document_title: Fire alarm notification appliance

question_text: what is the intensity of a fire alarm that has a sound level of 120 decibels

text: Fire alarm notification appliance

text: Methods of notification[edit]

text: The primary function of the notification appliance is to alert persons at risk. Several methods are used and documented in industry specifications published by UL.[citation needed]

text: Alerting methods include:

text:
Sound (audible signals)

~3 kHz / ~3100 Hz tone (high frequency). Used in many current notification devices.[1]
520 Hz (low frequency). Used in newer notification devices.[1]
45 dB to 120 dB A weighted for human hearing (higher decibels, in the 100 to 120 dB range, were common with older fire alarm horns)[citation needed]

Light (visible signals)

15 cd to 1000 cd candela output[2]
1 to 2 flashes per second[3]

text: Coding[edit]

text: Coding refers to the pattern or tones a notification appliance sounds in and is controlled either by the panel or by setting jumpers or DIP switches on the notification appliances. The majority of audible notification appliances installed prior to 1996 produced a steady sound for evacuation. In general, no common standard at that time mandated any particular tone, or pattern for audible fire alarm evacuation signals. While less common than a steady sound, differing signaling methods were used for the same purpose. These are named with respect to their distinctive structure and include, March Time (usually 120 pulses per minute but sometimes at 90 pulses or 20 pulses per minute, depending on the panel), Hi-Lo (two different tones that alternate), Slow-Whoop (slow rising sweep upwards in tone) among others.[4] Today these methods are confined to applications intended to trigger a response other than evacuation alone. In 1996, the ANSI and the NFPA recommended a standard evacuation pattern to eliminate confusion. The pattern is uniform without regard to the sound used. This pattern, which is also used for smoke alarms, is named the Temporal-Three alarm signal, often referred to as "T-3" (ISO 8201 and ANSI/ASA S3.41 Temporal Pattern) and produces an interrupted four count (three half second pulses, followed by a one and one half second pause, repeated for a minimum of 180 seconds). CO (carbon monoxide) detectors are specified to use a similar pattern using four pulses of tone (often referred to as T4).[citation needed]

text: Audibility[edit]

text: From NFPA 72, 2002 Edition: “7.4.2.1* To ensure that audible public mode signals are clearly heard, unless otherwise permitted by 7.4.2.2 through 7.4.2.5, they shall have a sound level at least 15 dB (Decibel) above the average ambient sound level or 5 dB above the maximum sound level having a duration of at least 60 seconds, whichever is greater, measured 1.5 m (5 ft) above the floor in the occupiable area, using the A-weighted scale (dBA).”[5]

text: Visual signals[edit]

text: In 1970, Space Age Electronics introduced the first visual notification appliance, the AV32 light plate (which was installed over an existing horn) and V33 remote light. Meanwhile, in 1976, Wheelock introduced the first horn/strobe notification appliances with its 700x series. The majority of visual signals throughout the 1970s and 1980s were white or red incandescent lights. In the 1980s, most new installations began to include visual signals, and more strobes started to appear. In the United States, the 1990 Americans with Disabilities Act (ADA) triggered changes in evacuation signaling methods to include the hearing impaired. Audible notification appliances would now have to include strobe lights with higher brightness intensity to alert the hearing impaired.[citation needed] This made incandescent lights inadequate for the purposes of the ADA.

text: Many existing installations that did not include visual signals were retrofitted with strobe plates. These retrofit plates would allow for the easy installation of a strobe without replacing the audible signal. Later ADA codes also required that strobes be at least 15 candelas and have a flash rate of at least 60 flashes per minute (one flash per second).[citation needed] Companies such as Wheelock and Simplex discontinued their translucent strobes, and replaced them with new, clear, high-intensity strobes. Today, strobe synchronization is often used to synchronize all strobes in a uniform flash pattern. This is to prevent individuals with photosensitive epilepsy from potentially experiencing seizures due to unsynchronized strobes.

text: Voice evacuation[edit]

text: Voice evacuation systems (also called Voice Alarm Systems) have become popular in most countries. Voice evacuation alarms typically are not as loud as horns or bells (although generally standards require the same minimum sound pressure levels), and usually sound an alarm tone (typically a slow whoop, code-3, or chime tone, although this depends on the country and particular application) and a voice message warning that an emergency has been reported and to evacuate the building (often also directing occupants to not use elevators). Voice evacuation systems can also be used by personnel to give specific live information and/or instructions over the alarm system using a built-in microphone, which provides a distinct advantage over horns or bells. The system can be stand alone (i.e. using dedicated loudspeakers, which can also feature integrated strobe lights), or the system can accommodate public address system functionality. In 1973, the Autocall fire alarm company manufactured the first voice evacuation system.[6]

text: Voice evacuation in Europe[edit]

text: In Europe, voice evacuation systems are normally a mandatory requirement for rail and air transport terminals, high-rise buildings, schools, hospitals, and other large facilities[citation needed]. Voice systems for emergency use date back at least as far as the second world war. Following the lead of companies like Avalon, Tannoy and Millbank Electronics etc., in the 1980s many other companies such as ASL, Application Solutions (Safety and Security) Ltd began producing voice-evacuation systems. In the 1990s, voice evacuation started to become the standard for large facilities, and is still growing in popularity. The use, design, operation and installation of Voice evacuation systems is governed in Europe by CENELEC European Committee for Electrotechnical Standardization EN 60849 and in the UK by the British Standard BS 5839-Part 8, a system code of practice. This is joined by the European harmonised equipment standards family EN 54, and ISO 7240-16:2007.

text: Effectiveness[edit]

text: Initial research into the effectiveness of the various alerting methods is sparse. From 2005 to 2007, research sponsored by the NFPA focused on understanding the cause of a higher number of deaths seen in high-risk groups such as the elderly, those with hearing loss, and those who are intoxicated. [7] Research findings suggest that a low frequency (520 Hz) square wave output is significantly more effective at waking high-risk individuals.[7] More recent research suggests that strobe lights are not effective at waking sleeping adults with hearing loss and suggest that a different alarm tone is much more effective. Individuals in the hearing loss community are seeking changes to improved awakening methods.[citation needed]

text: Effectiveness of low frequency (520 Hz) sound[edit]

text: Further NFPA research demonstrated the heightened waking effectiveness of low frequency square wave auditory signals that use 520 Hz, especially when used to wake people with mild to moderately severe hearing loss. Two separate studies were conducted – one for the hard-of-hearing and one for the alcohol-impaired – in order to compare the waking effectiveness of 520 Hz low frequency square wave devices and 3100 Hz pure tone T-3 sound devices.[8]

text: Under the testing conditions, a 520 Hz square wave T-3 sound woke up 92% of hard-of-hearing participants, making it the most effective. The 3100 Hz pure tone T-3 sound woke up 56% of participants.[8]

text: A summary of the studies shows that the 520 Hz square wave signal has at least 4 to 12 times more waking effectiveness than the current 3100 Hz signal.[9]

text: NFPA code implementation of low frequency (520 Hz) sound[edit]

text: Effective January 1, 2014, section 18.4.5.3 of the 2010 and later editions of NFPA 72 requires the low frequency audible fire alarm signal in occupancy sleeping areas with a protected premises (building) fire alarm system. The Chapter 18 committee chose to apply the requirement to all sleeping areas – not just those where occupants have self-identified as having a hearing impairment. This was done intentionally for several reasons: in many cases, the applications impacted are lodging spaces such as hotels, and many people may not know they have a hearing impairment or they may be alcohol impaired.[10]

text: The 520 Hz low frequency signal is required in sleeping areas of the following buildings:

text:
Hotels and motels
College and university dormitories
Retirement/assisted-living facilities without trained staff responsible for waking up patients
Dwelling units within apartments and condominiums

text: According to NFPA 72-2010, section 18.4.5.3*, audible appliances provided for sleeping areas to awaken occupants shall produce a low frequency alarm signal that complies with the following (effective January 1, 2014):

text:
(1) The alarm signal shall be a square wave or provide equivalent awakening ability.
(2) The wave shall have a fundamental frequency of 520 Hz +/- 10 percent.[10]


document_title: The Longest Day (film)

question_text: who played general eisenhower in the longest day

root

text: The Longest Day (film)

text: Plot[edit]

text: The movie is filmed in the style of a docudrama. Beginning in the days leading up to D-Day, it concentrates on events on both sides of the channel, such as the Allies waiting for the break in the poor weather and anticipating the reaction of the Axis forces defending northern France. The film pays particular attention to the decision by Gen. Eisenhower, Supreme Commander of SHAEF, to go after reviewing the initial bad-weather reports as well as reports about the divisions within the German High Command as to where an invasion might happen or what the response to it should be.

tag: p

text: Numerous scenes document the early hours of June 6 when Allied airborne troops were sent in to take key locations inland from the beaches. The French resistance is also shown reacting to the news that an invasion has started. The Longest Day chronicles most of the important events surrounding D-Day, from the British glider missions to secure Pegasus Bridge, the counterattacks launched by American paratroopers scattered around Sainte-Mère-Église, the infiltration and sabotage work conducted by the French resistance and SOE agents to the response by the Wehrmacht to the invasion and the uncertainty of German commanders as to whether it was a feint in preparation for crossings at the Pas de Calais (see Operation Fortitude), where the senior German staff had always assumed it would be.

text: Set-piece scenes include the parachute drop into Sainte-Mère-Église, the advance inshore from the Normandy beaches, the U.S. Ranger Assault Group's assault on the Pointe du Hoc, the attack on Ouistreham by Free French Forces and the strafing of the beaches by two lone Luftwaffe pilots.

text: The film concludes with a montage showing various Allied units consolidating their beachheads before they advance inland to reach Germany by crossing France.

text: Cast[edit]

text: American[edit]

text:
Actor
Role

Eddie Albert
Colonel Thompson, 29th Infantry Division

Paul Anka
Private, 2nd Ranger Battalion

Richard Beymer
Private Arthur 'Dutch' Schultz, 82nd Airborne Division

Red Buttons
Private John Steele, 2nd Battalion, 505th Parachute Infantry Regiment

Gary Collins
Officer on destroyer bridge (uncredited)

John Crawford
Colonel Eugene Caffey, Commander, 1st Engineer Special Brigade (uncredited)

Mark Damon
Private Harris (uncredited)

Ray Danton
Captain Frank, 29th Infantry Division

Fred Dur
Major, 2nd Ranger Battalion

Fabian
Private, 2nd Ranger Battalion

Mel Ferrer
Major General Robert Haines, Supreme Headquarters Allied Expeditionary Force (SHAEF)

Henry Fonda
Brigadier General Theodore Roosevelt, Jr., Assistant Commander, 4th Infantry Division

Steve Forrest
Captain Harding, 2nd Battalion, 505th Parachute Infantry Regiment

Henry Grace (dubbed by Allen Swift)
General Dwight D. Eisenhower, Supreme Commander, Allied Expeditionary Forces (uncredited)

Peter Helm
Young private, 29th Infantry Division

Jeffrey Hunter
Sergeant John H. Fuller, combat engineer, 29th Infantry Division

Alexander Knox
Lieutenant General Walter Bedell Smith, Chief of Staff, SHAEF

Mickey Knox
Downed Airman, (uncredited)

Dewey Martin
Private Wilder, 4th Infantry Division (scenes deleted)

Roddy McDowall
Private Morris, 4th Infantry Division

John Meillon
Rear Admiral Alan G. Kirk, Commander, U.S. Naval Forces (uncredited)

Sal Mineo
Private Martini, 82nd Airborne Division

Robert Mitchum
Brigadier General Norman Cota, Assistant Commander, 29th Infantry Division

Tony Mordente
Cook, 82nd Airborne Division (uncredited)

Bill Nagy
Major, 2nd Battalion, 505th Parachute Infantry Regiment

Edmond O'Brien
Major General Raymond O. Barton, Commander, 4th Infantry Division

Ron Randell
Joe Williams, war correspondent

Robert Ryan
Brigadier General James M. Gavin, Assistant Commander, 82nd Airborne Division

Tommy Sands
Private, 2nd Ranger Battalion

George Segal
Private, 2nd Ranger Battalion

Bob Steele
Paratrooper, 82nd Airborne Division (uncredited)

Rod Steiger
Destroyer commander, United States Navy

Nicholas Stuart
Lieutenant General Omar N. Bradley, Commander, First Army (uncredited)

Tom Tryon
Lieutenant Wilson, 2nd Battalion, 505th Parachute Infantry Regiment

Robert Wagner
Private, 2nd Ranger Battalion

Joe Warfield
Army medic (uncredited)

John Wayne
Lieutenant Colonel Benjamin H. Vandervoort, CO, 2nd Battalion, 505th Parachute Infantry Regiment

Stuart Whitman
Lieutenant Sheen, 2nd Battalion, 505th Parachute Infantry Regiment

tag: table

text: British[edit]

text:
Actor
Role

Patrick Barr
Group Captain J. M. Stagg, meteorologist (uncredited)

Lyndon Brook
Lieutenant Walsh, "D" Company, 2nd Battalion, Oxfordshire and Buckinghamshire Light Infantry (uncredited)

Richard Burton
Flying Officer David Campbell, Royal Air Force fighter pilot

Bryan Coleman
Ronald Callen, war correspondent (uncredited)

Sean Connery
Private Flanagan, 3rd Infantry Division

Richard Dawson
British soldier (uncredited)

Jack Hedley
6th Airborne Division briefing officer (uncredited)

Leslie de Laspee
Piper Bill Millin, 1st Special Service Brigade (uncredited)

Frank Finlay
Private Coke (uncredited)

Harry Fowler
Soldier, 6th Airborne Division (uncredited)

Bernard Fox
Lance-Corporal Hutchinson, Royal Armoured Corps (uncredited)

Leo Genn
Major-general at SHAEF

Harold Goodwin
Soldier in glider (uncredited)

John Gregson
Padre, 6th Airborne Division

Walter Horsbrugh
Rear-Admiral George Creasy, Chief of Staff to Admiral Ramsay (uncredited)

Donald Houston
RAF fighter pilot in mess

Patrick Jordan
British officer (uncredited)

Simon Lack
Air Chief Marshal Sir Trafford Leigh-Mallory, Commander-in-Chief, Allied Expeditionary Air Force (uncredited)

Harry Landis
British soldier (uncredited)

Peter Lawford
Brigadier Lord Lovat, Commander, 1st Special Service Brigade

Neil McCallum
Canadian medical officer (uncredited)

Victor Maddern
Cook (uncredited)

Howard Marion-Crawford
Major Jacob Vaughan, Medical Officer, 2nd Battalion, Oxfordshire and Buckinghamshire Light Infantry (uncredited)

Michael Medwin
Private Watney, Universal Carrier driver, 3rd Infantry Division

Kenneth More
Acting Captain Colin Maud, Royal Navy Beachmaster, Juno Beach

Louis Mounier
Air Chief Marshal Sir Arthur Tedder, Deputy Supreme Commander, Allied Expeditionary Forces (uncredited)

Leslie Phillips
RAF officer with French Resistance

Siân Phillips
Wren assistant to Stagg (uncredited)

Trevor Reid
General Sir Bernard Montgomery, Commander-in-Chief, Allied Armies (uncredited)

John Robinson
Admiral Sir Bertram Ramsay, Allied Naval Commander-in-Chief (uncredited)

Norman Rossington
Lance-Corporal Clough, 3rd Infantry Division

Richard Todd
Major John Howard, OC, "D" Company, 2nd Battalion, Oxfordshire and Buckinghamshire Light Infantry

Richard Wattis
Major, 6th Airborne Division

text: French[edit]

text:
Actor
Role

Arletty
Madame Barrault, resident of Sainte-Mère-Église

Jean-Louis Barrault
Father Louis Roulland, parish priest of Sainte-Mère-Église

Yves Barsacq
French Resistance man, Caen (uncredited)

André Bourvil
Alphonse Lenaux, Mayor of Colleville-sur-Mer

Pauline Carton
Louis's housekeeper

Jean Champion
French Resistance man, Caen (uncredited)

Irina Demick
Janine Boitard, French Resistance, Caen

Bernard Fresson
Fusilier Marin Commando (uncredited)

Clément Harari
Arrested man (uncredited)

Fernand Ledoux
Louis, elderly farmer

Christian Marquand
Capitaine de Corvette Philippe Kieffer, CO, 1er Bataillon de Fusiliers Marins Commandos

Maurice Poli
Jean, French Resistance, Caen (uncredited)

Madeleine Renaud
Mother superior in Ouistreham

Georges Rivière
Second-Maître Guy de Montlaur, 1er Bataillon de Fusiliers Marins Commandos

Jean Servais
Contre-amiral Robert Jaujard, Commander, 4th Cruiser Division, Free French Naval Forces

Alice Tissot
Lenaux's housekeeper (uncredited)

Georges Wilson
Alexandre Renaud, Mayor of Sainte-Mère-Église

Dominique Zardi
Spitfire pilot (uncredited)

text: German[edit]

text:
Actor
Role

Hans Christian Blech
Major Werner Pluskat, 352nd Artillery Regiment, 352nd Infantry Division

Wolfgang Büttner
Generalleutnant Dr. Hans Speidel, Chief of Staff, Army Group B

Eugene Deckers
German Major in church (uncredited)

Robert Freitag
Meyer's aide (uncredited)

Gert Fröbe
Unteroffizier "Kaffeekanne" ("coffee pot")

Walter Gotell
SS General (uncredited)

Paul Hartmann
Generalfeldmarschall Gerd von Rundstedt, Commander, OB West

Ruth Hausmeister
Lucie Rommel, Rommel's wife (uncredited)

Michael Hinz
Manfred Rommel, Rommel's son (uncredited)

Werner Hinz
Generalfeldmarschall Erwin Rommel, Commander, Army Group B

Karl John
Generalleutnant Wolfgang Häger, Luftwaffe Kommando West

Curt Jürgens
General der Infanterie Günther Blumentritt, Chief of Staff, OB West

Til Kiwe
Hauptmann Helmuth Lang, ADC to Rommel (uncredited)

Wolfgang Lukschy
Generaloberst Alfred Jodl, Chief of Operations, Oberkommando der Wehrmacht (uncredited)

Kurt Meisel
Hauptmann Ernst Düring (uncredited)

Richard Münch
General der Artillerie Erich Marcks, Commander, LXXXIV Army Corps

Rainer Penkert
Leutnant Fritz Theen, 352nd Artillery Regiment, 352nd Infantry Division (uncredited)

Wolfgang Preiss
Generalleutnant Max Pemsel, Chief of Staff, 7th Army

Hartmut Reck
Oberfeldwebel Bernhard Bergsdorf, pilot, Jagdgeschwader 26 (uncredited)

Heinz Reincke
Oberstleutnant Josef Priller, Kommodore, Jagdgeschwader 26 (uncredited)

Paul Edwin Roth
Oberst Schiller (uncredited)

Dietmar Schönherr
Häger's aide (uncredited)

Ernst Schröder
Generaloberst Hans von Salmuth, Commander, 15th Army (uncredited)

Hans Söhnker
Pemsel's staff officer (uncredited)

Heinz Spitzner
Oberstleutnant Helmuth Meyer, Chief of Intelligence, 15th Army (uncredited)

Peter van Eyck
Oberstleutnant Ocker, Commander, 352nd Artillery Regiment, 352nd Infantry Division

Vicco von Bülow
Pemsel's adjutant (uncredited)

text: Production[edit]

text: Development[edit]

text: French producer Raoul Lévy signed a deal with Simon & Schuster to purchase the filming rights to Cornelius Ryan's novel The Longest Day: June 6, 1944 D-Day on March 23, 1960. After finishing The Truth, Lévy set up a deal with the Associated British Picture Corporation and got director Michael Anderson attached. Ryan would receive $100,000, plus $35,000 to write the adaptation's screenplay. Lévy intended to start production in March 1961, filming at Elstree Studios and the English and French coasts. But the project went into a halt once ABPC could not get the $6 million budget Lévy expected. Eventually former 20th Century Fox mogul Darryl F. Zanuck learned about the book while producing The Big Gamble, and in December purchased Lévy's option for $175,000.[5] Zanuck's editor friend Elmo Williams wrote a film treatment, which piqued the producer's interest and made him attach Williams to The Longest Day as associate producer and coordinator of battle episodes. Ryan was brought in to write the script, but had conflicts with Zanuck as soon as the two met. Williams was forced to act as a mediator; he would deliver Ryan's script pages to Zanuck, then return them with the latter's annotations.[6] While Ryan developed the script, Zanuck also brought in other writers for cleanups, including James Jones and Romain Gary. As their contributions to the finished screenplay were relatively minor, Ryan managed to get the screenplay credit after an appeal to the Writers Guild arbitration,[7] but the four other writers are credited for "additional scenes" in the closing credits.

text: During pre-production, producer Frank McCarthy, who had worked for the United States Department of War during World War II, arranged for military collaboration with the governments of France, Germany, the United Kingdom and the United States. Zanuck also realized that with eight battle scenes, shooting would be accomplished more expediently if multiple directors and units worked simultaneously. He contracted with German directors Gerd Oswald and Bernhard Wicki, the British Ken Annakin, and the American Andrew Marton.[8] Zanuck's son Richard D. Zanuck was reluctant about the project, particularly the high budget.[9]

text: Filming[edit]

text:
The film was shot at several French locations including the Île de Ré, Saleccia beach in Saint-Florent, Haute-Corse, Port-en-Bessin-Huppain filling in for Ouistreham, Les Studios de Boulogne in Boulogne-Billancourt and the actual locations of Pegasus Bridge near Bénouville, Calvados, Sainte-Mère-Église and Pointe du Hoc.[10]
During the filming of the landings at Omaha Beach, the extras appearing as American soldiers did not want to jump off the landing craft into the water because they thought it would be too cold. Robert Mitchum, who played Gen. Norman Cota, became disgusted with their trepidation. He jumped in first, at which point the extras followed his example.
The Rupert paradummies used in the film were far more elaborate and lifelike than those actually used in the decoy parachute drop (Operation Titanic), which were simply canvas or burlap sacks filled with sand. The dummies dressed in American jumpsuits were used in filming the Sainte-Mère-Église sequence.[10] In the real operation, six Special Air Service soldiers jumped with the dummies and played recordings of loud battle noises to distract the Germans.
With a budget of $10,000,000, this was the most expensive black-and-white film made until 1993, when Schindler's List was released.[4]
In the scenes where the paratroopers land, the background noise of frogs croaking "ribbit ribbit" was incorrect for northern French frog species and showed that the film probably used an American recording of background night noises.
Darryl Zanuck hired several former military personnel to aid in direction. The director of American exteriors was Andrew Marton, director of British exteriors was Ken Annakin, director of German exteriors was Bernhard Wicki. This was to ensure the most authentic military procedures.
Colin Maud loaned Kenneth More the shillelagh he carried ashore in the actual invasion (More had served as an officer in the Royal Navy during World War II, albeit not as a Beachmaster); similarly Richard Todd wore the D-Day helmet worn by his character, Maj. John Howard.
In the film, three Free French Special Air Service paratroopers jump into France before British and American airborne landings. This is accurate. Thirty-six Free French SAS (4 sticks) jumped into Brittany (Plumelec and Duault) on June 5 at 23:30, (operation Dingson). The first Allied soldiers killed in action were Lt. Den Brotheridge of the 2nd Ox & Bucks Light Infantry as he crossed Pegasus Bridge at 00:22 on June 6 and Corporal Emile Bouétard of the 4th Free French SAS battalion, at the same time in Plumelec, Brittany.
The United States Sixth Fleet extensively supported the filming and made available many amphibious landing ships and craft for scenes filmed in Corsica, though many of the ships were of (then) modern vintage. The Springfield and Little Rock, both World War II light cruisers (though extensively reconfigured into guided missile cruisers) were used in the shore bombardment scenes, though it was easy to tell they did not resemble their wartime configuration.
Gerd Oswald was the uncredited director of the parachute drop scenes into Sainte-Mère-Église. Darryl F. Zanuck said that he himself directed some uncredited pick-ups with American and British interiors.[11]
Elmo Williams was credited as associate producer and coordinator of battle episodes. He later produced another historical World War II film, Tora! Tora! Tora! (1970), for Zanuck. Like The Longest Day, it used a docudrama style, although it was in color. It depicted the Japanese surprise attack on Pearl Harbor in 1941.

tag: ul

text: Casting[edit]

text:
Charlton Heston actively sought the role of Lt. Col. Benjamin H. Vandervoort, but the last-minute decision of John Wayne to take the role prevented Heston's participation. At 55 Wayne was 28 years older than Vandervoort at the time of action (and 10 years older in real life). While everyone else accepted $25,000 as payment, Wayne insisted on $250,000 to punish producer Zanuck for referring to him as "poor John Wayne" regarding Wayne's problems with his lavish movie The Alamo.[12]
Zanuck hired more than 2,000 legitimate soldiers for the film as extras.
Sgt. Kaffeekanne (played by Gert Fröbe)'s name is German for "coffee pot", which he always carries.
It is a common misconception that Bill Millin, the piper who accompanies Lord Lovat to Normandy with his bagpipes, played himself in the film. He was actually portrayed by Pipe Major Leslie de Laspee, the official piper to the Queen Mother in 1961.[13][14]
In Sainte-Mère-Église, Pvt. John Steele from the 82nd Airborne (played by Red Buttons) has been memorialised by the local population with a dummy hanging from a parachute from the church tower on which he accidentally landed.
Richard Todd, who played Maj. John Howard, leader of the British airborne assault on the Pegasus Bridge, took part in the real bridge assault on D-Day. He was offered the chance to play himself but took the part of Maj. Howard instead.
Joseph Lowe landed on Omaha Beach and scaled the cliffs at Pointe du Hoc on D-Day. He repeated the climb for the cameras 17 years later as a serving member of the 505th Airborne Battle Group who provided US Army film extras.
Former US President Dwight D. Eisenhower was considered for the role of himself in the film, and he indicated his willingness. However, it was decided that makeup artists couldn't make him appear young enough to play his World War II self. The role of Gen. Eisenhower went to Henry Grace, a set decorator with no acting experience but who had been in the film industry since the mid-1930s. He was a dead ringer for the younger Eisenhower, though his voice differed.
The film marked the last film appearance of Sean Connery before he was cast in the role of James Bond. Gert Fröbe (Sgt. Kaffeekanne) and Curd Jürgens (Gen. Günther Blumentritt) would later go on to play Bond villains Auric Goldfinger (Goldfinger (1964)) and Karl Stromberg (The Spy Who Loved Me) respectively. Connery would later play Maj. Gen. Roy Urquhart in the 1977 film A Bridge Too Far, which was also based on a book by Cornelius Ryan. (Likewise Wolfgang Preiss played Maj. Gen. Max Pemsel in The Longest Day and Field Marshal Gerd von Rundstedt in A Bridge Too Far.)
Mel Ferrer was originally signed to play the role of Gen. James M. Gavin but withdrew from the role due to a scheduling conflict.[10]
According to the 2001 documentary Cleopatra: The Film That Changed Hollywood, Richard Burton and Roddy McDowall were so bored having not been used for several weeks while filming in Rome that they phoned Zanuck begging to do "anything" on his film. They flew themselves to the location and each did a day's filming for their cameo-performances for free.

text: Release[edit]

text: The film premièred in France on September 25, 1962, followed by the United States on October 4 and 23 for the United Kingdom. Given Fox was suffering with the financial losses of Cleopatra, the studio was intending for The Longest Day to have a wide release to reap quick profits. Zanuck forced them to do a proper Roadshow theatrical release, even threatening to sell distribution to Warner Bros. if Fox had refused to do so.[15] The Longest Day eventually became the box office hit Fox needed, with $30 million in worldwide rentals on a $7.5 million budget.[1]

text: There were special-release showings of the film in several United States cities. Participants in D-Day were invited to see the film with their fellow soldiers—in Cleveland, Ohio, this took place at the Hippodrome Theater.[citation needed]

text: Unique for British- and American-produced World War II films of the time, all French and German characters speak in their own languages with subtitles in English. Another version, which was shot simultaneously, has all the actors speaking their lines in English (this version was used for the film's trailer, as all the Germans deliver their lines in English). However, this version saw limited use during the initial release. It was used more extensively during a late 1960s re-release of the film.[citation needed]

text: The Longest Day was released on DVD on November 6, 2001.[16] As of August 2017, it is also available for viewing on Netflix.[citation needed]

text: Reception[edit]

text: Awards and nominations[edit]

text:
Year
Award
Category
Nominee(s)
Result
Ref.

1963
Academy Award
Best Art Direction
Ted Haworth, Léon Barsacq, Vincent Korda and Gabriel Béchir
Nominated
[17]

Best Cinematography
Jean Bourgoin and Walter Wottitz
Won

Best Editing
Samuel E. Beetley
Nominated

Best Picture
Darryl F. Zanuck
Nominated

Best Special Effects
Robert MacDonald and Jacques Maumont
Won

Golden Globe Award
Best Motion Picture – Drama
Darryl F. Zanuck
Nominated
[18]

Best Cinematography - Black and White
Henri Persin, Walter Wottitz, and Jean Bourgoin
Won

Eddie Awards1
Best Edited Feature Film – Dramatic
Samuel E. Beetley
Won
[19]

David di Donatello
Best Foreign Production
Darryl F. Zanuck
Won
[20]

Directors Guild of America Award
Outstanding Directing – Feature Film
Ken Annakin, Andrew Marton, and Bernhard Wicki
Nominated
[21]


document_title: I'm a Celebrity...Get Me Out of Here! (Australian TV series)

question_text: who won i'm a celebrity get me outta here 2018

question_tokens: who won i 'm a celebrity get me outta here 2018

text: Format[edit]

text: The premise of the show is that there is a group of well known personalities living together in a specially constructed camp site in a jungle. During their time in the jungle they are isolated from the outside world and are not commonly aware of outside events. The contestants compete for $100,000 to be donated to a charity of their choosing, in addition to being personally reimbursed for their participation.[9] While in the jungle, some of the contestants (generally voted by the viewing public) compete in challenges for food and luxuries for the camp. These challenges often involve local wildlife and are meant to take the contestants out of their comfort zone. Each week one or more of the contestants are evicted from the jungle, based on viewer votes. In addition, if the contestants become overwhelmed by their situation they can leave the series by speaking the phrase "I'm a celebrity get me out of here!". However, it is reported that if contestants do quit they will have their income for participating in the series markedly reduced.[10] Throughout the show, additional contestants (called "intruders") enter the competition; and beginning with season two, some contestants are only included temporarily (i.e. having a guest appearance).[11] In the end, a final viewer vote occurs to determine the winner of the series, who is given the title of "King and/or Queen of the Jungle".

text: Tucker trials[edit]

text: The contestants take part in daily trials to earn food. These trials aim to test both physical and mental abilities. The winner is usually determined by the number of stars collected during the trial, with each star representing a meal earned by the winning contestant for their camp mates.

text: Celebrity chest challenges[edit]

text: Two or more celebrities are chosen to take part in the celebrity chest challenge to win luxuries for camp. Each challenge involves completing a task to win a chest to take back to camp. However, to win the luxury item in the chest, the campmates must correctly answer a question. If they fail to answer correctly, the luxury item is forfeited and a joke prize is won. The luxury item is "donated" by a celebrity from the outside.

text: Secret mission[edit]

text: This is a challenge where some celebrities have to take part without alerting the other celebrities - if they are successful in their 'missions', they are rewarded.

text: Mystery box[edit]

text: A mystery box sees a box delivered to the campsite, each time containing a different gift for the contestants.

text: Production[edit]

text: Broadcast[edit]

text: The show is broadcast Sunday to Thursday at 7.30 pm, with a weekly eviction show on Sunday (except for the first week, where the celebrities arrive in the 'jungle'). All shows are presented by Julia Morris & Chris Brown from a nearby studio. The program is live to AEDT States (New South Wales, Victoria, Tasmania and the Australian Capital Territory), in other states the program is delayed to accommodate local time zones.

text: The fallout zone[edit]

text: In addition to the television broadcast, for the first season a live feed from the camp site aired for an hour after the AEDT airing of the show on Ten's website and mobile app, titled The Fallout Zone but more commonly referred to as FOZ. The content of feed was available on the website after the fact so viewers in other states could watch the show after their airing of the main show. The feed was hosted by comedian Sam Mac and producer Ciaran "The Butcher" Flannery, also known as "The C-Word". On 8 and 12 March 2015, producer Dominic "The Domin8or" Sullivan filled in during Flannery's absence. The duo interact with viewers through Twitter, using the hashtag #FOZ. Mac and Flannery have no control over the shots used in the stream which has resulted in one episode featuring a 20-minute shot of a waterfall and, on 16 February 2015, a 15-minute conversation featuring a sound technician looking for Bob being picked up. On 5 March 2015 the show famously featured audio problems during which Mac and Flannery's voices fluctuated between chipmunk and Darth Vader filters for the first thirty minutes. The show's theme song is Highway to the Fallout Zone sung by Sam Mac. The show did not return for the second season.

text: Public voting[edit]

text: Throughout the show the public votes on who competes in the following tucker trial and who to evict from the campsite. Viewers can either vote via SMS (by texting the name of the celebrity to 1995 1010) or vote via Social Media (namely Facebook or Twitter) by using the celebrity's hashtag (#celeb[name]). Voting via social media is limited to 20 votes per account. For tucker trial voting, viewers vote for celebrity they wish to compete. For eviction voting, viewers vote for a celebrity to stay. Voting closes at approximately 7:30pm AEDT for Sunday's eviction vote and at approximately 8pm AEDT for voting on other days.

text: Prior to the premiere of the second season, it was announced that the voting process would change slightly compared to the inaugural season. SMS voting wil be used for both trial and eviction voting while Twitter voting will be used exclusively for trial voting. This change was implemented to even the playing field between celebrities with a larger international fan base (who are more likely to receive Twitter votes from said fan base) and celebrities with a smaller fan base who are only known in Australia.[12] However, this decision was later reversed, allowing Twitter and Facebook votes for the finals.[13]

text: Series overview[edit]

text: Winners crowned King or Queen of their respective year.

text: Key:

text:
Season
Presenters
Start date
End date
Days in camp
Campmates
Honour places

Winner
Second place
Third place

1
Chris Brown and Julia Morris
1 February 2015 (2015-02-01)
15 March 2015 (2015-03-15)
45
14
Freddie Flintoff
Barry Hall
Chrissie Swan

2
31 January 2016 (2016-01-31)
13 March 2016 (2016-03-13)
45
12
Brendan Fevola
Paul Harragon
Laurina Fleure

3
29 January 2017 (2017-01-29)
13 March 2017 (2017-03-13)
46
14
Casey Donovan
Dane Swan
Natalie Bassingthwaighte

4
28 January 2018 (2018-01-28)
12 March 2018 (2018-03-12)
45
15
Fiona O'Loughlin
Shannon Noll
Danny Green

text: Series results[edit]

text: Season 1 (2015)[edit]

text:
Celebrity
Known for
Day Entered
Day Exited
Result

 Freddie Flintoff
England and Wales cricketer
17
45
Winner

 Barry Hall
Former AFL forward
1
45
Runner-up

 Chrissie Swan
Television & radio broadcaster
1
45
Third Place

 Maureen McCormick
The Brady Bunch actress
1
42
Evicted 11th

 Joel Creasey
Comedian
1
41
Evicted 10th

 Anna Heinrich
The Bachelor Australia star
10
41
Evicted 9th

 Julie Goodwin
Chef & cookbook author
17
40
Evicted 8th

 Merv Hughes
Former test match cricketer
1
39
Evicted 7th

 Tyson Mayr
Model
1
38
Evicted 6th

 Andrew Daddo
Television & radio presenter
1
31
Evicted 5th

 Lauren Brant
Hi-5 singer
1
24
Evicted 4th

 Laura Dundovic
Miss Universe Australia 2008
1
17
Evicted 3rd

 Tim Robards
The Bachelor Australia star
10
17
Evicted 2nd

 Leisel Jones
Olympic swimmer
1
10
Evicted 1st

text: Season 2 (2016)[edit]

text:
Celebrity
Known for
Day Entered
Day Exited
Result

 Brendan Fevola
AFL full-forward
1
45
Winner

 Paul Harragon
Former NRL prop forward
1
45
Runner-up

 Laurina Fleure
The Bachelor Australia 2 star
1
45
Third Place

 Anthony Callea
Singer-songwriter
1
42
Evicted 9th

 Shane Warne
Retired international cricketer
2
41
Evicted 8th

 Havana Brown
DJ
1
40
Evicted 7th

 Jo Beth Taylor
Television presenter
1
39
Evicted 6th

 Val Lehman
Prisoner actress
1
38
Evicted 5th

 Dean Geyer
Glee actor
1
31
Evicted 4th

 Bonnie Lythgoe
So You Think You Can Dance Australia judge
1
24
Evicted 3rd

 Akmal Saleh
Comedian
1
17
Evicted 2nd

 Courtney Hancock
Ironwoman
1
10
Evicted 1st

text: Season 3 (2017)[edit]

text:
Celebrity
Known for
Day Entered
Day Exited
Result

 Casey Donovan
Singer-songwriter (Australian Idol Winner)
1
46
Winner

 Dane Swan
AFL Legend
1
46
Runner-Up

 Natalie Bassingthwaighte
Singer & Actress
1
46
Third Place

 Nazeem Hussain
Comedian
1
45
Evicted 11th

 Steve Price
Radio Shock Jock
1
42
Evicted 10th

 Lisa Curry
Olympic Swimmer
1
41
Evicted 9th

 Ash Pollard
My Kitchen Rules contestant
1
40
Evicted 8th

 Carson Kressley
TV Personality
25
39
Evicted 7th

 Tegan Martin
Beauty Queen
1
38
Evicted 6th

 Keira Maguire
The Bachelor Australia 4 star
19
35
Evicted 5th

 Kris Smith
TV Personality & Model
2
35
Evicted 4th

 Tziporah Malkah
Former Model
2
31
Evicted 3rd

 Jay Laga'aia
Actor & Singer
1
24
Evicted 2nd

 Tom Arnold
Hollywood Actor
1
17
Evicted 1st

text: Season 4 (2018)[edit]

text:
Celebrity
Known for
Day Entered
Day Exited
Result

 Fiona O'Loughlin
Comedian
1
45
Winner

 Shannon Noll
Singer
1
45
Runner-up

 Danny Green
Boxer
7
45
Third place

 Vicky Pattison
Reality TV Star (I'm a Celeb UK, Winner)
17
44
Evicted 10th

 Simone Holtznagel
Model
1
41
Evicted 9th

 Peter Rowsthorn
Actor & Comedian
1
40
Evicted 8th

 Jackie Gillies
Psychic & Reality TV Star
1
39
Evicted 7th

 Josh Gibson
AFL Player
1
38
Evicted 6th

 Paul Burrell
Former Royal Butler (I'm a Celeb UK, Runner Up)
17
37
Evicted 5th

 Lisa Oldfield
Reality TV Star
24
34
Evicted 4th

 David Oldfield
Former Politician
24
30
Evicted 3rd

 Kerry Armstrong
Actress
1
23
Evicted 2nd

 Tiffany Darwish
Singer
1
16
Evicted 1st

 Anthony Mundine
Boxer
2
12
Withdrew

 Bernard Tomic
Tennis Player
1
3
Withdrew

text: Ratings[edit]

text:
Season
Episodes
Premiere
Finale
Source

Premiere date
Premiere viewers
(Opening Night)
Rank
Premiere viewers
(Welcome to the Jungle)
Rank
Finale date
Finale viewers
(Grand final)
Rank
Finale viewers
(Winner announced)
Rank

1
31
1 February 2015 (2015-02-01)
1.199
4
1.136
5
15 March 2015 (2015-03-15)
0.999
8
1.144
3
[14][15]

2
31
31 January 2016 (2016-01-31)
1.324
3
1.081
5
13 March 2016 (2016-03-13)
0.719
8
0.858
6
[16][17]

3
32
29 January 2017 (2017-01-29)
1.103
7
0.963
8
13 March 2017
0.989
6
1.056
2
[18][19]

4
31
28 January 2018 (2018-01-28)
1.274
4
1.108
5
12 March 2018
0.684
11
0.804
8
[20][21]

text: Awards and nominations[edit]

text:
Year
Award
Category
Recipients and nominees
Result
Refs.

2016
Logie Awards of 2016
Best Reality Program
I'm a Celebrity...Get Me Out of Here!
Nominated
[22]

2017
Logie Awards of 2017
I'm a Celebrity...Get Me Out of Here!
Nominated
[23]

2018
Logie Awards of 2018
I'm a Celebrity...Get Me Out of Here!
N/A

text: Lawsuit[edit]

text: In June 2017, Tom Arnold filed a lawsuit against Network Ten and A List Entertainment for defrauding him for being on I'm a Celebrity...Get Me Out of Here!. Arnold claims that he was promised a payment of $425,000 and a comedy tour in Australia, however he was missing $140,000 in payment and that Network Ten backed out of the comedy tour.[24]


document_title: Beauty and the Beast (2017 film)

question_text: who does the voice of cogsworth 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 a beggar arrives at 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: Years later, in the village 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. 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 treat 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 cornered by wolves, but the Beast rescues her and is injured in the process. A friendship develops as Belle nurses his wounds. 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. Belle realises that she and her father were forced to leave her mother's deathbed as 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 beggar Agathe, but when he tells the townsfolk of Gaston's crime, 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 will 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 beautiful and benevolent bibliophile 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 hideous beast and forced to earn back his humanity by learning to truly love and be loved in return.[9][10]

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.[11]

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.[12]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[13]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[14]
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.[15]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[11]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[16]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[17]
Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[18]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the Enchantress responsible for cursing the Prince.[19] Morahan also narrates the prologue.

Rita Davies portrays the Enchantress in her beggar woman form.

Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[19]
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 Baker, 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 who is the mother of the Village Lasses.

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.[20]

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[20]

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.[21]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[22][23] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[24]

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.[25] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[26] 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.[27]

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.'"[28] 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?"[29]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[30] Watson 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.[29] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[31][32] and Watson confirmed their casting the following day through tweets.[9][33] 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.[12][11][16][15][17][13][14][34]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[35] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[36]

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.[37]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, England, on May 18, 2015.[11][38][39] Filming with the principal actors concluded on August 21.[40][41] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[42]

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' 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.[20]

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".[43]

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".[44] 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.[45] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[46] 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.[47]

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.[48] 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".[18] 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".[9] Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[49][50][51][52]

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.[53][54] 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.[55]

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.[56]

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.[56]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[11] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[57]

text: The world premiere of Beauty and the Beast took place on February 23, 2017, at Spencer House in London, England;[58] 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.[59] 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.[60] Following an announcement on May 22, 2016,[61] Disney premiered the first official teaser trailer on Good Morning America the next day.[62] 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.[63] This record has since been broken by Thor: Ragnarok and It.[64] The first official teaser poster was released on July 7, 2016.[65] 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.[66][67] One week later, Emma Watson and Disney debuted a new poster for the film.[68] On November 14, 2016, the first theatrical trailer was released again on Good Morning America.[69] 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.[70] This record has since been broken again by The Fate of the Furious.[71] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[72] Disney released the final trailer on January 30, 2017.[73]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[74] 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.[75] The movie regained the top spot on the national home video sales charts during its third week of release.[76] 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 $758.6 million in other territories for a worldwide gross of $1.262 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).[78] 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.[79] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[80] It surpassed the entire lifetime total of the original film in just six days.[81][82]

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,[83] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[84][85][86][87] 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.[88][89][90] It is currently the highest-grossing film of 2017,[91] the highest-grossing March release,[92] the highest-grossing remake of all-time,[93] and the fifth biggest Disney film.[94] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[93]

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.[95][96][97] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[98][99] It earned $16.3 milion 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).[100] 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.[101] The numbers were considered more impressive given that the film played during a school week.[102]

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).[103][104] 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).[105] 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.[83] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[106] 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,[107][108] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[109] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[110] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[110] 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.[106]

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.[111] 70% 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.[83] 70% of the film's opening day demographic was female, dropping to 60% through the weekend.[110] 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.[112][113] 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.[112][114]

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).[115] 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.[116] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[117] 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.[118] 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).[78] The hold was notable considering how the film was able to fend off three new wide release; Power Rangers, Life, and CHiPs.[119] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[120] 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).[121] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[122] 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.[123] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[124] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[125] 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.[126][127][128]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[129] the biggest musical film (both animated and live-action),[130] as well as the biggest film of 2017.[131]

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.[132] 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.[133] It top the international box office for three consecutive weekends[134] 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.[135][90]

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.[136][137] 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).[132][133]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG 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).[138] This included the second biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[139] 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).[140][133] 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.[141][142][143] 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.[144] 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.[145][146][147] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[148]

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.[149] The original film was however never widely popular in the country.[150] 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.[151] 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.[152][153] Either ways, it recorded the second biggest opening for a Disney live-action film,[150] with $3.4 million coming from 386 IMAX screens.[132] Japan – a huge Disney market – served as the film's final market and opened there on April 21[133] 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.[154][155] The two day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[156] 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[157][158][159] and is the biggest film release of the year and overall the eleventh biggest of all time.[160] It topped the box office there for eight consecutive weekends.[161][162]

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).[132] 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).[135][163] In the Philippines, it emerged as the most commercial successful film of all time – both local and foreign – with over $13.5 million.[164] 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).[165] It is currently the eighth biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[154][166] 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).[161] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past 1 year (behind Rogue One: A Star Wars Story).[167][154][157]

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, Alan Menken's musical score and songs, though the designs of the Beast and the servants' household object forms received mixed reviews.[168][169] On review aggregator Rotten Tomatoes, the film has an approval rating of 71% based on 292 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: "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]

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.[181] 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)."[182] 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."[183] 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.[184] 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.[185] 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.[186]

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".[187] 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".[188] 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.[189][190]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he sensed that 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".[191] Dana Schwartz of The 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.[192]

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
[193]

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
[194]

Best Original Score

Best Animation/Family TV Spot

Best Fantasy Adventure TV Spot

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Won
[195]
[196]

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

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.[197] 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.”[198] 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."[199]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[200] 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).[201] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[202] 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.[203][204][205] 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.[206] 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.[207][208] 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.[209]

text: There were also a number of boycotts against the film. A call to boycott on LifePetitions received over 129,000 signatures,[210] 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.[211]

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

text: Disney has sought to portray Belle as an empowered young woman,[212] 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.[213] 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.[214][215] 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.[216]

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.[217] 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.[218][219] 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.[220] 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.[221]

text: Notes[edit]

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

tag: ol