), Australia ($20.1 million) and Mexico ($19.5 million).[145]

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported a 77% approval rating with an average rating of 6.7/10 based on 271 reviews. The website's consensus reads, "A dazzling blockbuster that tempers its sweeping scope with wit, humor, and human drama, Thor is mighty Marvel entertainment."[146] Metacritic assigned a weighted average score of 57/100 based on reviews from 40 film critics, indicating "mixed or average reviews".[147]

text: Richard Kuipers of Variety stated, "Thor delivers the goods so long as butt is being kicked and family conflict is playing out in celestial dimensions, but is less thrilling during the Norse warrior god's rather brief banishment on Earth".[148] Megan Lehmann of The Hollywood Reporter wrote, "The hammer-hurling god of thunder kicks off this superhero summer with a bang".[149] In the Chicago Sun-Times, Richard Roeper liked the film "Thanks in large part to a charming, funny and winning performance from Australian actor Chris Hemsworth in the title role, Thor is the most entertaining superhero debut since the original Spider-Man".[150]

text: Conversely, Roger Ebert of the Chicago Sun-Times gave it a negative review stating, "Thor is a failure as a movie, but a success as marketing, an illustration of the ancient carnival tactic of telling the rubes anything to get them into the tent".[151] A.O. Scott of The New York Times also disliked the film, calling it "an example of the programmed triumph of commercial calculation over imagination".[152] Kenneth Turan of the Los Angeles Times had mixed feelings, describing the film as "an aesthetic stand-off between predictable elements and unexpected ones".  Turan praised the performances of Hemsworth, Hopkins, and Elba, but found the special effects inconsistent and the Earth storyline derivative.[153]

text: Accolades[edit]

text:
Year
Award
Category
Winner/Nominee
Result
Ref.

2011

Teen Choice Awards

Choice Movie Breakout: Male

Chris Hemsworth

Nominated

[154]

Scream Awards

The Ultimate Scream

Thor

Nominated

[155]

Best Fantasy Movie

Thor

Nominated

Best Superhero

Chris Hemsworth as Thor

Nominated

Best Supporting Actress

Jaimie Alexander

Nominated

Breakout Performance—Female

Jaimie Alexander

Nominated

Breakout Performance—Male

Chris Hemsworth

Nominated

Breakout Performance—Male

Tom Hiddleston

Nominated

Best F/X

Thor

Nominated

Best Comic Book Movie

Thor

Nominated

2012

People's Choice Awards

Favorite Action Movie

Thor

Nominated

[156]

Favorite Movie Superhero

Chris Hemsworth

Nominated

Visual Effects Society Awards

Outstanding Created Environment in a Live Action Feature Motion Picture

"Heimdall's Observatory": Pierre Buffin, Audrey Ferrara, Yoel Godo, Dominique Vidal

Nominated

[157]

Outstanding Virtual Cinematography in a Live Action Feature Motion Picture

Xavier Allard, Pierre Buffin, Nicolas Chevallier

Nominated

Empire Awards

Best Male Newcomer

Tom Hiddleston

Won

[158]

Best Sci-Fi/Fantasy

Thor

Won

The Art of 3D Presented by RealD

Thor

Nominated

MTV Movie Awards

Best Hero

Thor

Nominated

[159]

Saturn Awards

Best Fantasy Film

Thor

Nominated

[160]

Best Supporting Actor

Tom Hiddleston

Nominated

Best Production Design

Bo Welch

Nominated

Best Costume

Alexandra Byrne

Won

text: Sequels[edit]

text: Thor: The Dark World[edit]

text: A sequel, Thor: The Dark World, directed by Alan Taylor, was released on November 8, 2013.[161][162] Hemsworth and Hiddleston reprised their roles as Thor and Loki, respectively, along with others from the first film.[163] Christopher Eccleston joined the cast as the Dark Elf Maletkith.[164]

text: Thor: Ragnarok[edit]

text: Thor: Ragnarok was released on November 3, 2017,[165] directed by Taika Waititi.[166] Eric Pearson and Craig Kyle & Christopher Yost wrote the screenplay,[167] with Kevin Feige again producing.[168] Hemsworth, Hiddleston, Hopkins, Elba, Asano, Zachary Levi, and Stevenson reprised their roles as Thor, Loki, Odin, Heimdall, Hogun, Fandral, and Volstagg, respectively,[169][170][171][172] while Mark Ruffalo and Benedict Cumberbatch appeared as Bruce Banner/Hulk and Stephen Strange respectively, reprising their roles from previous MCU films.[173][174] Cate Blanchett, Tessa Thompson, Jeff Goldblum and Karl Urban joined the cast as Hela, Valkyrie, Grandmaster, and Skurge, respectively.[166]

text: Notes[edit]

text:
^ Jump up to: a b In July 2013, the film's distribution rights were transferred from Paramount Pictures to Walt Disney Studios.[2][3][4]

Jump up ^ The events of the film also take place simultaneously with the events of The Incredible Hulk (2008) and Iron Man 2 (2010),[8] the latter of which is set six months after the events of Iron Man (2008).[9]

Jump up ^ Identified off-screen as the Cosmic Cube.[10]

tag: ol


document_title: End-of-file

question_text: what is the actual decimal numeric value of the symbol eof

root

text: End-of-file

text: In computing, end-of-file (commonly abbreviated EOF[1]) is a condition in a computer operating system where no more data can be read from a data source. The data source is usually called a file or stream.

tag: p

text: In the C Standard Library, the character reading functions such as getchar return a value equal to the symbolic value (macro) EOF to indicate that an end-of-file condition has occurred. The actual value of EOF is implementation-dependent (but is commonly -1, such as in glibc[2]) and is distinct from all valid character codes. Block-reading functions return the number of bytes read, and if this is fewer than asked for, then the end of file was reached or an error occurred (checking of errno or dedicated function, such as ferror is often required to determine which).

text: EOF character[edit]

text: This section relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources. (March 2015)

tag: table

text: Input from a terminal never really "ends" (unless the device is disconnected), but it is useful to enter more than one "file" into a terminal, so a key sequence is reserved to indicate end of input. In UNIX the translation of the keystroke to EOF is performed by the terminal driver, so a program does not need to distinguish terminals from other input files. By default, the driver converts a Control-D character at the start of a line into an end-of-file indicator. To insert an actual Control-D (ASCII 04) character into the input stream, the user precedes it with a "quote" command character (usually Control-V).  AmigaDOS is similar but uses Control-\ instead of Control-D.

text: In Microsoft's DOS and Windows (and in CP/M and many DEC operating systems), reading from the terminal will never produce an EOF. Instead, programs recognize that the source is a terminal (or other "character device") and interpret a given reserved character or sequence as an end-of-file indicator; most commonly this is an ASCII Control-Z, code 26. Some MS-DOS programs, including parts of the Microsoft MS-DOS shell (COMMAND.COM) and operating-system utility programs (such as EDLIN), treat a Control-Z in a text file as marking the end of meaningful data, and/or append a Control-Z to the end when writing a text file. This was done for two reasons:

text:
Backward compatibility with CP/M. The CP/M file system only recorded the lengths of files in multiples of 128-byte "records", so by convention a Control-Z character was used to mark the end of meaningful data if it ended in the middle of a record. The MS-DOS filesystem has always recorded the exact byte-length of files, so this was never necessary on MS-DOS.
It allows programs to use the same code to read input from both a terminal and a text file.

text: In the ANSI X3.27-1969 magnetic tape standard, the end of file was indicated by a tape mark, which consisted of a gap of approximately 3.5 inches of tape followed by a single byte containing the character 13 (hex) for nine-track tapes and 17 (octal) for seven-track tapes.[3] The end-of-tape, commonly abbreviated as EOT, was indicated by two tape marks. This was the standard used, for example, on IBM 360. The reflective strip that was used to announce impending physical end of tape was also called an EOT marker.


document_title: Beauty and the Beast (2017 film)

question_text: who voices the beast in the new beauty and the beast

text: Beauty and the Beast (2017 film)

text: Plot[edit]

text: In Rococo-era France, an enchantress disguised as an old beggar woman arrives at a castle during a ball and offers the host, a coldhearted prince, a rose for shelter. When he refuses, she transforms him into a beast and his servants into household objects, and erases the castle from the memories of their loved ones. She casts a spell on the rose and warns the prince that the curse will never lift unless he learns to love another, and earn their love in return, before the last petal falls.

text: Some years later, in the small town of Villeneuve, Belle dreams of adventure and brushes off advances from Gaston, an arrogant former soldier. Lost in the forest, Belle's father Maurice seeks refuge in the Beast's castle, but the Beast imprisons him for stealing a rose from his garden as a birthday gift to Belle. Belle ventures out in search for him, and finds him locked in the castle dungeon. The Beast agrees to let her take Maurice's place.

text: Belle befriends the castle's servants, who invite her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast, enraged, scares her into the woods. She is ambushed by a pack of wolves, but the Beast rescues her, and is injured in the process. As Belle nurses his wounds, a friendship develops between them. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses it to visit her childhood home in Paris, where she discovers a plague doctor mask and realizes that she and her father were forced to leave her mother's deathbed when her mother succumbed to the plague.

text: In Villeneuve, Gaston sees rescuing Belle as an opportunity to win her hand in marriage, and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to the wolves. Maurice is rescued by the herb-wife Agathe, but when he tells the townsfolk of Gaston's crime but is unable to provide solid evidence, Gaston convinces them to send Maurice to an insane asylum.

text: After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle proves Maurice's sanity by revealing the Beast in the mirror to the townsfolk. Realizing that Belle loves the Beast, Gaston has her thrown into the asylum carriage with her father, and rallies the villagers to follow him to the castle to slay the Beast. Maurice and Belle escape, and Belle rushes back to the castle.

text: During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. Gaston attacks the Beast in his tower, who is too depressed to fight back, but regains his spirit upon seeing Belle return. He overpowers Gaston, but spares his life before reuniting with Belle. However, Gaston fatally shoots the Beast from a bridge, but it collapses when the castle crumbles, and he falls to his death. The Beast dies as the last petal falls, and the servants become inanimate. When Belle tearfully professes her love to him, Agathe reveals herself as the enchantress and undoes the curse, repairing the crumbling castle, and restoring the Beast's and servants' human forms and the villagers' memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

text: Cast[edit]

text:
Emma Watson as Belle, a young benevolent bibliophile woman who develops feelings for the Beast and begins to see the humanity within him.

Daisy Duczmal portrays an infant Belle.

Dan Stevens as The prince / Beast, a cold-hearted prince who is transformed into a beast and forced to earn back his humanity by learning to truly love and be loved in return.[11][12]

Adam Mitchell[3] portrays the younger version of the prince.

Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
Kevin Kline as Maurice, Belle's protective widowed father.[13]

Jolyon Coy portrays the young Maurice.

Josh Gad as LeFou, Gaston's flamboyant and long-suffering sidekick who bolsters his friend's ego but gets very little in return.[14]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[15]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[16]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[17]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[18]
Ian McKellen as Cogsworth, the Beast's gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.[19]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[13]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the enchantress responsible for cursing the Prince.[20] Morahan also narrates the prologue.

Rita Davies portrays the enchantress in her beggar woman form. The film is released posthumously after Davies' death.

Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[21]
Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[20]
Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts' husband and Chip's father.
Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth's wife.
Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink.
Ray Fearon as Père Robert, Villeneuve's local chaplain who encourages Belle to borrow the books in the chapel's meager library.
Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston's henchmen.
Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.
Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove.
Gizmo as Frou-Frou, Maestro Cadenza's and Madame de Garderobe's pet Yorkshire Terrier who has been transformed into a footstool.
Thomas Padden as Chapeau, the prince's valet who has been transformed into a coat rack.
Tom Turner[4] as The King, the prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, the prince's mother who died of an illness when he was a child.
Dale Branston as Villeneuve's residential baker.
Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
Vivian Parry as the Village Lass' mother, an unnamed seamstress.

text: Cast notes[edit]

text: ^ In the initial theatrical release, Mitchell was miscredited as Rudi Gooman in the cast, but listed under his real name in the soundtrack credits.[22]

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[22]

text: Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.[23]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[24][25] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[26]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version and remake of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[27] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[28] Later in September of that same year, Stephen Chbosky (who had previously directed Watson in The Perks of Being a Wallflower) was hired to re-write the script.[29]

text: Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that "after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, 'We're interested in a musical to a degree, but only half full of songs.' My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, 'No, no, no, we get it, let's pursue it that way.'"[30] Walt Disney Pictures president of production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: "We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn't a musical at that time. But we just couldn't get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?"[31]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[32] She was the first choice of Walt Disney Studios chairman Alan F. Horn, as he had previously overseen Warner Bros. which released the eight Harry Potter films that co-starred Watson as Hermione Granger.[31] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[33][34] and Watson confirmed their casting the following day through tweets.[11][35] The rest of the principal cast, including Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor and Stanley Tucci were announced between March and April to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière and Cadenza, respectively.[14][13][17][19][18][15][16][36]

text: Susan Egan originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[37] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[38]

text: According to The Hollywood Reporter, Emma Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficent's $759 million worldwide gross.[39]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, United Kingdom, on May 18, 2015.[13][40][41] Filming with the principal actors concluded on August 21.[42][43] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[44]

text: The Beast was portrayed with a “more traditional motion capture puppeteering for the body and the physical orientation", where actor Dan Stevens was "in a forty-pound gray suit on stilts for much of the film". The facial capture for the Beast was done separately in order to "communicate the subtleties of the human face" and "[capture the] thought that occurs to him" which gets "through [to] the eyes, which are the last human element in the Beast.” The castle servants who are transformed into household objects were created with CGI animation.[6]

text: Before the release of the film, Bill Condon refilmed one certain sequence in the "Days of the Sun" number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones's character, the Prince's mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett's names were mistakenly featured in the original theatrical release's credits, but was later corrected in home releases.[22]

text: Music[edit]

text: When released in 1991, Beauty and the Beast marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Oscar-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon's opinion, that original score was the key reason he agreed to direct a live-action version of the movie. "That score had more to reveal", he says, "You look at the songs and there's not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairytales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it's not just being literal, now other elements come into play. It's not just having real actors do it".[45]

text: Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Alan Menken, Howard 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".[46] Menken returned to score the film's music, which features songs from the original film by him and Howard Ashman, plus new material written by Menken and Tim Rice.[47] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[48] 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.[49]

text: On January 19, 2017, it was confirmed by both Disney and Céline Dion—singer of the original 1991 Beauty and the Beast duet song, with singer Peabo Bryson—that Dion would be performing one of the new original songs "How Does a Moment Last Forever" to play over the end titles.[50] She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: "[The] first Beauty and the Beast decision was made with my husband. Now I'm making decisions on my own. It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way". She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, "I was at the beginning of my career, it put me on the map, it put me where I am today". Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[51][52][53][54]

text: The 2017 film features a remake of the 1991 original song Beauty and the Beast recorded as a duet by Ariana Grande and John Legend.[55][56] Grande and Legend's updated version of the Beauty and the Beast title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney film.[57]

text: Emma Thompson also performed a rendition of "Beauty and the Beast", which was performed by Angela Lansbury in the original 1991 animated film release.[58]

text: Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song "Beauty and the Beast" on Freeform television network on March 5, 2017, and it has since attained over 100 million video views on the Vevo video-hosting service.[58]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[13] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[59]

text: The world premiere of Beauty and the Beast took place on February 23, 2017, at Spencer House in London, United Kingdom;[60] and the film later premiered at the El Capitan Theatre in Hollywood, California, on March 2, 2017. The stream was broadcast onto YouTube.

text: A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017.[61] The United Kingdom received the same version on April 21, 2017.[citation needed]

text: Marketing[edit]

text: Disney spent around $140 million for marketing the film worldwide.[62] Following an announcement on May 22, 2016,[63] Disney premiered the first official teaser trailer on Good Morning America the next day.[64] In its first 24 hours, the teaser trailer reached 91.8 million views, which topped the number of views seen in that amount of time in history, including for the teasers for other films distributed by Disney such as Avengers: Age of Ultron, Star Wars: The Force Awakens and Captain America: Civil War.[65] This record has since been broken by Thor: Ragnarok and It.[66] The first official teaser poster was released on July 7, 2016.[67] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine for the week along with nine new photos as well.[68][69] One week later, Emma Watson and Disney debuted a new poster for the film.[70] On November 14, 2016, the first theatrical trailer was released again on Good Morning America.[71] The trailer reached 127.6 million views in its first 24 hours, setting a new record as the trailer with the most views in one day, beating out Fifty Shades Darker.[72] This record has since been broken again by The Fate of the Furious.[73] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[74] Disney released the final trailer on January 30, 2017.[75] BMW and Mini partnered with the film to promote it globally; including teasers, a television commercial featuring Mini Hatch John Cooper Works, BMW M2, Mini Clubman, BMW M3 and BMW M4, online exclusives, in-store and in-theater advertisements.

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[76] The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast.[77] The movie regained the top spot on the national home video sales charts during its third week of release.[78] The movie became available on Netflix on September 19, 2017.

text: Reception[edit]

text: Box office[edit]

text: Beauty and the Beast grossed $504 million in the United States and Canada and $759.4 million in other territories for a worldwide gross of $1.263 billion.[a] With a production budget of $160 million, it is the second-most expensive musical ever made; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second-biggest musical ever overall, behind Disney's Frozen (2013).[80] Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney.[81] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[82] It surpassed the entire lifetime total of the original film in just six days.[83][84]

text: Beauty and the Beast is the 300th digitally remastered release in IMAX company's history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time,[85] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[86][87][88][89] On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One (also a Disney property) in December 2016 to make over a billion dollars, and did so on its twenty-ninth day of release.[90][91][92] It is currently the highest-grossing film of 2017,[93] the highest-grossing March release,[94] the highest-grossing remake of all-time,[95] and the fifth-biggest Disney film.[96] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[95]

text: North America[edit]

text: In the United States and Canada, Beauty and the Beast topped Fandango's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.[97][98][99] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[100][101] It earned $16.3 million from Thursday previews night, marking the biggest of 2017 (breaking Logan's record), the biggest ever for a Disney live-action film (breaking Maleficent's record), the second biggest ever for both a G or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).[102] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest—59%—came from regular 2D shows which began at 7 p.m.[103] The numbers were considered more impressive given that the film played during a school week.[104]

text: On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games ($67 million).[105][106] It was also the biggest opening day ever for a film that wasn't PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday's previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million).[107] Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell 2%, but nevertheless, the dip was paltry, and the grosses are so much bigger compared to the other titles.[85] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[108] This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman,[109][110] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[111] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[112] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[112] and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson's highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon's biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.[108]

text: It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second-biggest film of the year, behind Logan ($184 million), and also the second-highest-grossing musical, behind Grease's $188 million cumulative gross in 1978.[113] Seventy percent of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office.[85] Seventy percent of the film's opening day demographic was female, dropping to 60% through the weekend.[112] According polling service PostTrak, about 84 percent of American parents who saw the film on its opening day said they would "definitely" recommend it for families.[114][115] The film's opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast's star power (especially Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney's brand.[114][116]

text: On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second-biggest March Monday, behind Batman v Superman ($15 million).[117] This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a 32% increase from its previous day. The same day, the film passed $200 million in ticket sales.[118] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[119] In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney.[120] In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens).[80] The hold was notable considering how the film was able to fend off three new wide releases: Power Rangers, Life, and CHiPs.[121] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[122] The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).[123] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[124] By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (-48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released.[125] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[126] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[127] By May 28, the film had earned over $500 million in ticket sales becoming the first (and currently only) film of 2017, the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman) and the eighth overall film in cinematic history to pass the mark.[128][129][130]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[131] the biggest musical film (both animated and live-action),[132] as well as the biggest film of 2017.[133]

text: Outside North America[edit]

text: Internationally, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second-biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second-biggest for a PG title behind The Jungle Book.[134] In its second weekend, it fell just by 35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia.[135] It topped the international box office for three consecutive weekends[136] before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion thresold internationally for the first time in 2017.[137][92]

text: It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second-biggest in Germany ($1.1 million), Disney's biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third-biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World's End and Pirates of the Caribbean: On Stranger Tides.[138][139] In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million) and Spain ($5.8 million).[134][135]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG-rated film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's Les Misérables), the number one opening of 2017 to date and the fifth-biggest-ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million).[140] This included the second-biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[141] It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third-biggest ever (behind the two James Bond films Skyfall (2012) and Spectre).[142][135] In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions.[143][144][145] It earned around ₹1.5 crore (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases—Machine, Trapped, and Aa Gaya Hero—combined.[146] Disney reported a total of ₹9.26 crore (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[147][148][149] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[150]

text: In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time—around two months—to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book.[151] The original film was, however, never widely popular in the country.[152] Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country.[153] It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million.[154][155] Either ways, it recorded the second-biggest opening for a Disney live-action film,[152] with $3.4 million coming from 386 IMAX screens.[134] Japan—a huge Disney market—served as the film's final market and opened there on April 21.[135] It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country.[156][157] The two-day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[158] Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends[159][160][161] and is the biggest film release of the year and, overall, the eleventh-biggest of all time.[162] It topped the box office there for eight consecutive weekends.[163][164]

text: The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local movies and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1).[134] It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews).[137][165] In the Philippines, it emerged as the most successful commercial film of all time—both local and foreign—with over $13.5 million.[166] In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings movies (which also starred Ian McKellen).[167] It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[156][168] The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).[163] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past year (behind Rogue One: A Star Wars Story).[156][159][169]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for the faithfulness to the original film with a few elements of the Broadway musical version, cast performances, visuals, Jacqueline Durran's costume designs, production design, Alan Menken's musical score and songs, though the designs of the Beast and the servants' household object forms received mixed reviews..[9][10] On review aggregator Rotten Tomatoes, the film has an approval rating of 71% based on 299 reviews, with an average rating of 6.6/10. The site's critical consensus reads, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[170] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[171] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[172][173]

text: 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 commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[174] 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 Steven's character 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.[175] A. O. Scott of The New York Times praised the performances of both Watson and 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."[176] Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[177] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[178] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[179] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth, remarking: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[180] James Berardinelli of ReelViews described the 2017 version as "enthralling".[181]

text: Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon's affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song.[182] Peter Travers of Rolling Stone rated the film three out of four stars which he deemed it as an "exhilarating gift" while he remarked that "Beauty and the Beast does justice to Disney's animated classic, even if some of the magic is M.I.A (Missing in Action)."[183] Stephanie Zacharek of Time magazine gave a positive review with a description as "Wild, Vivid and Crazy-Beautiful" as she wrote "Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming." and added that "it’s loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version."[184] The San Francisco Chronicle's Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that "Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along" while referring the film as "beautiful" and also praised the film for its emotional and psychological tone as well Steven's motion capture performance.[185] Tim Robey of The Daily Telegraph gave the film four stars out of five and wrote that "It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical" while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad.[186] Mark Hughes of Forbes also similarly praised the film which he wrote that "it could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original" and also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences.[187]

text: Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it’s hard not to notice".[188] Michael Phillips of the Chicago Tribune said that the 2017 film "takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips wrote that the film featured some "less conspicuously talented" performers who are "stuck doing karaoke, or motion-capture work of middling quality", though he praised Kline's performance as the "best, sweetest thing in the movie; he brings a sense of calm, droll authority".[189] Peter Bradshaw of The Guardian praised Watson's performance and wrote that the film was "lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails—the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version." In the same newspaper, Wendy Ide criticized the film as "ornate to the point of desperation" in its attempt to emulate the animated film.[190][191]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", the new songs were "not transporting". He felt the film needed more life and depth, but praised Watson's and Steven's performances as the "film’s stronger elements".[192] Dana Schwartz of The New York Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[193]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[194]

Best Actor in a Movie
Emma Watson

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Beauty and the Beast
[195]

Best Original Score

Best Animation/Family TV Spot

Best Fantasy Adventure TV Spot

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Won
[196]
[197]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans

Choice Movie Ship
Emma Watson and Dan Stevens

Choice Liplock

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans

Dan Stevens

Hollywood Film Awards
November 5, 2017
Costume Design Award
Jacqueline Durran
Won
[198]

Make-Up & Hair Styling Award
Jenny Shircore

Hollywood Music in Media Awards 2017
November 16, 2017
Best Original Song - Animated Film
"How Does a Moment Last Forever" - Alan Menken and Tim Rice
Pending
[199]

Best Soundtrack Album
Beauty and the Beast

text: Controversies[edit]

text: Gay character[edit]

text: Controversy erupted after director Bill Condon said there was a "gay moment" in the film, when LeFou briefly waltzes with Stanley, one of Gaston's friends.[200] Afterwards in an interview with Vulture.com, Condon stated, "Can I just say, I’m sort of sick of this. Because you've seen the movie—it's such a tiny thing, and it's been overblown." Condon also added that Beauty and the Beast features much more diversity than just the highly talked-about LeFou: "That was so important. We have interracial couples—this is a celebration of everybody's individuality, and that's what’s exciting about it.”[201] GLAAD president and CEO Sarah Kate Ellis praised the move stating, "It is a small moment in the film, but it is a huge leap forward for the film industry."[202]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[203] but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults).[204] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[205] In Malaysia, the Film Censorship Board insisted the "gay moment" scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored.[206][207][208] The studio moved the release date to March 30, to allow more time for Malaysia's censor board to make a decision on whether or not to release the film without changes.[209] The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that the "gay element" was minor and did not affect the positive elements featured in the film.[210][211] In Kuwait, the movie was withdrawn from cinemas by National Cinema Company which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information's censorship department had requested it to stop its screening and edit it for things deemed offensive by it.[212]

text: There were also a number of boycotts against the film. A call to boycott on LifePetitions received over 129,000 signatures,[213] while the American Family Association featured a petition to boycott with the film, asking the public to help crowdfund a CGI version of Pilgrim's Progress instead.[214]

text: The film also received criticsm over its portrayal of LeFou, as many felt that it relied on stereotypes[215] and was used as a way of teasing LGBT+ viewers without providing adequate representation.[216] LeFou's status as a sidekick to the main villain brought about criticism over Disney's queercoding of villains in the past, and his infatuation with Gaston was seen as relying on a stereotype of gay men being predatory towards straight men.[217] Furthermore, the only gay interaction LeFou has is a three second clip of him dancing with another man at the end of the film. Many saw this as Disney cheating its LGBT+ audiences.[218]

text: Belle and the Beast's relationship[edit]

text: Disney has sought to portray Belle as an empowered young woman,[219] but a debate questioning whether it is possible to fall in love with someone who is holding you prisoner, and whether this is a problematic theme, has resulted.[220] As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale.[221][222] Watson described Stockholm Syndrome as "where a prisoner will take on the characteristics of and fall in love with the captor. Belle actively argues and disagrees with [Beast] constantly. She has none of the characteristics of someone with Stockholm Syndrome because she keeps her independence, she keeps that freedom of thought", also adding that Belle defiantly "gives as good as she gets" before forming a friendship and romance with the Beast.[223]

text: Psychiatrist Frank Ochberg, who coined the term "Stockholm syndrome", said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die.[224] Some therapists, while acknowledging that the pairing's relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers.[225][226] Constance Grady of Vox writes that Jeanne-Marie Leprince de Beaumont's Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th-century France for arranged marriages, and that the power disparity is amplified in the Disney version.[227] Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and his treatment of Belle is not painted as wrong.[228]

text: Notes[edit]

text: ^ Jump up to: a b Beauty and the Beast at Box Office Mojo. Retrieved August 14, 2017.