document_title: Premier League records and statistics

question_text: who has the most assists in premier league

text: Premier League records and statistics

text: League records[edit]

text: Titles[edit]

text:
Most titles: 13, Manchester United[1]
Most consecutive title wins: 3, Manchester United twice (1998–99, 1999–2000, 2000–01 and 2006–07, 2007–08, 2008–09)[1]
Biggest title-winning margin: 18 points, 1999–2000; Manchester United (91 points) over Arsenal (73 points)[2]
Smallest title-winning margin: 0 points and 8 goal difference – 2011–12; Manchester City (+64) over Manchester United (+56). Both finished on 89 points, but Manchester City won the title with a superior goal difference – the only time that goal difference has determined the Premier League.[3]

text: Wins[edit]

text:
Most wins in a season (38 games): 30, Chelsea (2016–17)[4]
Fewest wins in a season (38 games): 1, Derby County (2007–08)[5]
Fewest home wins in a season (19 games): 1, joint record:[5]

Sunderland (2005–06)
Derby County (2007–08)

Most home wins in a season (19 games): 18, joint record:[6]

Chelsea (2005–06)
Manchester United (2010–11)
Manchester City (2011–12)[7]

Most away wins in a season (19 games): 15, Chelsea (2004–05)[8]
Fewest away wins in a season (19/21 games): 0, joint record:[5][9][10]

Leeds United (1992–93)
Coventry City (1999–2000)
Wolverhampton Wanderers (2003–04)
Norwich City (2004–05)
Derby County (2007–08)
Hull City (2009–10)

Most consecutive wins: 16, Manchester City (between 26 August 2017 and 16 December 2017)[11]
Most consecutive wins in a season (38 games): 16, Manchester City (2017–18)[11]
Most consecutive games without a win: 32, Derby County (2007–08)[5]
Most consecutive games without a win from beginning of season: 16, Queens Park Rangers (between 18 August 2012 and 8 December 2012)[12]
Most consecutive home wins: 20, Manchester City (between 5 March 2011 and 21 March 2012)[13]
Most consecutive away wins: 11, Chelsea (between 6 April 2008 and 7 December 2008)[14]

text: Losses[edit]

text:
Fewest losses in a season (38 games): 0, Arsenal (2003–04)[15]
Longest unbeaten run: 49 games, Arsenal (7 May 2003 – 24 October 2004)[16]
Most losses in total: 336, Everton[17]
Fewest home losses in a season (19 games): 0, joint record:

Manchester United (1995–96, 1999–2000, 2010–11)[18][19][20]
Arsenal (1998–99, 2003–04, 2007–08) [21][22][23]
Chelsea (2004–05, 2005–06, 2006–07, 2007–08, 2014–15)[23][24][25][26][27]
Liverpool (2008–09)[28]
Manchester City (2011–12)[7]
Tottenham Hotspur (2016–17)

Most consecutive losses over more than one season (38 games): 20, Sunderland (2002–03, 2005–06)[29]
Fewest away losses in a season (19 games): 0, Arsenal (2001–02, 2003–04)[22][30]
Most consecutive home games undefeated: 86, Chelsea (20 March 2004 – 26 October 2008)[31]
Most consecutive away games undefeated: 27, Arsenal (5 April 2003 – 25 September 2004)[32]

text: Draws[edit]

text:
Most draws in a season (42 games): 18 – joint record:

Manchester City (1993–94)[33]
Sheffield United (1993–94)[33]
Southampton (1994–95)[33]

Most draws in a season (38 games): 17 – joint record:

Newcastle United (2003–04)[33]
Aston Villa (2006–07 & 2011–12)[33]
Sunderland (2014–15)[33]

Most home draws in a season: 10 – joint record:

Sheffield Wednesday (1996–97)[33]
Leicester City (1997–98 & 2003–04)[33]
Manchester United (2016–17)[33]

Most away draws in a season: 10, Newcastle United (2003–04)[33]
Fewest draws in a season: 3, Chelsea (1997–98 & 2016–17)[33]
Fewest home draws in a season: 0 – joint record:

Manchester City (2008–09)[33]
Manchester United (2012–13)[33]
Chelsea (2016–17)[33]

Fewest away draws in a season: 1 – joint record:

Bolton Wanderers (1995–96)[33]
Queens Park Rangers (1995–96 & 2014–15)[33]
Barnsley (1997–98)[33]
Chelsea (1997–98)[33]
Bradford City (1999–2000)[33]
Everton (2000–01)[33]
Ipswich Town (2000–01)[33]
Portsmouth (2005–06 & 2007–08)[33]
Burnley (2009–10)[33]
Liverpool (2011–12)[33]
Newcastle United (2013–14)[33]
Queens Park Rangers (2014–15)[33]

Most consecutive draws: 7 – joint record:

Norwich City (1993–94)[33]
Southampton (1994–95)[33]
Manchester City (2009–10)[33]

Most draws in total: 277, Everton[17]

text: Attendances[edit]

text:
Highest attendance, single game: 80,827, Tottenham Hotspur v. Liverpool (at Wembley Stadium, 22 October 2017)[34]
Lowest attendance, single game: 3,039, Wimbledon v. Everton (at Selhurst Park, 26 January 1993)[35][36]

text: Goals[edit]

text:
Most goals scored in a season: 103, Chelsea (2009–10)[37]
Fewest goals scored in a season: 20, Derby County (2007–08)[38]
Most goals conceded in a season (42 games): 100, Swindon Town (1993–94)[39]
Most goals conceded in a season (38 games): 89, Derby County (2007–08)[40]
Fewest goals conceded in a season: 15, Chelsea (2004–05)[41]
Best goal difference in a season: 71, Chelsea (2009–10)[41]
Most goals scored in a season by a relegated team: 55, Blackpool (2010–11)[42]
Most goals scored at home in a season: 68, Chelsea (2009–10)[41]
Fewest goals scored at home in a season: 10, Manchester City (2006–07)[43]
Most goals conceded at home in a season (21 games): 45, Swindon Town (1993–94)[44]
Most goals conceded at home in a season (19 games): 43

Derby County (2007–08)[44]
Wolverhampton Wanderers (2011–12)[44]

Fewest goals conceded at home in a season (21 games or 19 games): 4, Manchester United (1994–95)[44]
Most goals scored away in a season: 48, Liverpool (2013–14)[44]
Fewest goals scored away in a season: 8

Middlesbrough (1995–96)[44]
Southampton (1998–99)[44]
Sheffield United (2006–07)[44]
Derby County (2007–08)[44]

Most goals conceded away in a season (21 games): 59, Ipswich Town (1994–95)[44]
Most goals conceded away in a season (19 games): 55, Wigan Athletic (2009–10)[44]
Fewest goals conceded away in a season: 9, Chelsea (2004–05)[44]
Fewest failures to score in a match in a season: 0 (scored in every game), Arsenal (2001–02)[45]
Most goals scored in total: 1,856, Manchester United[17]
Most goals conceded in total: 1,231, Tottenham Hotspur[17]
Largest goal deficit overcome to win: 3

Leeds United 4–3 Derby County (8 November 1997)[46]
West Ham United 3–4 Wimbledon (9 September 1998)[47]
Tottenham Hotspur 3–5 Manchester United (29 September 2001)[48]
Wolverhampton Wanderers 4–3 Leicester City (25 October 2003)[49]

Largest goal deficit overcome to draw: 4, Newcastle United 4–4 Arsenal (5 February 2011)[50]

text: Points[edit]

text:
Most points in a season: 95, Chelsea (2004–05)[51]
Fewest points in a season: 11, Derby County (2007–08)[52]
Most points in a season without winning the league: 89, Manchester United (2011–12)[53]
Fewest points in a season while winning the league: 75, Manchester United (1996–97)[54]
Most points in a season while being relegated:

42 games: 49, Crystal Palace (1992–93)[55]
38 games: 42, West Ham United (2002–03)[55]

Fewest points in a season while surviving relegation: 34, West Bromwich Albion (2004–05)[56]

text: Player records[edit]

text: Appearances[edit]

text:
Most Premier League appearances: 642, Gareth Barry (2 May 1998 to 2 December 2017)[57]
Oldest player: John Burridge, 43 years and 162 days (for Manchester City v. Queens Park Rangers, 14 May 1995)[58]
Youngest player: Matthew Briggs, 16 years and 65 days (for Fulham v. Middlesbrough, 13 May 2007)[59]
Most consecutive Premier League appearances: 310, Brad Friedel (14 August 2004 until 7 October 2012)[60]
Most seasons appeared in: 22, Ryan Giggs (every season from 1992–93 to 2013–14)[61]

text: Goals[edit]

text:
First Premier League goal: Brian Deane (for Sheffield United v. Manchester United, 15 August 1992)[62]
Most Premier League goals: Alan Shearer (260)[63]

text:
Most goals scored away from home: Wayne Rooney (93)[citation needed]
Most Premier League goals at one club: Wayne Rooney (183, for Manchester United)[64]
Oldest goalscorer: Teddy Sheringham, 40 years and 268 days (for West Ham United v. Portsmouth, 26 December 2006)[65]
Youngest goalscorer: James Vaughan, 16 years and 271 days (for Everton v. Crystal Palace, 10 April 2005)[66]

text:
Most consecutive Premier League matches scored in: 11, Jamie Vardy (for Leicester City, 29 August to 28 November 2015)[67]
Most seasons scored in: 21, Ryan Giggs (every season from 1992–93 to 2012–13)[68]

text:
Rank
Name
Goals
Games
Goals per game
Playing position
First goal
Last goal

1
 Alan Shearer
260
441
0.59
Forward
1992–93
2005–06

2
 Wayne Rooney
208
476
0.44
Forward
2002–03
2017–18

3
 Andy Cole
187
414
0.45
Forward
1993–94
2006–07

4
 Frank Lampard
177
609
0.29
Midfield
1997–98
2014–15

5
 Thierry Henry
175
258
0.68
Forward
1999–2000
2011–12

6
 Robbie Fowler
163
379
0.43
Forward
1993–94
2006–07

7
 Jermain Defoe
159
474
0.33
Forward
2001–02
2017–18

8
 Michael Owen
150
326
0.46
Forward
1996–97
2012–13

9
 Les Ferdinand
149
351
0.42
Forward
1992–93
2004–05

10
 Teddy Sheringham
146
418
0.35
Forward
1992–93
2006–07

text:
Most goals in a season (42 games): 34, joint record:[70]

Andrew Cole (Newcastle United, 1993–94)
Alan Shearer (Blackburn Rovers, 1994–95)

text:
Most goals in a season (38 games): 31, joint record:[71]

Alan Shearer (Blackburn Rovers, 1995–96)
Cristiano Ronaldo (Manchester United, 2007–08)
Luis Suárez (Liverpool, 2013–14)

Most Premier League goals in a calendar year: 36, Alan Shearer (Blackburn Rovers, 1995)[72]
Number of teams scored against in a season: 17, joint record:

20-team league: [73]

Ian Wright (Arsenal, 1996–97)
Robin van Persie (Arsenal, 2011–12)

22-team league:

Andrew Cole (Newcastle United, 1993–94)
Alan Shearer (Blackburn Rovers, 1994–95)

Most goals in a debut season: 30, Kevin Phillips (Sunderland, 1999–2000)[74]
Most Premier League hat-tricks in a season: 5, Alan Shearer (38 games) (Blackburn Rovers, 1995–96)[75]
Most Premier League hat-tricks: 11, Alan Shearer[76]
Most goals in a game: 5, joint record:[77]

Andrew Cole (for Manchester United v. Ipswich Town, 4 March 1995) W 9–0
Alan Shearer (for Newcastle United v. Sheffield Wednesday, 19 September 1999) W 8–0
Jermain Defoe (for Tottenham Hotspur v. Wigan Athletic, 22 November 2009) W 9–1
Dimitar Berbatov (for Manchester United v. Blackburn Rovers, 27 November 2010) W 7–1
Sergio Agüero (for Manchester City v. Newcastle United, 3 October 2015) W 6–1

text:
Most goals in one half: 5, Jermain Defoe (for Tottenham Hotspur v. Wigan Athletic, 22 November 2009) W 9–1[78]
Fastest goal: 10 seconds, Ledley King (for Tottenham Hotspur v. Bradford City, 9 December 2000)[79]
Most goals scored by a substitute in a game: 4, Ole Gunnar Solskjær (for Manchester United v. Nottingham Forest, 6 February 1999)[80]
Most consecutive away league matches scored in: 9, Robin van Persie (for Arsenal, 1 January 2011 to 22 May 2011)[81]
Most consecutive seasons to score at least 30 goals: 3 (1993–1996), Alan Shearer (all for Blackburn Rovers) [82]
Most consecutive seasons to score at least 25 goals: 4 (1993–1997), Alan Shearer (1993–1996 for Blackburn Rovers, 1996–1997 for Newcastle United)[83]
Most consecutive seasons to score at least 20 goals: 5 (2001–2006), Thierry Henry (all for Arsenal)[83]
Most consecutive seasons to score at least 10 goals: 11 (2004–2015), Wayne Rooney (all for Manchester United)[84]
Most consecutive seasons to score at least 1 goal: 21 (1992–2013), Ryan Giggs (all for Manchester United)[68]
Fastest Premier League hat-trick: Sadio Mané, 2 minutes 56 seconds (for Southampton v. Aston Villa, 16 May 2015)[85]
Highest number of different clubs to score for: 7:

Craig Bellamy (for Coventry City, Newcastle United, Blackburn Rovers, Liverpool, West Ham United, Manchester City, Cardiff City)[86]

Most own goals: 10, Richard Dunne[87]
Most own goals in a season: 4, Martin Škrtel (2013–14)[88]
Most Hat-tricks against a single club: 3, Luis Suárez (for Liverpool v. Norwich City)[89]
Most Goals in a calendar month: 10 (December 2013), Luis Suárez (for Liverpool)[90]

text: Assists[edit]

text:
Rank
Player
Assists

Most assists (career)

1
 Ryan Giggs
162

2
 Cesc Fàbregas
110

3
 Frank Lampard
102

 Wayne Rooney

5
 Dennis Bergkamp
94

6
 Steven Gerrard
92

7
 David Beckham
80

8
 James Milner
76

 Teddy Sheringham

10
 Thierry Henry
74

text:
Most Premier League assists in a season: 20, Thierry Henry (Arsenal, 2002–03)[92]
Most consecutive Premier League matches assisted in: 7, Mesut Özil (for Arsenal, 26 September to 21 November 2015)[93]
Most assists in a single Premier League match: 4, joint record:[94]

Dennis Bergkamp (for Arsenal v. Leicester City, 20 February 1999)
José Antonio Reyes (for Arsenal v. Middlesbrough, 14 January 2006)
Cesc Fàbregas (for Arsenal v. Blackburn Rovers, 4 October 2009)
Emmanuel Adebayor (for Tottenham Hotspur v. Newcastle United, 11 February 2012)
Santi Cazorla (for Arsenal v. Wigan Athletic, 14 May 2013)
Dušan Tadić (for Southampton v. Sunderland, 18 October 2014)[95]

text: Goalkeepers[edit]

text:
Rank
Player
Clean
sheets

Most clean sheets (career)

1
 Petr Čech
199

2
 David James
169

3
 Mark Schwarzer
151

4
 David Seaman
140

5
 Nigel Martyn
137

6
 Pepe Reina
134

7
 Edwin van der Sar
132

 Tim Howard

 Brad Friedel

10
 Peter Schmeichel
128

text:
Most clean sheets in one season: 24, Petr Čech (for Chelsea, 2004–05)[96]
Longest consecutive run without conceding a goal: 14 games (1,311 minutes), Edwin van der Sar (for Manchester United, 2008–09)[97]
Goalscoring goalkeepers (excluding own goals):

Peter Schmeichel (Everton 3–2 Aston Villa, 20 October 2001)[98]
Brad Friedel (Charlton Athletic 3–2 Blackburn Rovers, 21 February 2004)[99]
Paul Robinson (Tottenham Hotspur 3–1 Watford, 17 March 2007)[100]
Tim Howard (Everton 1–2 Bolton Wanderers, 4 January 2012)[101]
Asmir Begović (Stoke City 1–1 Southampton, 2 November 2013)[102]

text: Disciplinary[edit]

text:
Most red cards: 8, joint record:[57]

Duncan Ferguson
Patrick Vieira
Richard Dunne

Most yellow cards for a player: 103, Gareth Barry[69]
Most yellow cards for a single team in one game: 9 (Tottenham Hotspur v. Chelsea, 2 May 2016)[103]
Fouling record: 782, Kevin Davies (since 2000–01, the first season for which reliable records are available)[104]
Longest ban: 12 matches, Joey Barton. After being dismissed for violent conduct, Barton was found guilty of two further separate counts of violent conduct after his dismissal vs Manchester City, 23 May 2012[105]

text: Youngest players to score[edit]

text: This is a list of the top 10 youngest players to score a goal in the Premier League.[106]

text:
Player
Date
Team
Age
Opposition

1
James Vaughan
10-Apr-2005
Everton
16 years 270 days
Crystal Palace

2
James Milner
26-Dec-2002
Leeds United
16 years 356 days
Sunderland

Wayne Rooney
19-Oct-2002
Everton
Arsenal

4
Cesc Fabregas
25-Aug-2004
Arsenal
17 years 114 days
Blackburn Rovers

5
Michael Owen
06-May-1997
Liverpool
17 years 144 days
Wimbledon

6
Andy Turner
05-Sep-1992
Tottenham
17 years 166 days
Everton

7
Federico Macheda
05-Apr-2009
Manchester United
17 years 226 days
Aston Villa

8
Raheem Sterling
20-Oct-2012
Liverpool
17 years 317 days
Reading

9
Mikael Forssell
20-Feb-1999
Chelsea
17 years 342 days
Nottingham Forest

10
Danny Cadamarteri
20-Sep-1997
Everton
17 years 344 days
Barnsley

text: Match records[edit]

text: Scorelines[edit]

text:
Biggest home win: 9–0, Manchester United v. Ipswich Town (4 March 1995)[107]
Biggest away win: 1–8, Nottingham Forest v. Manchester United (6 February 1999)[107]
Biggest aggregate win: 12–1, joint record:

Blackburn Rovers 7–0 Nottingham Forest (18 November 1995) & Nottingham Forest 1–5 Blackburn Rovers (13 April 1996)
Tottenham Hotspur 9–1 Wigan Athletic (22 November 2009) & Wigan Athletic 0–3 Tottenham Hotspur (21 February 2010)

Biggest loss by reigning champions: 1–6, joint record:[108]

Manchester United 1–6 Manchester City (23 October 2011), after Manchester United had won the 2010–11 competition
Leicester City 1–6 Tottenham Hotspur (18 May 2017), after Leicester City had won the 2015–16 competition

Highest scoring: 7–4, Portsmouth v. Reading (29 September 2007)[109]
Highest scoring draw: 5–5, West Bromwich Albion v. Manchester United (19 May 2013)[110]
Highest scoring in the first half: 7 goals, joint record:

Blackburn Rovers 3–4 Leeds United (14 September 1997 — final score; 3–4)[111]
Bradford City 4–3 Derby County (21 April 2000 — final score; 4–4)[112]
Reading 3–4 Manchester United (1 December 2012 — final score; 3–4)[113]

Most individual goal scorers in one game: 9, joint record:

Tottenham Hotspur 4–5 Arsenal (13 November 2004)[114]
Portsmouth 7–4 Reading (29 September 2007)[115]

Most individual goal scorers in one game for the same team: 7, joint record:

Chelsea 8–0 Aston Villa (23 December 2012)[116]
Manchester City 7–0 Norwich City (2 November 2013)[117]
Southampton 8–0 Sunderland (18 October 2014)[118]

text: All-time Premier League table[edit]

text: The all-time Premier League table is a cumulative record of all match results, points and goals of every team that has played in the Premier League since its inception in 1992. The table that follows is accurate as of the start of the 2017–18 season. Teams in bold are part of the 2017–18 Premier League. Numbers in bold are the record (highest either positive or negative) numbers in each column.[119]

text:
Pos.
Club
Seasons
Pld
Win
Draw
Loss
GF
GA
GD
Pts
1st
2nd
3rd
4th
Relegated
Avg
Pts
Best
Pos.

1
Manchester United
25
962
604
209
149
1856
847
1009
2021
13
5
3
1

80.84
1

2
Arsenal
25
962
525
247
190
1698
911
787
1822
3
6
5
7

72.88
1

3
Chelsea
25
962
516
241
205
1645
925
720
1789
5
4
4
2

71.56
1

4
Liverpool
25
962
478
243
241
1601
986
615
1677

3
5
6

67.08
2

5
Tottenham Hotspur
25
962
400
247
315
1406
1231
175
1447

1
1
2

57.88
2

6
Everton
25
962
349
277
336
1259
1207
52
1324

1

52.96
4

7
Aston Villa
24
924
316
275
333
1117
1186
−69
1223

1

1
1
50.96
2

8
Newcastle United
22
844
322
217
305
1168
1140
28
1183

2
2
1
2
53.77
2

9
Manchester City
20
772
327
190
255
1173
925
248
1171
2
2
2
1
2
58.55
1

10
West Ham United
21
806
265
209
332
964
1146
−182
1004

2
47.81
5

11
Blackburn Rovers
18
696
262
184
250
927
907
20
970
1
1

1
2
53.89
1

12
Southampton
18
696
222
187
287
855
966
−111
853

1
47.39
6

13
Leeds United
12
468
189
125
154
641
573
68
692

1
2
1
57.67
3

14
Middlesbrough
15
574
165
169
240
648
794
−146
661[120]

4
44.01
7

15
Sunderland
16
608
153
159
296
612
904
−292
618

4
38.63
7

16
Fulham
13
494
150
136
208
570
697
−127
586

1
45.08
7

17
Bolton Wanderers
13
494
149
128
217
575
745
−170
575

3
44.23
6

18
Leicester City
11
422
130
118
174
516
610
−94
508
1

3
46.18
1

19
West Bromwich Albion
11
418
106
115
197
444
640
−196
433

3
39.36
8

20
Stoke City
9
342
109
97
136
363
457
−94
424

47.11
9

21
Coventry City
9
354
99
112
143
387
490
−103
409

1
45.40
11

22
Sheffield Wednesday
8
316
101
89
126
409
453
−44
392

1
49.00
7

23
Wimbledon
8
316
99
94
123
384
472
−88
391

1
48.88
6

24
Charlton Athletic
8
304
93
82
129
342
442
−100
361

2
45.13
7

25
Norwich City
8
316
89
92
135
365
510
−145
359

1

4
44.88
3

26
Crystal Palace
8
312
86
78
148
329
456
−127
336

4
42.00
10

27
Wigan Athletic
8
304
85
76
143
316
482
−166
331

1
41.38
10

28
Queens Park Rangers
7
278
81
65
132
339
431
−92
308

3
44.00
5

29
Birmingham City
7
266
73
82
111
273
360
−87
301

3
43.00
9

30
Portsmouth
7
266
79
65
122
292
380
−88
293[121]

1
41.90
8

31
Swansea City
6
228
74
57
97
278
327
−49
279

46.50
8

32
Derby County
7
266
68
70
128
271
420
−149
274

2
39.10
8

33
Nottingham Forest
5
198
60
59
79
229
287
−58
239

1

3
47.80
3

34
Ipswich Town
5
202
57
53
92
219
312
−93
224

2
44.80
5

35
Hull City
5
190
41
48
101
181
323
−142
171

3
34.20
16

36
Watford
4
152
34
35
83
144
254
−110
137

2
34.25
13

37
Wolverhampton Wanderers
4
152
32
40
80
156
281
−125
136

2
34.00
15

38
Sheffield United
3
122
32
36
54
128
168
−40
132

2
44.00
14

39
Reading
3
114
32
23
59
136
186
−50
119

2
39.67
8

40
Burnley
3
114
26
25
63
109
190
−81
103

2
34.33
16

41
Oldham Athletic
2
84
22
23
39
105
142
−37
89

1
44.50
19

42
Bournemouth
2
76
23
19
34
100
134
−34
88

44.00
9

43
Bradford City
2
76
14
20
42
68
138
−70
62

1
31.00
17

44
Blackpool
1
38
10
9
19
55
78
−23
39

1
39.00
19

45
Barnsley
1
38
10
5
23
37
82
−45
35

1
35.00
19

46
Cardiff City
1
38
7
9
22
32
74
−42
30

1
30.00
20

47
Swindon Town
1
42
5
15
22
47
100
−53
30

1
30.00
22

48
Brighton & Hove Albion
0
0
0
0
0
0
0
0
0

00.00

49
Huddersfield Town
0
0
0
0
0
0
0
0
0

00.00

text: League or status at 2017–18:

text:
2017–18 Premier League

2017–18 EFL Championship

2017–18 Football League One

2017–18 Football League Two

Defunct: by a 2007 agreement, neither Milton Keynes Dons nor AFC Wimbledon regards itself as custodian of Wimbledon F.C.'s statistics.[122][123]

text: Managers[edit]

text:
Most Premier League winner's medals: 13, Sir Alex Ferguson (Manchester United) – 1993, 1994, 1996, 1997, 1999, 2000, 2001, 2003, 2007, 2008, 2009, 2011, 2013
Winner of Premier League Manager of the Month Award: 27, Sir Alex Ferguson
Most consecutive Premier League Manager of the Month Awards: 3, Antonio Conte and Pep Guardiola[124]
Most promotions to the Premier League: 4, Steve Bruce (Birmingham City in 2001–02 and 2006–07 and Hull City in 2012–13 and 2015–16)
Most relegations from the Premier League: 3, Dave Bassett (Sheffield United in 1993–94, Nottingham Forest in 1996–97, and Leicester City in 2001–02)[125]
Longest-serving manager: Arsène Wenger (Arsenal), 1 October 1996 to present[126]
Shortest-serving manager (excluding caretakers): Les Reed, 41 days (Charlton Athletic, 14 November 2006 to 24 December 2006)[127]


document_title: Timeline of nuclear weapons development

question_text: what type of nuclear bomb was developed by the united states in 1954

root

text: Timeline of nuclear weapons development

text:
1933 - Leó Szilárd realizes the concept of the nuclear chain reaction, although no such reaction was known at the time. He invented the idea of an atomic bomb in 1933 while crossing a London street. He patented it in 1934. (British patent 630,726)
1938 - December - German Chemists, Otto Hahn and Fritz Strassman detect barium after bombarding uranium with neutrons. This is correctly interpreted by Lise Meitner and her nephew Otto Robert Frisch as nuclear fission.
1939 - January - Otto Robert Frisch experimentally confirms Otto Hahn and Fritz Strassman's discovery of nuclear fission.
1939 - April - Nazi Germany begins the German nuclear energy project.
1939 - October - US President Franklin Delano Roosevelt receives the Einstein–Szilárd letter and authorizes the creation of the Advisory Committee on Uranium. The Uranium Committee has its first meeting on October 21, and $6,000 was budgeted for conducting neutron experiments.
1940 - April - MAUD Committee (Military Application of Uranium Detonation) established by Henry Tizard to investigate feasibility of an atomic bomb.
1940 - May - The paper which Dr. Yoshio Nishina of Nuclear Research Laboratory of Riken and Professor of Chemical Institute, Faculty of Science, Imperial University of Tokyo, Kenjiro Kimura presented to Physical Review,[1][2] showed that they had produced Neptunium-237 by exposeing Uranium oxide (U3O8) to fast neutrons for more than 50 hours. Furthermore, IAEA recognizes that Neptunium-237 is representative of global Nuclear fallout and produced from atmospheric nuclear testing.[3]
1940 - July - The paper explaining that Dr. Yoshio Nishina and Kenjiro Kimura discovered symmetric fission on the previously described test, appeared in Nature.[4][5][6] The LibreTexts libraries based upon work supported by the National Science Foundation says, "Multiple combinations of symmetric fission products are possible for fission chain reactions."[7] And, again, it as fission product yield, is known that the higher the energy of the state that undergoes nuclear fission is more likely a symmetric fission.
1941 - February - Plutonium discovered by Glenn Seaborg and Arthur Wahl.
1941 - October - President Roosevelt receives MAUD report on the design and costs to develop a nuclear weapon. Roosevelt approves project to confirm MAUD's finding
1942 - April - Joseph Stalin was first informed of the efforts to develop nuclear weapons based on a letter sent to him by Georgii Flerov pointing out that there was nothing being published on nuclear fission since its discovery, and the prominent physicists likely involved had not been publishing at all. This urged the Soviet Union to start a nuclear weapons program.
1942 - July - The Heereswaffenamt (HWA, Army Ordance Office) relinquishes control of the German nuclear energy project to the Reichsforschungsrat (RFR, Reich Research Council), essentially making it only a research project with objectives far short of making a weapon.
1942 - July through September - A summer conference at University of California, Berkeley is convened by physicist Robert Oppenheimer and discusses the design of a fission bomb. Edward Teller introduces the "Super" hydrogen bomb as a major discussion point.
1942 - August through November - The Manhattan Project is established under command of General Leslie Groves. "Site X" is chosen in Tennessee, for isotopic separation of uranium-235 from natural uranium, and will later become Oak Ridge National Laboratory. "Hanford Site is chosen in Washington, for making plutonium in nuclear reactors. "Site Y" is chosen in New Mexico, for bomb design and manufacture, and will later become Los Alamos National Laboratory.
1943 - March - The Japanese Committee on Research in the Application of Nuclear Physics, chaired by Yoshio Nishina concludes in a report that while an atomic bomb was feasible, it would be unlikely to produce one during the war. Japan then concentrated on research into radar.
1943 - April - Introductory lectures begin at Los Alamos, which later are compiled into The Los Alamos Primer.
1943 - August - Quebec Agreement signed by President Roosevelt and Winston Churchill. A team of British scientists join the Manhattan Project, including Klaus Fuchs.
1944 - April - Emilio Segrè discovers that the spontaneous fission rate of plutonium is too high to be used in a gun-type fission weapon. Leads to change in priority to the design of an implosion-type nuclear weapon.
1945 - May - Nazi Germany formally surrenders to Allied Powers, marking the end of World War II in Europe.
1945 - July 16 - The first nuclear explosion, the Trinity test of an implosion-type plutonium-based nuclear weapon known as "the gadget", near Alamogordo, New Mexico.
1945 - August 6 - "Little Boy", a gun-type uranium-235 weapon, is dropped on Hiroshima, Japan.
1945 - August 9 - "Fat Man", an implosion-type plutonium-239 weapon, is dropped on Nagasaki, Japan.
1945 - August - The Smyth Report is published detailing the efforts of the Manhattan Project.
1945 - August - Surrender of Japan to the Allied Powers.
1946 - January - The Atomic Energy Act of 1946 takes effect, officially turning over the Manhattan Project to the United States Atomic Energy Commission.
1946 - June - First meeting of the United Nations Atomic Energy Commission is held.
1946 - Soviet Union rejects the Baruch Plan.
1949 - August - The Soviet Union conducts its first atomic test, First Lightning (nicknamed Joe 1 by the Americans).

tag: ul

text:
1951 - China and the Soviet Union sign an agreement whereby China would supply uranium ore in exchange for technical assistance in producing nuclear weapons.
1952 - October - The United Kingdom conducts Operation Hurricane, the first test of a British nuclear weapon. The plutonium implosion-type device was detonated in a lagoon between the Montebello Islands, Western Australia.
1952 - November - The United States test the first fusion bomb, "Ivy Mike".
1953 - The first nuclear-tipped rockets are deployed by the United States. The MGR-1 Honest John is such as example.
1953 - August - The Soviet Union conducts its first test of a hydrogen bomb, nicknamed Joe 4 by the Americans.
1954 - February - The United States detonates its first deliverable thermonuclear weapon at Bikini Atoll, Marshall Islands. The device had a yield almost three times as large as expected, leading to the worst radiological disaster in US history.
1956 - France establishes a secret committee for the Military Applications of Atomic Energy.
1956 - The Pakistan Atomic Energy Commission is established. This commission is responsible for the development of both the nuclear reactors and nuclear weapons in Pakistan.
1957 - July - The International Atomic Energy Agency is founded.
1958 - The United States and the United Kingdom sign the 1958 US-UK Mutual Defence Agreement. This is a bilateral treaty on nuclear weapons cooperation signed after the United Kingdom successfully tested a hydrogen bomb during Operation Grapple.
1960 - February - France successfully tests a nuclear weapon, called "Gerboise bleue", in the French Sahara.
1961 - The Israeli Prime Minister David Ben-Gurion informed the Canadian Prime Minister John Diefenbaker that a pilot plutonium-separation plant would be built at Dimona, the location of the nuclear reactor built with the aid of France and Great Britain. Intelligence would indicate from this and other information that Israel intended to produce nuclear weapons.
1961 - October - The Soviet Union detonates Tsar Bomba, the largest, most powerful nuclear weapon ever detonated.
1964 - October - China successfully tests an atomic bomb at Lop Nur.
1965 - January - The Soviet Union detonates Chagan as part of their Nuclear Explosions for the National Economy series to study the peaceful use of nuclear explosions.
1967 - June - China successfully tests a hydrogen bomb.
1967 - December - Japan, under Prime Minister Eisaku Satō, adopts the Three Non-Nuclear Principles.
1968 - July - The Nuclear Non-Proliferation Treaty opens for signatures. This treaty is intended to limit the spread of nuclear weapons. To date, 189 countries have signed the treaty, including the five permanent members of the UN Security Council. Only India, Israel, Pakistan, and North Korea have not signed the treaty (as sovereign states).

text:
1972 - Zulfikar Ali Bhutto launched Pakistan's atomic program by making Munir Ahmad Khan as the program head.
1974 - May - India tests its first nuclear device, "Smiling Buddha", at Pokhran.
1974 - May - The Project-706 is established under command of General Zahid Ali Akbar.
1986 - September - Mordechai Vanunu divulges secrets about the Israeli nuclear weapons program to The Sunday Times in London.

text:
1991 - South Africa signs the Nuclear Non-Proliferation Treaty; they also announce that from 1979 to 1989, they had built and then dismantled a number of nuclear weapons.
1991 - June - The Brazilian-Argentine Agency for Accounting and Control of Nuclear Materials is established to play an active role in verifying the pacific use of nuclear materials that could be used for the manufacture of nuclear weapons in Argentina and Brazil.
1998 - May - India tests five more nuclear weapons as part of Operation Shakti at the Pokhran test site. This was India's second round of nuclear weapons testing.
1998 - May - Pakistan detonates five high-enriched uranium nuclear weapons in the Chagai Hills. A sixth nuclear test, at Kharan, was a plutonium device.
2003 - North Korea announces that it has several nuclear explosives.
2005 - August - In Iran, Ayatollah Ali Khamenei issued a fatwa forbidding the production, stockpiling and use of nuclear weapons.
2006 - October - North Korea tests a nuclear weapon for the first time.
2016 - January - North Korea Hydrogen bomb is 'tested' and confirmed by North Korea leader Kim Jong-Un
2017 - September - North Korea conducted its Seventh nuclear test with a yield between fifty and two hundred fifty kilotons.


document_title: Diamonds Are a Girl's Best Friend

question_text: who immortalized the saying diamonds are a girl's best friend

question_tokens: who immortalized the saying diamonds are a girl 's best friend

text: Diamonds Are a Girl's Best Friend

text: Marilyn Monroe version[edit]

text: The song is perhaps most famously performed by Marilyn Monroe in the 1953 film Gentlemen Prefer Blondes.  Monroe's character, Lorelei Lee, has been followed on a Transatlantic ocean liner by a detective hired by her fiancé's father, who wants assurance that she is not marrying purely for money.  He is informed of compromising pictures taken with a British diamond mine owner and cancels her letter of credit before she arrives in France, requiring her to work in a nightclub to survive.  Her fiancé arrives at the cabaret to see her perform this song, about exploiting men for riches.  Diamonds are an element in another story line in the film, in which Lorelei is given a diamond tiara by the mine owner, in gratitude for her recovering the photographs.  In a later scene, Jane Russell, who played opposite Monroe, sang "Diamonds Are a Girl's Best Friend" in court, while pretending to be Lorelei.

tag: p

text: Most of the song in the film is Monroe's own voice but she needed help in two phrases – "These rocks don't lose their shape, diamonds are a girl's best friend", and at the beginning with a series of high-pitched "no's", all of which were dubbed in by the soprano Marni Nixon.[1]

text: The number was later re-shot in CinemaScope, to be used as part of a CinemaScope demonstration held on the Fox lot in March 1953. Producer Darryl F. Zanuck told Daily Variety that it only took 3-1/2 hours to shoot the number in CinemaScope versus four days for the original film version. The public finally saw the CinemaScope version ten years later when it closed Fox's documentary tribute to Marilyn, however this has not been released on DVD or VHS.

text: The song was listed as the 12th most important film song of all time by the American Film Institute.[2]

text: Monroe's rendition of the song has been considered an iconic performance and has since been copied by other entertainers ranging from Madonna and Kylie Minogue to Geri Halliwell and Anna Nicole Smith. Madonna's video "Material Girl" uses a similar set and costumes for the singer and her male dancers.

text: Moulin Rouge! version[edit]

text: The song is also featured in the 2001 film Moulin Rouge!, in which it is sung principally by Nicole Kidman in the role of Satine, the (fictional) star performer of the famous Moulin Rouge nightclub in Paris, at the turn of the 20th century. This film version is technically a musical adaptation that director Baz Luhrmann titled "Sparkling Diamonds". Although it consists almost entirely of an adaptation of "Diamonds Are a Girl's Best Friend", this version differs from the lyrics in Gentlemen Prefer Blondes in several ways. For example, it does not include the name Harry Winston in the chant of famous jewelers; rather, Moulin Rouge founder Charles Zidler's name was changed to Harold in the film, so his name replaces Winston's in the song as "Harry Zidler".  Black Starr & Frost-Gorham was known by that name only after 1925, but instead of using their 1875-1925 name of "Black Starr & Frost", their name was replaced in the Luhrmann film by nonsense words (understood by many listeners as "Ross Cole;" in the 2002 DVD release, the words printed in the text captioning are "Black Star, Roscor"). And the potentially anachronistic line "help you at the Automat" was altered in the Luhrmann film to "help you feed your pussycat." Additionally, a lyrical snippet from Madonna's song "Material Girl" was worked into this adaptation of the song.

text: Other versions[edit]

text:
Ethel Merman recorded the song in 1950.
Jo Stafford recorded the song in 1950.
Lena Horne recorded the song in 1958, for her album Give the Lady What She Wants.
Della Reese recorded the song in 1960, for her album Cha Cha Cha.
Julie London recorded the song in 1961.
Eartha Kitt recorded the song in 1962.
Emmylou Harris recorded a country/rock version in 1983, for her album White Shoes.
Thalía performed this song in 1991, on Spanish television.
Jennifer Saunders and Dawn French, dressed as Marilyn Monroe and Jane Russell, respectively, parodied the number in their 1993 BBC special Gentlemen Prefer French & Saunders.
Kylie Minogue performed this song in 1995. She also performed the song in 1999, dressed as Marilyn Monroe for the opening of 20th Century Fox's Australian Studios. In 2007, she recorded another version for her film White Diamond.
Anna Nicole Smith recorded the song in 1998. The single went on to reach the top 100 dance singles in France.
In 2007, Beyoncé did an updated version for Giorgio Armani's new fragrance Emporio Armani Diamonds in an ad directed by Jake Nava and titled "Can You Resist?".
Wendi Peters performed a version for BBC Children in Need on November 16, 2007, adding, "I am a Material Girl" halfway through, then returning to the normal song.
Nicole Scherzinger performed a version for the 2007 CBS special, Movies Rock, which paid tribute to the strong relationship between films and music.
T-Bone Burnett's rock version of the song is both campy and cynical, while capturing the essence of the lyric.
Nadine Coyle  recorded a demo for this song.
Deanna & The Downbeats, a cabaret-jazz quintet from Portland, Oregon, performs a traditional version of the song that segues into a lounge-swing version of Madonna's "Material Girl".
In the cartoon Hey Arnold!, Helga's mother sang, "Beepers Are a Girl's Best Friend", for a commercial in the same manner as Marilyn Monroe's performance.
In the 100th episode of Gossip Girl, titled "G.G.", Serena Van der Woodsen (portrayed by Blake Lively) has a dream in which she is Marilyn Monroe and sings "Diamonds Are a Girl's Best Friend".[3]
In the music video for her single "Material Girl" (1985), Madonna emulates the scene in which Marilyn Monroe sang the song. She also included a snippet of the song during selected shows of her Rebel Heart Tour (2015-2016), following a cover of "La Vie en rose".
Christina Aguilera also did the song on her first featured film Burlesque (2010). Kristen Bell and Julianne Hough first lip-synched Marilyn's version, then Christina finished it with her own vocals.
The Puppini Sisters sing a version on their 2011 album Hollywood
The song is performed by the female Glee Cast in the TV show Glee, in the 2013 episode "Girls (and Boys) On Film", as a mashup with Madonna's "Material Girl".
Anne Ducros sings the song on her album Either way : from Marilyn to Ella (Naïve, 2013)
Shirley Bassey and Paloma Faith sing the song for Bassey's album Hello Like Before (2014)
Saara Aalto performed a mashup of the song with Diamonds Are Forever in Week 8 of the live shows on The X Factor (UK series 13)
The 1986 Herb Alpert single "Diamonds", which features Janet Jackson on lead vocals, contains the "Diamonds are a girl's best friend" refrain within the lyrics.


document_title: Beauty and the Beast (2017 film)

question_text: where was the village in beauty and the beast filmed

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 294 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

tag: table

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.

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