document_title: Puss in Boots (2011 film)

question_text: who did puss and boots grew up with

question_tokens: who did puss and boots grew up with

text: Puss in Boots (2011 film)

text: Plot[edit]

text: Puss in Boots (Antonio Banderas) is a talking cat named for his signature pair of boots. Puss is a fugitive on the run from the law, looking to restore his lost honor. He learns that the outlaw couple Jack (Billy Bob Thornton) and Jill (Amy Sedaris) have the magic beans he's been looking for most of his life, which can lead him to a giant's castle holding valuable golden goose eggs. When Puss tries to steal them from the outlaws' room, a female cat named Kitty Softpaws interrupts, and both fail. Kitty is allied with Humpty Alexander Dumpty, a talking egg and Puss' long-estranged childhood friend from the orphanage where he was raised. Puss tells Kitty his origin story and of his feelings of betrayal for a youthful misadventure when Humpty tricked Puss into helping commit a bank robbery in his hometown of San Ricardo; Puss has been on the run ever since. Humpty eventually convinces Puss to join them in finding the beans and retrieving the golden eggs.

text: The trio steal the beans from Jack and Jill and plant them in the desert. Puss and Kitty's relationship becomes romantic. The trio ride the beanstalk into the clouds to find the castle of the late giant, while avoiding the Great Terror, a giant goose that guards the Golden Goose. When they realize the golden eggs are too heavy to carry, they steal the Goose, which is just a gosling, and escape the castle. While celebrating their victory, the group is ambushed by Jack and Jill, who knock Puss unconscious.

text: When Puss wakes up, he tracks Jack and Jill to San Ricardo where he learns the entire heist was a plot by Humpty to lure him home to be arrested, as revenge for abandoning him to the authorities when Humpty's youthful heist went bad. Jack, Jill, and Kitty were involved in the con. After pleas from Imelda, his adoptive mother, Puss turns himself in to the guards while Humpty donates many golden eggs to the town and becomes a hero.

text: While in prison, Puss meets the original Jack from "Jack and the Beanstalk" who warns him that the Great Terror is in fact the Goose's mother, and it will stop at nothing to get its child back. Realizing Humpty intended to destroy the town all along, Puss lets a repentant Kitty help him break out of prison and she also tells him she loves him. Tracking him down just as the Great Terror arrives, Puss convinces Humpty to help him fight off the Great Terror, saying he knows Humpty is a good person at heart. Using the Goose as bait, Puss and Humpty lure the Great Terror out of the town. During the chase, Jack and Jill betray Humpty and try to take the Goose, but get crushed by the Great Terror. Humpty and the Goose are knocked off a bridge with Puss holding onto them. Humpty knows Puss cannot hold both of them, so he lets go, sacrificing himself to save the Goose and the town. Humpty's shell cracks open to reveal he was a golden egg on the inside. The Great Terror then takes the Goose and Humpty back to the giant's castle.

text: Puss' efforts to save San Ricardo make him a hero among the townspeople and Imelda. In the epilogue, Jack and Jill are recovering from their injuries, Humpty is shown once again in his regular egg form, wearing a golden egg suit, as he rides the Great Terror into the clouds, and Puss and Kitty kiss.

text: Cast[edit]

text:
Antonio Banderas as Puss in Boots, a fugitive from the law and a hero of San Ricardo.
Zach Galifianakis as Humpty Alexander Dumpty, the mastermind who intends to retrieve the Golden Eggs from the one-of-a-kind Goose.
Salma Hayek as Kitty Softpaws, a street-savvy Tuxedo cat who is Puss' female counterpart and love interest.
Billy Bob Thornton and Amy Sedaris as Jack and Jill, a murderous outlaw husband and wife couple.
Constance Marie as Imelda, Puss' human adoptive mother
Guillermo del Toro as Comandante, Moustache Man
Mike Mitchell as Andy "Jack" Beanstalk

text: Production[edit]

text: The film had been in development since 2004, when Shrek 2 was released.[8] As a Shrek 2 spin-off, it was initially planned for release in 2008 as a direct-to-video film,[9] then titled Puss in Boots: The Story of an Ogre Killer.[10] By October 2006, the film was re-slated as a theatrical release due to market conditions,[11] and due to DreamWorks Animation's realization that the Puss character deserved more.[12]

text: In September 2010, Guillermo del Toro signed on as executive producer.[13] Discussing del Toro, Miller stated: "We worked out a system for him to come in once every few months or whenever we had something new to show him. If we needed someone to bounce ideas off of, he was always there, and if we had a problem we were tackling, we'd get Guillermo on the red phone – our emergency phone – and ask him advice on what we should do with a certain character or scene. It was like having our own film school." Miller stated that del Toro was particularly involved in Humpty's character design. "Guillermo loved the dreamy quality of Humpty Dumpty. He suggested we push that further, make him more like da Vinci."[12] It was del Toro's idea to make Humpty "an ingenious freak of nature" who builds contraptions such as a flying machine.[14] Del Toro rewrote the ending to redeem the character and deepen his relationship with Puss – an unconventional conclusion for a children's film.[15] He helped design the fantasy elements of the giant's castle, as well as the architecture of the town, which he conceived as "an amalgam of Spain and Mexico".[14]

text: Except for Puss, the film features new characters. Citing the co-writer, David H. Steinberg, "It doesn't overlap with Shrek at all. Partly that was done to tell an original Puss story, but partly because we didn't know what Shrek 4 were going to do with the characters and we couldn't write conflicting storylines."[16] The film was teased in Shrek Forever After, when Shrek finally shuts the book titled "Shrek", and puts it away next to a book titled "Puss in Boots".

text: Puss in Boots is the first DreamWorks Animation feature film that was partly made in India. A Bangalore studio owned by Technicolor, which had mainly worked on TV specials and DVD bonus material, spent six months animating three major scenes in the film. The outsourcing had financial advantages, with 40% less labor costs than in the US, but the primary reason for outsourcing to India was lack of personnel, due to the studio producing as many as three films a year.[17]

text: The release date was originally set for November 4, 2011, but was pushed a week earlier to October 28, 2011.[3] Anne Globe, head of worldwide marketing for DreamWorks Animation, said the decision to move the film's release date a week earlier was to attract parents and their children to see the film before other family-friendly movies were released in November 2011.[18]

text: The film was renamed Cat in Boots in the United Arab Emirates for officially unknown reasons, but it is suspected for religious and cultural reasons.[19][20] According to UAE's The National Media Council, which is responsible for censorship, UAE didn't have any involvement in the rename and that "the decision to change the name had been made by the Hollywood studio and the movie distributors in the UAE."[21] Consequently, since the film's distributor was based in the UAE, the same print was syndicated to all theaters throughout the Middle East. However, the name change was limited to the film's original theatrical run, as merchandise and later regional home media release retained the film's original title.

text: Soundtrack[edit]

text:
Puss in Boots

Film score by Henry Jackman

Released
October 24, 2011

Genre
Score

Length
65:51

Label
Sony Classical

text: Henry Jackman, the composer for Puss in Boots, utilized folk instruments of traditional Latin music. Inspired by Spanish composer Manuel de Falla, Jackman blended guitars and Latin percussion with an orchestral sound influenced by Claude Debussy and Maurice Ravel.[22] Mexican guitar duo Rodrigo y Gabriela contributed to Jackman’s score, and two of their songs, Diabolo Rojo and Hanuman were included in the soundtrack.[23] Lady Gaga's song "Americano" was also featured in the film.[24][25] The soundtrack for the film, featuring the original score by Jackman, was released on October 24, 2011, by Sony Classical.[26]

text: Release[edit]

text: Puss in Boots had its world premiere on October 16, 2011, aboard the Royal Caribbean International's cruise ship Allure of the Seas, docked in Fort Lauderdale, Florida at the time.[27][28] It was theatrically released in the United States on October 28, 2011.[28] The film was digitally re-mastered into IMAX 3D, and was released in 268 North American IMAX theaters and at least 47 IMAX theaters outside North America.[4]

text: Home media[edit]

text: Puss in Boots was released on DVD, Blu-ray and Blu-ray 3D on February 24, 2012. The movie was accompanied by a short animated film called Puss in Boots: The Three Diablos.[29] As of July 2013, 7.2 million home entertainment units were sold worldwide.[30]

text: Another featured extra short is "Klepto Kitty"; a three-minute profile of Dusty the Klepto Kitty, a notorious cat in California who steals items from neighbors' yards, some of it captured on a night vision kitty-cam, hung around Dusty's neck by the Animal Planet network for their own documentary.[31]

text: Reception[edit]

text: Critical response[edit]

text: Review aggregator Rotten Tomatoes gave the film a score of 84% based on reviews from 142, with an average rating of 6.8 out of 10. The website's consensus is, "It isn't deep or groundbreaking, but what it lacks in profundity, Puss in Boots more than makes up for with an abundance of wit, visual sparkle, and effervescent charm."[32] Metacritic, which assigns a weighted average score out of 100 to reviews from mainstream critics, gives the film a score of 65% based on 24 reviews.[33] CinemaScore polls reported that the average grade moviegoers gave the film was an "A-" on an A+ to F scale.[34]

text: Todd McCarthy of The Hollywood Reporter gave the film a positive review, saying "Puss in Boots is a perfectly diverting romp that happens to showcase some of the best 3D work yet from a mainstream animated feature. Colorful, clever enough, free of cloying showbiz in-jokes, action-packed without being ridiculous about it and even well choreographed."[35] Peter Debruge of Variety gave the film a positive review, saying "Puss' origin story could easily stand on its own -- a testament to clever writing on the part of its creative team and an irresistible central performance by Antonio Banderas."[36] Christy Lemire of the Associated Press gave the film three out of four stars, saying "For quick, lively, family friendly entertainment, "Puss in Boots" works just fine, even in 3-D, which is integrated thoughtfully into the narrative and doesn't just feel like a gimmick."[37] Bill Goodykoontz of The Arizona Republic gave the film three and a half stars out of five, saying "As good as Banderas and Hayek are together, Galifianakis is better, making Humpty-Dumpty, of all people, one of the more intriguing animated characters to come along in a while. He's a nice surprise."[38] Moira MacDonald of The Seattle Times gave the film three out of four stars, saying "I left dreaming of a world in which cats could tango - and when's the last time a movie did that?"[39] Marjorie Baumgarten of The Austin Chronicle gave the film three out of five stars, saying "The seductive interplay of Banderas and Hayek, the barely recognizable vocal contributions of Galifianakis, and the Southern backwoods speech of Thornton and Sedaris all keep us attuned to the events on the screen."[40]

text: Owen Gleiberman of Entertainment Weekly gave the film a C, saying "In the Shrek films, the joke of Puss in Boots, with his trilled consonants and penchant for chest-puffing sword duels, is that no one this cuddly should try to be this dashing. But in Puss in Boots, that joke wears out its welcome in 15 minutes."[41] Ty Burr of The Boston Globe gave the film three out of four stars, saying "Puss in Boots doesn't break any new ground in the storytelling department, and its reliance on go-go-go state-of-the-art action sequences grows wearying by the end, but the movie has a devilish wit that works for parent and child alike."[42] Elizabeth Weitzman of the New York Daily News gave the film four out of five stars, saying "It's always a pleasure to find a family film that respects its audience all the way up the line."[43] Colin Covert of the Star Tribune gave the film one and a half stars out of four, saying "Remember that toy where you yank a string and hear the sound of a barnyard animal? "Puss in Boots" has about half as much entertainment value."[44] Olly Richards of Empire gave the film three out of five stars, saying "Like most kittens, it's not always perfectly behaved, but at least this new Puss adventure doesn't have you reaching for the cinematic spray bottle. And thank goodness the spin-off does nothing to neuter the charismatic cat's appeal."[45] Stan Hall of The Oregonian gave the film a B, saying "Puss in Boots isn't particularly deep, nor does it take itself seriously -- it just wants to seek glory, win affection and cash in. Done, done and done."[46]

text: Kenneth Turan of the Los Angeles Times gave the film four out of five stars, saying "Perhaps the most engaging thing about "Puss in Boots" is that it never takes itself too seriously."[47] Stephen Holden of The New York Times gave the film three and a half stars out of five, saying "It is a cheerfully chaotic jumble of fairy tale and nursery rhyme characters parachuted into a Spanish storybook setting."[48] Lou Lumenick of the New York Post gave the film one and a half stars out of four, saying "Basically, this toon is a tired riff on Sergio Leone's spaghetti Westerns, punctuated by more puns and cat jokes than you can shake a litter box at."[49] Claudia Puig of USA Today gave the film three out of four stars, saying "With his impeccable comic timing and lyrical Spanish accent, Banderas' swashbuckling charmer is an undeniable treat."[50] Michael O'Sullivan of The Washington Post gave the film three out of four stars, saying "Puss in Boots" proves there is at least one cat with multiple lives. The feature-length animated spinoff - a star turn for the popular "Shrek" supporting character voiced by Antonio Banderas - is almost shockingly good. And not just because a lot of you will approach it with lowered expectations."[51] Stephen Whitty of the Newark Star-Ledger gave the film three out of four stars, saying "An almost purr-fect little film that even a dog owner can enjoy."[52]

text: Joe Morgenstern of The Wall Street Journal gave the film a positive review, saying "Puss made his debut in "Shrek 2," then did time in the two decreasingly funny sequels. Now he's got a movie of his own, and not a moment too soon."[53] Lisa Kennedy of The Denver Post gave the film three out of four stars, saying "It would overstate matters to say Puss in Boots leaves its cat holding the bag (we had to get that in). But it also leaves its hero awaiting a richer fable, one befitting his charms and his portrayer's talents."[54] Anna Smith of Time Out gave the film three out of five stars, saying "Puss in Boots is uneven, but when it's on course, cat fans will be in heaven."[55] Amy Biancolli of the Houston Chronicle gave the film three out of five stars, saying "Puss in Boots prances along on three basic truths. One, cats are funny. Two, vain Spanish cats in high-heeled musketeer boots are even funnier. Lastly, booted, vain Spanish cats voiced by a breathy Antonio Banderas are flat-out hilarious."[56] Tasha Robinson of The A.V. Club gave the film a C+, saying "Puss In Boots makes a great theme-park ride, a thrill-a-minute feast for the eyes and the semicircular canals. But while the settings are impressively multidimensional, the characters are flatter than old-school cel drawings."[57]

text: Box office[edit]

text: The film grossed $149,260,504 in North America, and $405,726,973 in other countries, for a worldwide total of $554,987,477.[2] It is the eleventh highest-grossing film of 2011 and is also the third highest-grossing animated film that year behind Kung Fu Panda 2 ($665.7 million) and Cars 2 ($559.9 million).[58]

text: In North America, the film topped the box office on its opening day with $9.6 million.[59] On its opening weekend, the film made $34,077,439,[60][61] topping Saw III's record ($33.6 million) for the highest Halloween weekend opening ever.[62] It retained first place during its second weekend, with $33,054,644, declining only 3%.[63]

text: Outside North America, on its opening weekend, it earned second place with $17.2 million.[64] The film opened at #1 in both the UK with a weekend gross of £1.98 million ($3.1 million),[65] and Australia, with $2.98 million.[66] It topped the box office outside North America on its seventh weekend with $47.1 million from 40 countries.[67] It ranks as the ninth highest-grossing film of 2011 outside North America.[68] Its highest-grossing country after North America was Russia and the CIS ($50.6 million), followed by Germany ($33.9 million) and France and the Maghreb region ($33.2 million).[69]

text: Accolades[edit]

text:
Award
Category
Recipient
Result

Academy Awards[12]
Best Animated Feature
Chris Miller
Nominated

Alliance of Women Film Journalists[70]
Best Animated Film

Best Animated Female
Salma Hayek

Annie Awards[71]
Best Animated Feature

Animated Effects in an Animated Production
Can Yuksel

Character Animation in a Feature Production
Olivier Staphylas

Character Design in a Feature Production
Patrick Mate

Directing in a Feature Production
Chris Miller

Music in a Feature Production
Henry Jackman

Storyboarding in a Feature Production
Bob Logan

Voice Acting in a Feature Production
Zach Galifianakis

Editing in a Feature Production
Eric Dapkewicz

Critics' Choice Awards[72]
Best Animated Feature

Chicago Film Critics Association Awards
Animated Film

Golden Globe Awards[73]
Best Animated Feature Film

Kids Choice Awards[74][75]
Favorite Animated Movie

Won

Favorite Voice From an Animated Movie
Antonio Banderas
Nominated

Producers Guild of America Awards[76]
Best Animated Theatrical Motion Pictures
Joe M. Aguilar, Latifa Ouaou

Satellite Awards[77]
Best Animated or Mixed Media Film

Toronto Film Critics Association[78]
Best Animated Feature

Washington D.C. Area Film Critics Association Awards[79]
Best Animated Feature

Women Film Critics Circle[80]
Best Animated Females

Won

Saturn Awards[81]
Best Animated Film

Teen Choice Awards[82]
Choice Movie Actress Action/Adventure
Salma Hayek
Nominated

text: Expanded franchise[edit]

text: Sequel[edit]

text: In November 2012, executive producer Guillermo del Toro said that they already did a couple of script drafts for a sequel, and that the director Chris Miller wants to take Puss on an adventure to exotic places.[15] In April 2014, Antonio Banderas, the voice of Puss, said that the work on the sequel had just begun.[83] In June 2014, the movie was titled Puss in Boots 2: Nine Lives & 40 Thieves and was scheduled to be released on November 2, 2018.[84] Two months later, it was moved back to December 21, 2018.[6] In January 2015, Puss in Boots 2 was removed from the release schedule following corporate restructuring and DreamWorks Animation's new policy to release two films a year.[85][7] Two months later, Banderas said in an interview that the script was under restructuring, and that Shrek may appear in the film.[86]

text: Animated series[edit]

text: The film also spawned an animated series that premiered on Netflix on January 16, 2015.[5]

text: Video games[edit]

text:
Puss in Boots, a video game based on the film, developed by Blitz Games, and published by THQ on October 25, 2011 for Xbox 360, PlayStation 3, Wii, and Nintendo DS.[87] It features support for Kinect and PlayStation Move on the respective platforms.[88]
Fruit Ninja: Puss in Boots, a Puss in Boots-themed Fruit Ninja video game, which was released on October 20, 2011, on the iOS App Store,[89] and was released for Android devices on November 28, 2011, on the Amazon Appstore.[90]

text: Notes[edit]

text: ^ In July 2014, the film's distribution rights were purchased by DreamWorks Animation from Paramount Pictures.[91]

tag: ol


document_title: Hazelnut

question_text: where do most hazelnuts come from in the us

root

text: Hazelnut

text: History[edit]

text: In 1995, evidence of large-scale Mesolithic nut processing, some 9,000 years old, was found in a midden pit on the island of Colonsay in Scotland. The evidence consists of a large, shallow pit full of the remains of hundreds of thousands of burned hazelnut shells. Hazelnuts have been found on other Mesolithic sites, but rarely in such quantities or concentrated in one pit. The nuts were radiocarbon dated to 7720+/-110BP, which calibrates to circa 6000 BC. Similar sites in Britain are known only at Farnham in Surrey and Cass ny Hawin on the Isle of Man.[3][4]

tag: p

text: This discovery gives an insight into communal activity and planning in the period. The nuts were harvested in a single year, and pollen analysis suggests the hazel trees were all cut down at the same time.[4] The scale of the activity, unparalleled elsewhere in Scotland, and the lack of large game on the island, suggest the possibility that Colonsay contained a community with a largely vegetarian diet for the time they spent on the island. The pit was originally on a beach close to the shore, and was associated with two smaller, stone-lined pits whose function remains obscure, a hearth, and a second cluster of pits.[3]

text: The traditional method to increase nut production is called 'brutting', which involves prompting more of the trees' energy to go into flower bud production, by snapping, but not breaking off, the tips of the new year shoots' six or seven leaf groups from the join with the trunk or branch, at the end of the growing season.[citation needed] The traditional term for an area of cultivated hazelnuts is a plat.

text: Cultivars[edit]

text: The many cultivars of the hazel include 'Atababa', 'Barcelona', 'Butler', 'Casina', 'Clark', 'Cosford', 'Daviana', 'Delle Langhe', 'England', 'Ennis', 'Fillbert', 'Halls Giant', 'Jemtegaard', 'Kent Cob', 'Lewis', 'Tokolyi', 'Tonda Gentile', 'Tonda di Giffoni', 'Tonda Romana', 'Wanliss Pride', and 'Willamette'.[5] Some of these are grown for specific qualities of the nut, including large nut size, or early or late fruiting, whereas others are grown as pollinators. The majority of commercial hazelnuts are propagated from root sprouts.[5] Some cultivars are of hybrid origin between common hazel and filbert.[6] One cultivar grown in Washington, the 'DuChilly', has an elongated appearance, a thinner and less bitter skin, and a distinctly sweeter flavor than other varieties.[7][8]

text:
Production of hazelnuts in 2014[9]

Country
Production
thousands of tonnes

 Turkey

450.0

 Italy

75.5

 Georgia

37.4

 United States

32.7

 Azerbaijan

29.8

World

713.5

tag: table

text:
Hazelnuts or filberts, raw

Nutritional value per 100 g

Energy
2,629 kJ (628 kcal)

Carbohydrates

16.70 g

Sugars
4.34 g

Dietary fiber
9.7 g

Fat

60.75 g

Protein

14.95 g

Vitamins

Vitamin A equiv.
beta-Carotene
lutein zeaxanthin

(0%)
1 μg

(0%)
11 μg
92 μg

Thiamine (B1)

(56%)
0.643 mg

Riboflavin (B2)

(9%)
0.113 mg

Niacin (B3)

(12%)
1.8 mg

Pantothenic acid (B5)

(18%)
0.918 mg

Vitamin B6

(43%)
0.563 mg

Folate (B9)

(28%)
113 μg

Vitamin C

(8%)
6.3 mg

Vitamin E

(100%)
15.03 mg

Vitamin K

(14%)
14.2 μg

Minerals

Calcium

(11%)
114 mg

Iron

(36%)
4.7 mg

Magnesium

(46%)
163 mg

Manganese

(294%)
6.175 mg

Phosphorus

(41%)
290 mg

Potassium

(14%)
680 mg

Selenium

(3%)
2.4 μg

Sodium

(0%)
0 mg

Zinc

(26%)
2.45 mg

Other constituents

Water
5.31 g

Full Link to complete USDA Database entry

Units
μg = micrograms • mg = milligrams
IU = International units

Percentages are roughly approximated using US recommendations for adults.
Source: USDA Nutrient Database

text: Harvesting[edit]

text: Hazelnuts are harvested annually in mid-autumn. As autumn comes to a close, the trees drop their nuts and leaves. Most commercial growers wait for the nuts to drop on their own, rather than using equipment to shake them from the tree. The harvesting of hazelnuts is performed either by hand or, by manual or mechanical raking of fallen nuts.

text: Four primary pieces of equipment are used in commercial harvesting: the sweeper, the harvester, the nut cart, and the forklift. The sweeper moves the nuts into the center of the rows, the harvester lifts and separates the nuts from any debris (i.e. twigs and leaves), the nut cart holds the nuts picked up by the harvester, and the forklift brings a tote to offload the nuts from the nut cart and then, stacks the totes to be shipped to the processor (nut dryer).

text: The sweeper is a low-to-the-ground machine that makes two passes in each tree row. It has a 2 m (6 ft 7 in) belt attached to the front that rotates to sweep leaves, nuts, and small twigs from left to right, depositing the material in the center of the row as it drives forward. On the rear of the sweeper is a powerful blower to blow material left into the adjacent row with air speeds up to 90 m/s (300 ft/s). Careful grooming during the year and patient blowing at harvest may eliminate the need for hand raking around the trunk of the tree, where nuts may accumulate. The sweeper prepares a single center row of nuts narrow enough for the harvesting tractor to drive over without driving on the center row. It is best to sweep only a few rows ahead of the harvesters at any given time, to prevent the tractor that drives the harvester from crushing the nuts that may still be falling from the trees. Hazelnut orchards may be harvested up to three times during the harvest season, depending on the quantity of nuts in the trees and the rate of nut drop as a result of weather.[10]

text: The harvester is a slow-moving machine pushed by a tractor, which lifts the material off the ground and separates the nuts from the leaves, empty husks, and twigs. As the harvester drives over the rows, a rotating cylinder with hundreds of tines, rakes the material onto a belt. The belt takes the material over a blower and under a powerful vacuum that sucks any lightweight soil and leaves from the nuts, and discharges them into the orchard. The remaining nuts are conveyed into a nut cart that is pulled behind the harvester. Once a tote is filled with nuts, the forklift hauls away the full totes and bring empty ones back to the harvester to maximize the harvester's time.

text: Two different timing strategies are used for collecting the fallen nuts. The first is to harvest early, when about half of the nuts have fallen. With less material on the ground, the harvester can work faster with less chance of a breakdown. The second option is to wait for all the nuts to fall before harvesting. Although the first option is considered the better of the two,[11] two or three passes do take more time to complete than one. Weather also must be a consideration. Rain inhibits harvest and should a farmer wait for all the nuts to fall after a rainy season, it becomes much more difficult to harvest. Pickup also varies with how many acres are being farmed as well as the number of sweepers, harvesters, nut carts, and forklifts available.

text: Production[edit]

text: In 2014, world production of hazelnuts (in shells) was 713,451 tonnes, a 17% decrease from 2013.[9] Turkey produced 63% of the world total, followed by Italy, Georgia, the United States, and Azerbaijan (table).

text: In the United States, Oregon accounted for 99% of the nation's production in 2014, having a crop value of $129 million that is purchased mainly by the snack food industry.[12]

text: Nutrients[edit]

text: In a 100-gram serving, raw hazelnuts supply 2,630 kilojoules (628 kcal) and are a rich source (20% or more of the Daily Value, DV) of numerous essential nutrients (see table). Particularly in high amounts are protein, dietary fiber, vitamin E, thiamin, phosphorus, manganese, and magnesium, all exceeding 30% DV (table). Several B vitamins have appreciable content. In lesser, but still significant amounts (moderate content, 10-19% DV), are vitamin K, calcium, zinc, and potassium (table). Hazelnuts are a significant source of total fat, accounting for 93% DV in a 100-gram serving. The fat components are monounsaturated fat as oleic acid (75% of total), polyunsaturated fat mainly as linoleic acid (13% of total), and saturated fat, mainly as palmitic acid and stearic acid (together, 7% of total).[2]

text: Edible uses[edit]

text: Ferrero SpA, the maker of Nutella and Ferrero Rocher, uses 25% of the global supply of hazelnuts.[13] Hazelnuts are used in confections to make pralines, chocolate truffles, and hazelnut paste products. In Austria, hazelnut paste is an ingredient for making tortes, such as Viennese hazelnut torte. In Kiev cake, hazelnut flour is used to flavor its meringue body, and crushed hazelnuts are sprinkled over its sides. Dacquoise, a French dessert cake, often contains a layer of hazelnut meringue. Hazelnuts are used in Turkish cuisine and Georgian cuisine; the snack churchkhela and sauce satsivi are used, often with walnuts. The nuts may be eaten fresh or dried, having different flavors.[14]


document_title: Beauty and the Beast (2017 film)

question_text: where was beauty and the beast live action filmed

text: Beauty and the Beast (2017 film)

text: Plot[edit]

text: A beautiful enchantress disguised as an old beggar woman arrives at a castle during a ball and offers the host, a cruel and selfish prince, a rose in return for shelter from a storm. When he refuses, she reveals her identity. To punish the prince for his lack of compassion, the enchantress transforms him into a beast and his servants into household objects, then erases the castle, the prince and his servants from the memories of their loved ones. She casts a spell on the rose and warns the prince that the curse will only be broken if he learns to love another, and earn their love in return, before the last petal falls.

text: Some years later, in the small town of Villeneuve, Belle, the book-loving daughter of a music box maker and artist Maurice, dreams of adventure and brushes off advances from Gaston, an arrogant former soldier. On his way to a convention and lost in the forest, Maurice seeks refuge in the Beast's castle, but the Beast imprisons him for stealing a rose from his garden as a gift to Belle. When Maurice's horse returns without him, Belle ventures out in search for him, and finds him locked in the castle dungeon. The Beast agrees to let her take Maurice's place.

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

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

text: After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle reveals the Beast in the mirror to the townsfolk, proving her father's sanity. Realizing that Belle loves the Beast, a jealous Gaston claims she has been charmed by dark magic, and has her thrown into the asylum carriage with her father. He rallies the villagers to follow him to the castle to slay the Beast before he curses the whole village. Maurice and Belle escape, and Belle rushes back to the castle.

text: During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. Gaston attacks the Beast in his tower, who is too depressed to fight back, but regains his spirit upon seeing Belle return. He defeats Gaston, but spares his life before reuniting with Belle. Ungrateful and unrepentant, 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. As Belle tearfully professes her love to the Beast, Agathe reveals herself as the enchantress and undoes the curse, repairing the crumbling castle, and restoring the Beast's and servants' human forms and the villagers' memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

text: Cast[edit]

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

Daisy Duczmal portrays an infant Belle.

Dan Stevens as Beast, a cold-hearted, selfish, unkind prince who is transformed into a beast and forced to earn back his humanity by learning to truly love and be loved in return, as well as to give rather than take. Stevens portrays the character through motion-capture.[12][13]

Adam Mitchell[1] 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 who works as a music box maker and an artist.[14]

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.[15]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[16]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[17]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[18]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[19]
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.[20]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[14]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the enchantress responsible for cursing the Prince.[21] Morahan also narrates the prologue.

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

Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[22]
Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[21]
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[2] as The King, the prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, the prince's mother who died of an illness when he was a child.
Dale Branston as Villeneuve's residential baker.
Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
Vivian Parry as the Village Lass' mother, an unnamed seamstress.

tag: ul

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

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[23]

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.[24]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[25][26] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[27]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[28] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[29] 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.[30]

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.'"[31] 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?"[32]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[33] She was the first choice of Walt Disney Studios chairman Alan F. Horn, as he had previously overseen Warner Bros. which released the eight Harry Potter films that co-starred Watson as Hermione Granger.[32] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[34][35] and Watson confirmed their casting the following day through tweets.[12][36] 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.[15][14][18][20][19][16][17][37]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[38] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[39]

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.[40]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, United Kingdom, on May 18, 2015.[14][41][42] Filming with the principal actors concluded on August 21.[43][44] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[45]

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.[7]

text: Before the release of the film, Bill Condon refilmed one certain sequence in the "Days of the Sun" number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones's character, the Prince's mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett's names were mistakenly featured in the original theatrical release's credits, but was later corrected in home releases.[23]

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".[46]

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".[47] 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.[48] Menken said the film would not include songs that were written for the Broadway musical and instead, created four new songs.[49] 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.[50]

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.[51] She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: "[The] first Beauty and the Beast decision was made with my husband. Now I'm making decisions on my own. It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way". She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, "I was at the beginning of my career, it put me on the map, it put me where I am today". Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[52][53][54][55]

text: The 2017 film features a remake of the 1991 original song recorded as a duet by Ariana Grande and John Legend.[56][57] Grande and Legend's updated version of the title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney film.[58] Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song on Freeform television network on March 5, 2017, and it has since been viewed over 100 million views on the Vevo video-hosting service.[59]

text: Emma Thompson also performed a rendition of the title song, which was performed by Angela Lansbury in the original 1991 animated film.[59]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[14] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[60]

text: The world premiere of Beauty and the Beast took place at Spencer House in London, United Kingdom on February 23, 2017;[61] 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.[62] The United Kingdom received the same version on April 21, 2017.[63]

text: The film was re-released in New York and Los Angeles for a one-week engagement starting December 1, 2017. The move was an awards push as awards season heats up.[64]

text: Marketing[edit]

text: Disney spent around $140 million to market the film worldwide.[65] Following an announcement on May 22, 2016,[66] Disney premiered the first official teaser trailer on Good Morning America the next day.[67] In its first 24 hours, the teaser trailer reached 91.8 million views, which was the largest number ever seen for a trailer in that amount of time.[68] This record has since been broken by Thor: Ragnarok,[69] It and Avengers: Infinity War.[70][71] The first official teaser poster was released on July 7, 2016.[72] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine, along with nine new photos.[73][74] One week later, Emma Watson and Disney debuted a new poster.[75] On November 14, 2016, the first theatrical trailer was released, again on Good Morning America.[76] This reached 127.6 million views in its first 24 hours, setting a new record for the most views in one day, beating Fifty Shades Darker;[77] this record has since been broken by The Fate of the Furious.[78] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[79] Disney released the final trailer on January 30, 2017.[80]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[81] 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.[82] The movie regained the top spot on the national home video sales charts during its third week of release.[83] The movie became available on Netflix on September 19, 2017.

text: Reception[edit]

text: Box office[edit]

text: Beauty and the Beast grossed $504 million in the United States and Canada and $759.5 million in other countries for a worldwide gross of $1.263 billion.[5] With a production budget of $254 million, it is the most expensive musical ever made.[85][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).[86] 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.[87] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[88] It surpassed the entire lifetime total of the original film in just six days.[89][90]

text: Beauty and the Beast was 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,[91] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[92][93][94][95] 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 29th day of release.[96][97][98] It is currently the second-highest-grossing film of 2017 (behind Star Wars: The Last Jedi),[99] the highest-grossing March release,[100] the highest-grossing remake of all time,[101] and the sixth-biggest Disney film.[102] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[101] Deadline Hollywood calculated the net profit of the film to be $414.7 million, when factoring together all expenses and revenues, making it the second-most profitable release of 2017.[103]

text: United States and Canada[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.[104][105][106] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[107][108] It earned $16.3 million from Thursday previews night, marking the biggest of 2017 (breaking Logan's record), the biggest ever for a Disney live-action film (breaking Maleficent's record), the second-biggest ever for both a G- or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third-biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).[109] 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 pm.[110] The numbers were considered more impressive given that the film played during a school week.[111]

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).[112][113] 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).[114] 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.[91] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[115] 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,[116][117] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[118] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[119] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[119] 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.[115]

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.[120] Seventy percent of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office.[91] Seventy percent of the film's opening day demographic was female, dropping to 60% through the weekend.[119] 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.[121][122] 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.[121][122]

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).[123] 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.[124] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[125] 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.[126] 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).[86] The hold was notable considering how the film was able to fend off three new wide releases: Power Rangers, Life, and CHiPs.[127] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[128] 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).[129] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[130] 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.[131] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[132] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[133] By May 28, the film had earned over $500 million in ticket sales becoming the first film of 2017 (until it was later surpassed by The Last Jedi),[134][135] the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman and The Last Jedi) and the eighth overall film in cinematic history to pass the mark.[136][137][138][139]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[140] the biggest musical film (both animated and live-action),[141] as well as the biggest film of 2017 (alongside The Last Jedi).[142]

text: Other countries[edit]

text: Outside the US and Canada, 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-rated 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.[143] 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.[144] It topped the international box office for three consecutive weekends[145] 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.[146][98]

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.[147][148] 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).[143][144]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG-rated film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's Les Misérables), the number one opening of 2017 to date and the fifth-biggest-ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million).[149] This included the second-biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[150] 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).[151][144] 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.[152][153][154] It earned around ₹15 million (US$220,000) 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.[155] Disney reported a total of ₹92.6 million (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.[156][157][158] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[159]

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.[160] The original film was, however, never widely popular in the country.[161] 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.[162] 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.[163][164] Either ways, it recorded the second-biggest opening for a Disney live-action film,[161] with $3.4 million coming from 386 IMAX screens.[143] Japan—a huge Disney market—served as the film's final market and opened there on April 21.[144] 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.[165][166] The two-day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[167] 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[168][169][170] and is the biggest film release of the year and, overall, the eleventh-biggest of all time.[171] It topped the box office there for eight consecutive weekends.[172][173]

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).[143] 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).[146][174] In the Philippines, it emerged as the most successful commercial film of all time—both local and foreign—with over $13.5 million.[175] 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).[176] It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[165][177] 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).[172] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past year (behind Rogue One: A Star Wars Story).[165][168][178]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for its ensemble cast, visuals, production values, musical score, songs, and faithfulness to the original film with a few elements of the Broadway musical version, while the designs of the Beast and the servants' household object forms received mixed reviews.[10][11] On review aggregator Rotten Tomatoes, as of April, 2018, the film had an approval rating of 70% based on 319 reviews, with an average rating of 6.7/10. The site's critical consensus read, "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."[179] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[180] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[181][182]

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 commending the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[183] 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.[184] 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."[185]

text: 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".[186] 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".[187] 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."[188] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth, remarking: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[189] James Berardinelli of ReelViews described the 2017 version as "enthralling".[190]

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.[191] 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)".[192] 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."[193] 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.[194]

text: 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.[195] 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.[196] Stephen Whitty of the New York Daily News called it "this year's best new old musical" and "the most magical thing of all" while describing Watson's performance of Belle as "breakthrough".[197]

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".[198] 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".[199] 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.[200][201]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he said 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".[202] Dana Schwartz of The New York Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[203]

text: Accolades[edit]

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

Academy Awards
March 4, 2018
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[204]

Best Costume Design
Jacqueline Durran
Nominated

Art Directors Guild Awards
January 27, 2018
Excellence in Production Design for a Fantasy Film
Sarah Greenwood
Nominated
[205]

British Academy Film Awards
February 18, 2018
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[206]

Best Costume Design
Jacqueline Durran
Nominated

Casting Society of America
January 18, 2018
Big Budget – Comedy
Lucy Bevan, Bernard Telsey and Tiffany Little Canfield
Nominated
[207]

Chicago Film Critics Association
December 12, 2017
Best Art Direction
Sarah Greenwood
Nominated
[208]
[209]

Costume Designers Guild Awards
February 20, 2018
Excellence in Fantasy Film
Jacqueline Durran
Nominated
[210]

Critics' Choice Movie Awards
January 11, 2018
Best Art Direction
Sarah Greenwood and Katie Spencer
Nominated
[211]

Best Costume Design
Jacqueline Durran
Nominated

Best Hair & Makeup
Beauty and the Beast
Nominated

Best Song
"Evermore"
Nominated

Empire Awards
March 18, 2018
Best Actress
Emma Watson
Nominated
[212]
[213]

Best Soundtrack
Beauty and the Beast
Nominated

Best Make-up And Hairstyling
Won

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Nominated
[214]

Best Original Score
Nominated

Best Animation/Family TV Spot
Nominated

Best Fantasy Adventure TV Spot
Nominated

Guild of Music Supervisors Awards
February 8, 2018
Best Music Supervision for Film: Budgeted Over 25 Million Dollars
Sullivan, MattMatt Sullivan
Nominated
[215]

Hollywood Film Awards
November 5, 2017
Costume Design Award
Jacqueline Durran[a]
Won
[216]

Make-Up & Hair Styling Award
Jenny Shircore
Won

Hollywood Music in Media Awards
November 16, 2017
Best Original Song – Animated Film
"How Does a Moment Last Forever" – Alan Menken and Tim Rice
Nominated
[217]
[218]

Best Original Song – Sci-Fi, Fantasy, Horror Film
Won

"Evermore" – Alan Menken and Tim Rice
Nominated

Best Soundtrack Album
Beauty and the Beast
Nominated

Hollywood Post Alliance
Outstanding Color Grading – Feature Film
Stefan Sonnenfeld
Nominated
[219]
[220]

Outstanding Visual Effects – Feature Film
Kyle McCulloch, Glen Pratt, Richard Hoover, Dale Newton, Neil Weatherley and Framestore
Nominated

Houston Film Critics Society
January 6, 2018
Best Original Song
"Evermore" – Alan Menken and Tim Rice
Nominated
[221]

Make-Up Artists and Hair Stylists Guild
February 24, 2018
Feature Motion Picture: Best Period and/or Character Hair
Jenny Shircore, Marc Pilcher and Charlotte Hayward
Nominated
[222]

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[223]

Best Actor in a Movie
Emma Watson
Won

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans
Nominated

NAACP Image Awards
January 15, 2018
Outstanding Supporting Actress in a Motion Picture
Audra McDonald
Nominated
[224]

Nickelodeon Kids' Choice Awards
March 24, 2018
Favorite Movie
Beauty and the Beast
Nominated
[225]

Favorite Movie Actress
Emma Watson
Nominated

Publicists Guild Awards
March 2, 2018
Motion Picture
Beauty and the Beast
Nominated
[226]
[227]

San Diego Film Critics Society
December 11, 2017
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[228]
[229]

Best Visual Effects
Beauty and the Beast
Runner-up[b]

Best Costume Design
Jacqueline Durran
Won[c]

Best Use of Music
Beauty and the Beast
Nominated

Satellite Awards
February 10, 2018
Best Costume Design
Jacqueline Durran
Nominated
[230]

Saturn Awards
June 2018
Best Fantasy Film
Beauty and the Beast
Pending
[231]

Best Actress
Emma Watson
Pending

Best Production Design
Sarah Greenwood
Pending

Best Costume Design
Jacqueline Durran
Pending

Seattle Film Critics Society
December 18, 2017
Best Costume Design
Jacqueline Durran
Nominated
[232]
[233]

St. Louis Film Critics Association
December 17, 2017
Best Production Design
Sarah Greenwood
Nominated
[234]

Best Visual Effects
Beauty and the Beast
Nominated

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Won
[235]
[236]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans
Won

Choice Movie Ship
Emma Watson and Dan Stevens
Won

Choice Liplock
Won

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans
Nominated

Dan Stevens
Nominated

Visual Effects Society Awards
February 13, 2018
Outstanding Virtual Cinematography in a Photoreal Project
Shannon Justison, Casey Schatz, Neil Weatherley and Claire Michaud for "Be Our Guest"
Nominated
[237]

Washington D.C. Area Film Critics Association
December 8, 2017
Best Motion Capture Performance
Dan Stevens
Nominated
[238]

Best Production Design
Sarah Greenwood and Katie Spencer
Nominated

Women Film Critics Circle
December 17, 2017
Best Family Film
Beauty and the Beast
Nominated
[239]
[240]

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.[241] 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.”[242] 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."[243]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[244] 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).[245] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[246] 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.[247][248][249] 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.[250] 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".[251][252] 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.[253]

text: The film also received criticism over its portrayal of LeFou, as many felt that it relied on stereotypes[254] and was used as a way of teasing LGBT+ viewers without providing adequate representation.[255] LeFou's status as a sidekick to the main villain brought about criticism over Disney's queercoding of villains in the past, and his infatuation with Gaston was seen as relying on a stereotype of gay men being predatory towards straight men.[256] Furthermore, the only gay interaction LeFou has is a three-second clip of him dancing with another man at the end of the film. Many saw this as Disney cheating its LGBT+ audiences.[257]

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

text: Disney has sought to portray Belle as an empowered young woman,[258] but a debate questioning whether it is possible for a captor to fall in love with their prisoner, and whether this is a problematic theme, has resulted.[259] 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.[260][261] 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.[262]

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.[263] 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.[264][265] 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.[266] 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.[267]

text: Notes[edit]

text:
Jump up ^ Also credited for Darkest Hour.
Jump up ^ Tied with Dunkirk.
Jump up ^ Tied with Mark Bridges for Phantom Thread.