document_title: What to Expect When You're Expecting (film)

question_text: what to expect when you're expecting courtney

question_tokens: what to expect when you 're expecting courtney

text: Plot[edit]

text: Set in Atlanta,[4] the film opens with fitness trainer Jules Baxter (Cameron Diaz) and her dance partner Evan Webber (Matthew Morrison) performing on the TV show Celebrity Dance Factor. They are crowned the winners of the show, but Jules vomits in their trophy, discovering that she is pregnant. Jules struggles when trying to balance her pregnancy with her normal active life. She has an ongoing argument with Evan over whether or not to have their son circumcised. During labor, she chooses not to have an epidural. She gives birth to a daughter they name Emerson, ending their debate. After giving birth, Jules and Evan get engaged.

text: Photographer Holly Castillo (Jennifer Lopez) can't conceive children and decides to adopt from Ethiopia with her husband, Alex (Rodrigo Santoro). They decide to buy a new house for the baby. Holly sends Alex to hang out with the "dudes group", a group of fathers who walk around the park and support one another, which was founded by Vic Mac (Chris Rock). Alex feels even more nervous to become a father. Holly loses her job and becomes hurt when she realizes how much Alex is unprepared for a child. However, they eventually go to Ethiopia and adopt a baby boy named Kaleb.

text: Wendy Cooper (Elizabeth Banks) runs a breast feeding boutique called The Breast Choice, and has been trying to have a baby with her husband Gary (Ben Falcone) for two years. She eventually does conceive and shares the news with Gary after taking five pregnancy tests. Having planned a magical and happy pregnancy, Wendy feels awful throughout it and, during a convention she was chosen to speak at about the miracle of childbirth, she begins to break down and bursts out into a speech about how much the process sucks. Her outburst is filmed and becomes a viral hit on YouTube, after which her boutique is flooded with customers. After many labor-inducing activities, she goes to the hospital only to find out she has to have a cesarean section, which is against her birth plan. She loses a lot of blood, but is okay and delivers a son named Theo.

text: Ramsey Cooper (Dennis Quaid), a famous race car driver and Gary's father, is married to a younger woman named Skyler (Brooklyn Decker). During a lunch where Wendy and Gary announce her pregnancy, Ramsey and Skyler also announce they are expecting. Unlike Wendy, Skyler cruises through her pregnancy without issues. Wendy envies her and detests her ease; however, soon after Skyler gives birth to twin girls, she and Ramsey are shown struggling with the fussy babies.

text: Rosie Brennan (Anna Kendrick), Skyler's cousin and food-truck chef, meets an old high school friend, Marco (Chace Crawford), also a food-truck chef, during a turf war between their food trucks. She believes he is a player and initially blows him off, but the reunion leads to an unexpected pregnancy after having sex that night. Worried at first, they eventually adjust to the idea of becoming parents and move in together. However, one night Rosie discovers she is bleeding and they drive to the hospital where they discover she has miscarried. Devastated, Rosie tells Marco to leave, which he does, but he makes several attempts to get back with her. Eventually, they get back together and decide to take things slowly and their story ends with them joining forces to create a food truck together.

text: At different points in the film, certain characters meet others and we discover all the stories are linked. Ramsey is Gary's father, Gary was on Jules' weight loss program and is a regular customer of Marco's food truck, Skyler is Rosie's cousin, and Holly is Wendy and Skyler's photographer.

text: Cast[edit]

text:
Cameron Diaz as Jules Baxter, a contestant on a celebrity dance show and a host to a weight-loss fitness show, who becomes pregnant with her dance partner's baby[4]
Jennifer Lopez as Holly Castillo, a woman who adopts a baby from abroad with her unwilling husband after difficulty conceiving[5]
Elizabeth Banks as Wendy Cooper, Gary's wife who becomes pregnant after trying for 2 years. Runs the Breast Choice Boutique.
Chace Crawford as Marco, who reunites with an old flame (Rosie) after a turf war between their respective food trucks[6]
Brooklyn Decker as Skyler Cooper, the wife of a much older man named Ramsey who becomes pregnant with twins[7]
Anna Kendrick as Rosie Brennan, who reunites with an old flame and fellow food-truck owner and becomes pregnant unexpectedly and has a miscarriage[7]
Matthew Morrison as Evan Webber, who teams with Jules on a celebrity dance show and the father of her baby [3]
Dennis Quaid as Ramsey Cooper, the husband of Skyler[8]
Chris Rock as Vic Mac, founder of the "dude group" and father of four.
Rodrigo Santoro as Alex Castillo, Holly's husband who's in music business and is not ready to have a child[9]
Ben Falcone as Gary Cooper, Wendy's husband and son of Ramsey[10]
Joe Manganiello as Davis[11]
Rob Huebel as Gabe, a new parent who adjusts to "fatherdom" by bonding with other dads in a city park-based group that is part play group, part secret society[12]
Thomas Lennon as Craig, a father who joins Vic's "dude group"[13]
Amir Talai as Patel, a father who joins Vic's "dude group"
Rebel Wilson as Janice, an eccentric employee at The Breast Choice boutique[14]
Wendi McLendon-Covey as Kara, Holly's co-worker and friend[15]
Dwyane Wade has a cameo as himself[16]
Whitney Port has a cameo as herself[16]
Megan Mullally has a cameo as herself
Cheryl Cole has a cameo as a TV dance talent show judge[17]
Tyce Diorio has a cameo as a TV dance talent show judge[17]
Taboo has a cameo as a TV dance talent show judge[17]
Kim Fields plays a social worker who helps out a couple with an adoption[18]
Jesse Burch as Hutch Davidson
Mimi Gianopulos as Molly, Rosie's funny roommate who comforts and supports her[19]
Genesis Rodriguez as Courtney, Rosie's roommate[20]

text: Production[edit]

text: Background[edit]

text: Written by Heidi Murkoff, What to Expect When You're Expecting is a pregnancy guide released in 1984. It is a top-selling book on The New York Times Best Seller list[21] and is considered one of the most influential books of the past twenty-five years.[22] Additionally, it was dubbed "the bible of American pregnancy" and has sold over 20 million units worldwide.[23] On January 14, 2010, it was announced that Lionsgate had acquired the book's worldwide distribution rights from Phoenix Pictures. Heather Hach, who was nine months pregnant at the time, was hired to write the film's screenplay "based on her pitch", which would follow the story of seven couples who experience the "ups and downs" of preparing for parenthood.[24][25][26] David Thwaites produced it alongside Mike Medavoy and Arnie Messer. Alli Shearmur, Lionsgate's President of Motion Picture Productions, said the book is "a brand that knows no boundaries" and they were "excited about this film as the first in a potential franchise". Murkoff said she was excited to see Phoenix Pictures and Lionsgate "bring my baby to life". Medavoy, Messer and Thwaites felt that the book provides the "perfect launching point" to tell a funny story.[24]

text: Pre-production[edit]

text: Kirk Jones directed the film.[8] Jones hadn't read or heard about the book, and assumed it was a novel before receiving the script. However, he then discovered that it was in fact a pregnancy guide. Although puzzled at first, he recalled his pregnancy experience as "funny, tragic, exciting" and "hilarious", and thought combining these elements would make for a "really interesting" film.[27] Speaking about the film's theme, he stated that "everybody's experience is different" and multiple different stories "allow the audience to share in everything that is going on" and "by sharing in what's going on and seeing so many characters, there's this energy, and there's humor and there's drama in comparing all of the stories, which are taking place at the same time".[28] What to Expect When You're Expecting stars an ensemble cast, which focuses primarily on the five couples who are going to be first-time parents.[29] According to Access Atlanta, the project also needed "a lot of extras who are in the family way" as well as "babies with star potential". An open casting call was held on July 9, 2011. Casting director Christopher Gray said at the time, "We need a lot of pregnant women. We want the real deal". The movie also featured a number of Ethiopians, for which a casting call was issued as well.[29] Additionally, film contains cameos by various celebrities. This includes Dwyane Wade, Whitney Port,[16] Megan Mullally,[30] and Cheryl Cole, Taboo and Tyce Diorio, who star as themselves as judges on a TV dance talent show.[17]

text: Filming[edit]

text: The film began principal photography in Atlanta on July 19, 2011.[31] On July 26, production filmed in Midtown on Peachtree Street near High Museum and in Piedmont Park.[32] Jones said it was "tough" organizing schedules because of the number of cast members there were.[27] Having never "shot five simultaneous stories like this", he stated: "Through necessity we had to schedule the film so that I shot everything with Jennifer Lopez in two weeks, everything with Cameron Diaz in two weeks ... because they are not available to keep flying in from another continent for two days work and then flying back again".[28]

text: Music[edit]

text: The film's score was composed by Mark Mothersbaugh. The soundtrack also contains “Dance (Disco Heat)” performed by Sylvester, “Nobody” performed by Ne-Yo, “Shivas Regal (Theme For Gypsy)” performed by Sonny Lester & His Orchestra, “Oye Como Va” performed by Kinky, “Happening” performed by Chiddy Bang, “Kellerman's Anthem” performed by Emile Bergstein Chorale, “Get Me Golden” performed by Terraplane Sun, “Home” performed by Edward Sharpe and the Magnetic Zeros, “Don't Let Your Feet Touch Ground” performed by Ash Koley, “Weightless” performed by Natasha Bedingfield, “Forever Love” performed by Alex Ebert, “Hypnotize” performed by The Notorious B.I.G., “Comin' Home Baby” performed by Mel Tormé, “Forgetting” performed by David Gray, “Never Gonna Stop” performed by The So Manys, “Inside Out” performed by Nire' AllDai, “Waiting On The Light To Change” performed by Matthew Perryman Jones, “Addicted To Love” performed by Robert Palmer, “Modern Art” performed by Black Lips, “Don't You Want Me” performed by Phil Oakey, Philip Adrian Wright and Jo Callis, “Do What You Want” performed by Daphne Willis, “Broken Sky” performed by Rob Laufer, “Why Don't We Get Drunk” performed by Jimmy Buffett, “Put Your Hands Up” performed by The MIDI Mafia, “Samba Vocalizado” performed by Luciano Perrone, “Get It Daddy” performed by Sleeper Agent, “Now Is The Start” performed by Alison Sudol, “The Hormone Song” performed by Elizabeth Banks and “Big Poppa” performed by Ernie Isley, Marvin Isley, O'Kelly Isley, Jr., Ronald Isley, Rudolph Isley, Chris Jasper and The Notorious B.I.G..

text: Release[edit]

text: The film was a moderate success. Released across 3,021 theaters on May 18, 2012,[3] it closed on August 2, 2012.[33]

text: Home media[edit]

text: What to Expect When You're Expecting was released on DVD and Blu-ray on September 11, 2012 by Lionsgate Home Entertainment.

text: Reception[edit]

text: Box office[edit]

text: What to Expect When You're Expecting debuted at No. 5 at the U.S. Box Office, grossing $10,547,068 during its opening weekend. By the end of May, the film grossed $26,293,359 in the United States. In total, What to Expect When You're Expecting grossed $41.2 million domestically, for a worldwide gross of $84.4 million.

text: Critical response[edit]

text: On Rotten Tomatoes, the film holds a rating of 22%, based on 132 reviews, with the site's critical consensus reading, "The cast is stocked with likable performers, but What to Expect When You're Expecting is too disjointed -- and too reliant on stock rom-com cliches -- to live up to its distinguished literary namesake."[34] On Metacritic, the film has a score of 41 out of 100, based on 30 critics, indicating "mixed or average reviews". Cara Nash of the Australian film magazine Filmink gave the film a mixed review, criticizing the storyline as not having "complexity" or "genuine conflict", but praised Lopez and Banks who "manage to find the humanity in their clichéd roles but they can't transcend all the surface-level schmaltz on display here".[35] Peter Travers of Rolling Stone gave the film a negative review, stating that "the movie itself triggered the vomiting", but appreciated Rock, Kendrick and Crawford's performances "if you dramatically drop your expectations".[36] Simon Miraudo of Quickflix called it "ill-conceived" and gave the film a mixed review while stating: "Despite an immensely appealing cast and a few funny moments, I would only recommend What to Expect at a 'push'. The eggs are there; someone just forgot to fertilise them."[37] Betsy Sharkey of the Los Angeles Times among other critics noted the confusion of the swiftly moving film, writing that "Rather than the engaging enlightenment of the source, the film becomes bloated by confusion."[38][39] New York Daily News gave the film 3 and a half stars, writing "Thankfully the film, unlike being a parent, is a fairly smooth and entertaining ride that has a universal appeal to both parents and those who ever had a father or a mother", and named the scene in which Jennifer Lopez's character travels to Ethiopia to meet the child she is adopting as the film's most touching moment.[40] The Guardian's Mike McCahill described the movie as "insight-deficient fluff".[41]

text: Accolades[edit]

text:
Award
Category
Recipient(s)
Result

ALMA Awards
Favorite Movie Actor
Rodrigo Santoro
Nominated[42]

Favorite Movie Actress Comedy/Musical
Cameron Diaz
Nominated[42]

Favorite Movie Actress Comedy/Musical
Jennifer Lopez
Nominated[42]

Teen Choice Awards
Choice Movie: Comedy

Nominated[43]

Choice Movie Actor: Comedy
Chris Rock
Nominated[43]

Choice Movie Actress: Comedy
Cameron Diaz
Nominated[43]

Choice Movie Actress: Comedy
Jennifer Lopez
Nominated[43]

Choice Movie: Breakout
Joe Manganiello
Nominated[44]

Choice Movie: Male Scene Stealer
Chace Crawford
Nominated[44]

People's Choice Awards
Favorite Comedic Movie

Nominated[45]

Favorite Comedic Movie Actress
Cameron Diaz
Nominated[45]

Razzie Awards
Worst Supporting Actress
Brooklyn Decker
Nominated[46]

Worst Supporting Actress
Jennifer Lopez
Nominated[46]

Premios Juventud
She Steals the Show
Won

text: Soundtrack[edit]

text: Soundtrack list[edit]

text:
Dance (Disco Heat) - Performed by Sylvester
Nobody - Performed by Ne-Yo
Shivas Regal (Theme For Gypsy) - Performed by Sonny Lester & His Orchestra
Oye Como Va - Performed by Kinky
Happening - Performed by Chiddy Bang
Kellerman's Anthem - Performed by Emile Bergstein Chorale
Get Me Golden - Performed by Terraplane Sun
Home - Performed by Edward Sharpe and the Magnetic Zeros
Don't Let Your Feet Touch Ground - Performed by Ash Koley
Weightless - Performed by Natasha Bedingfield
Forever Love - Performed by Alex Ebert
Hypnotize - Performed by The Notorious B.I.G.
Comin' Home Baby - Performed by Mel Tormé
Forgetting - Written and Performed by David Gray
Never Gonna Stop - Performed by The So Manys
Inside Out - Performed by Nire' AllDai
Waiting On The Light To Change - Written and Performed by Matthew Perryman Jones
Addicted To Love - Written by Robert Palmer
Modern Art - Performed by Black Lips
Don't You Want Me - Written by Phil Oakey, Philip Adrian Wright and Jo Callis
Do What You Want - Performed by Daphne Willis
Broken Sky - Performed by Rob Laufer
Why Don't We Get Drunk - Performed by Jimmy Buffett
Put Your Hands Up - Performed by The MIDI Mafia
Samba Vocalizado - Performed by Luciano Perrone
Get It Daddy - Performed by Sleeper Agent
Now Is The Start - Performed by Alison Sudol
The Hormone Song - Performed by Elizabeth Banks
Big Poppa - Written by Ernie Isley, Marvin Isley, O'Kelly Isley, Jr., Ronald Isley, Rudolph Isley, Chris Jasper and The Notorious B.I.G.


document_title: Beauty and the Beast (2017 film)

question_text: who narrates beginning of beauty and the beast 2017

root

text: Beauty and the Beast (2017 film)

text: Plot[edit]

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

tag: p

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

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

text: In Villeneuve, Gaston sees rescuing Belle as an opportunity to win her hand in marriage, and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to the wolves. Maurice is rescued by the 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 proves Maurice's sanity by revealing the Beast in the mirror to the townsfolk. Realizing that Belle loves the Beast, Gaston has her thrown into the asylum carriage with her father, and rallies the villagers to follow him to the castle to slay the Beast. Maurice and Belle escape, and Belle rushes back to the castle.

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

text: Cast[edit]

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

Daisy Duczmal portrays an infant Belle.

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

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

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

Jolyon Coy portrays the young Maurice.

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

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

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

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.[22]

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

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

text: Production[edit]

text: Development[edit]

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

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

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

text: Casting[edit]

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

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

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

text: Filming[edit]

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

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

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

text: Music[edit]

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

text: Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Alan Menken, Howard Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical".[46] Menken returned to score the film's music, which features songs from the original film by him and Howard Ashman, plus new material written by Menken and Tim Rice.[47] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[48] However, an instrumental version of the song "Home", which was written for the musical, is used during the scene where Belle first enters her room in the castle.[49]

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

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

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

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

text: Release[edit]

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

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

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

text: Marketing[edit]

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

text: Home media[edit]

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

text: Reception[edit]

text: Box office[edit]

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

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

text: North America[edit]

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

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

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

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

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

text: Outside North America[edit]

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

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

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

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

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

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for the faithfulness to the original film with a few elements of the Broadway musical version, cast performances, visuals, Jacqueline Durran's costume designs, production design, Alan Menken's musical score and songs, though the designs of the Beast and the servants' household object forms received mixed reviews.[9][10] On review aggregator Rotten Tomatoes, the film has an approval rating of 71% based on 301 reviews, with an average rating of 6.6/10. The site's critical consensus reads, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[170] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[171] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[172][173]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[174] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Steven's character of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[175] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[176] Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[177] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[178] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[179] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth, remarking: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[180] James Berardinelli of ReelViews described the 2017 version as "enthralling".[181]

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

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

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", 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".[192] Dana Schwartz of The New York Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[193]

text: Awards and nominations[edit]

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

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

Best Actor in a Movie
Emma Watson

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans

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

Best Original Score

Best Animation/Family TV Spot

Best Fantasy Adventure TV Spot

International Online Cinema Awards (INOCA)
July 29, 2017
Best Production Design
[196]

Best Original Song
"Evermore" - Alan Menken and Tim Rice

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Beauty and the Beast
Won
[197]
[198]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans

Choice Movie Ship
Emma Watson and Dan Stevens

Choice Liplock

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans

Dan Stevens

Hollywood Film Awards
November 5, 2017
Costume Design Award
Jacqueline Durran
Won
[199]

Make-Up & Hair Styling Award
Jenny Shircore

Hollywood Post Alliance (HPA)
November 16, 2017
Outstanding Color Grading – Feature Film
Stefan Sonnenfeld
Nominated
[200]
[201]

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

Hollywood Music in Media Awards
Best Original Song - Animated Film
"How Does a Moment Last Forever" - Alan Menken and Tim Rice
[202]
[203]

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

"Evermore" - Alan Menken and Tim Rice
Nominated

Best Soundtrack Album
Beauty and the Beast

NAACP Image Awards
January 15, 2018
Outstanding Supporting Actress in a Motion Picture
Audra McDonald
Pending
[204]

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.[205] 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.”[206] 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."[207]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[208] 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).[209] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[210] 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.[211][212][213] 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.[214] 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.[215][216] 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.[217]

text: There were also a number of boycotts against the film. A call to boycott on LifePetitions received over 129,000 signatures,[218] 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.[219]

text: The film also received criticsm over its portrayal of LeFou, as many felt that it relied on stereotypes[220] and was used as a way of teasing LGBT+ viewers without providing adequate representation.[221] 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.[222] 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.[223]

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

text: Disney has sought to portray Belle as an empowered young woman,[224] 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.[225] 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.[226][227] 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.[228]

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.[229] 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.[230][231] 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.[232] 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.[233]

text: Notes[edit]

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

tag: ol


document_title: United Nations peacekeeping

question_text: largest troop contributor to the united nations peace keeping mission

text: United Nations peacekeeping

text: Process and structure[edit]

text: Peacekeeping forces are contributed by member states on a voluntary basis. As of 31 December 2013, the total size of the peacekeeping force is 98,200 police, troops, and military experts. European nations contribute nearly 6,000 units to this total. Pakistan, India, and Bangladesh are among the largest individual contributors with around 8,000 units each. African nations contributed nearly half the total, almost 44,000 units.[7]

text: Every peacekeeping mission is authorized by the Security Council.

text: Formation[edit]

text: Once a peace treaty has been negotiated, the parties involved might ask the United Nations for a peacekeeping force to oversee various elements of the agreed upon plan. This is often done because a group controlled by the United Nations is less likely to follow the interests of any one party, since it itself is controlled by many groups, namely the 15-member Security Council and the intentionally diverse United Nations Secretariat.

text: If the Security Council approves the creation of a mission, then the Department of Peacekeeping Operations begins planning for the necessary elements. At this point, the senior leadership team is selected. The department will then seek contributions from member nations. Since the UN has no standing force or supplies, it must form ad hoc coalitions for every task undertaken. Doing so results in both the possibility of failure to form a suitable force, and a general slowdown in procurement once the operation is in the field. Romeo Dallaire, force commander in Rwanda during the Rwandan Genocide there, described the problems this poses by comparison to more traditional military deployments:

text: He told me the UN was a "pull" system, not a "push" system like I had been used to with NATO, because the UN had absolutely no pool of resources to draw on. You had to make a request for everything you needed, and then you had to wait while that request was analyzed... For instance, soldiers everywhere have to eat and drink. In a push system, food and water for the number of soldiers deployed is automatically supplied. In a pull system, you have to ask for those rations, and no common sense seems to ever apply.

text: While the peacekeeping force is being assembled, a variety of diplomatic activities are being undertaken by UN staff. The exact size and strength of the force must be agreed to by the government of the nation whose territory the conflict is on. The Rules of Engagement must be developed and approved by both the parties involved and the Security Council. These give the specific mandate and scope of the mission (e.g. when may the peacekeepers, if armed, use force, and where may they go within the host nation). Often, it will be mandated that peacekeepers have host government minders with them whenever they leave their base. This complexity has caused problems in the field.

text: When all agreements are in place, the required personnel are assembled, and final approval has been given by the Security Council, the peacekeepers are deployed to the region in question.

text: Financing[edit]

text: The financial resources of UN Peacekeeping operations are the collective responsibility of UN Member States. Decisions about the establishment, maintenance or expansion of peacekeeping operations are taken by the Security Council. According to UN Charter every Member State is legally obligated to pay their respective share for peacekeeping. Peacekeeping expenses are divided by the General Assembly based upon a formula established by Member States which takes into account the relative economic wealth of Member States among other things.[8] In 2017, the UN agreed to reduce the peacekeeping budget by $600 million after the US initially proposed a larger cut of approximately $900 million. [9]

text:
Year
Funding sources by country/source
Description
Total

2015-2016

$8.3bn[10]

2016-2017
 US 28.57%
 China 10.29%
 Japan 9.68%
 Germany 6.39%
 France 6.31%
 United Kingdom 5.80%
 Russian Federation 4.01%
 Italy 3.75%
 Canada 2.92%
 Spain 2.44%

Less than 0.5% of world military expenditures (estimated at $1,747 billion in 2013). The resources financed 14 of the 16 United Nations peacekeeping missions with the two remaining ones getting financed through the UN regular budget.
Many countries have also voluntarily made additional resources available to support UN Peacekeeping efforts such as by transportation, supplies, personnel and financial contributions beyond their assessed share of peacekeeping costs.[8]

$7.87bn[8]

2017-2018

While many have praised the Ivory Coast UN peacekeeping mission's stabilizing effects on the country the mission was ended on 30 June 2017.[11]
$7.3bn[9]

text: Structure[edit]

text: A United Nations peacekeeping mission has three power centers. The first is the Special Representative of the Secretary-General, the official leader of the mission. This person is responsible for all political and diplomatic activity, overseeing relations with both the parties to the peace treaty and the UN member-states in general. They are often a senior member of the Secretariat. The second is the Force Commander, who is responsible for the military forces deployed. They are a senior officer of their nation's armed services, and are often from the nation committing the highest number of troops to the project. Finally, the Chief Administrative Officer oversees supplies and logistics, and coordinates the procurement of any supplies needed.

text: History[edit]

text: Cold War peacekeeping[edit]

text: United Nations peacekeeping was initially developed during the Cold War as a means of resolving conflicts between states by deploying unarmed or lightly armed military personnel from a number of countries, under UN command, to areas where warring parties were in need of a neutral party to observe the peace process. Peacekeepers could be called in when the major international powers (the five permanent members of the Security Council) tasked the UN with bringing closure to conflicts threatening regional stability and international peace and security. These included a number of so-called "proxy wars" waged by client states of the superpowers. As of February 2009, there have been 63 UN peacekeeping operations since 1948, with sixteen operations ongoing. Suggestions for new missions arise every year.

text: The first peacekeeping mission was launched in 1948. This mission, the United Nations Truce Supervision Organization (UNTSO), was sent to the newly created State of Israel, where a conflict between the Israelis and the Arab states over the creation of Israel had just reached a ceasefire. The UNTSO remains in operation to this day, although the Israeli-Palestinian Conflict has certainly not abated. Almost a year later, the United Nations Military Observer Group in India and Pakistan (UNMOGIP) was authorized to monitor relations between the two nations, which were split off from each other following the United Kingdom's decolonization of the Indian subcontinent.

text: As the Korean War ended with the Korean Armistice Agreement in 1953,[12] UN forces remained along the south side of demilitarized zone until 1967, when American and South Korean forces took over.[citation needed]

text: Returning its attention to the conflict between Israel and its Arab neighbors, the United Nations responded to Suez Crisis of 1956, a war between the alliance of the United Kingdom, France, and Israel, and Egypt, which was supported by other Arab nations. When a ceasefire was declared in 1957, Canadian Secretary of State for External Affairs[13] (and future Prime Minister) Lester Bowles Pearson suggested that the United Nations station a peacekeeping force in the Suez in order to ensure that the ceasefire was honored by both sides. Pearson had initially suggested that the force consist of mainly Canadian soldiers, but the Egyptians were suspicious of having a Commonwealth nation defend them against the United Kingdom and her allies. In the end, a wide variety of national forces were drawn upon to ensure national diversity. Pearson would win the Nobel Peace Prize for this work, and he is today considered a father of modern peacekeeping.[citation needed]

text: In 1988, the Nobel Peace Prize was awarded to the United Nations peacekeeping forces. The press release stated that the forces "represent the manifest will of the community of nations" and have "made a decisive contribution" to the resolution of conflict around the world.

text: Since 1991[edit]

text: The end of the Cold War precipitated a dramatic shift in UN and multilateral peacekeeping. In a new spirit of cooperation, the Security Council established larger and more complex UN peacekeeping missions, often to help implement comprehensive peace agreements between belligerents in intra-State conflicts and civil wars. Furthermore, peacekeeping came to involve more and more non-military elements that ensured the proper functioning of civic functions, such as elections. The UN Department of Peacekeeping Operations was created in 1992 to support this increased demand for such missions.

text: By and large, the new operations were successful. In El Salvador and Mozambique, for example, peacekeeping provided ways to achieve self-sustaining peace. Some efforts failed, perhaps as the result of an overly optimistic assessment of what UN peacekeeping could accomplish. While complex missions in Cambodia and Mozambique were ongoing, the Security Council dispatched peacekeepers to conflict zones like Somalia, where neither ceasefires nor the consent of all the parties in conflict had been secured. These operations did not have the manpower, nor were they supported by the required political will, to implement their mandates. The failures—most notably the 1994 Rwandan Genocide and the 1995 massacre in Srebrenica and Bosnia and Herzegovina—led to a period of retrenchment and self-examination in UN peacekeeping.

text: That period led, in part, to the United Nations Peacebuilding Commission, which works to implement stable peace through some of the same civic functions that peacekeepers also work on, such as elections. The Commission currently works with six countries, all in Africa.[14]

text: Participation[edit]

text: The UN Charter stipulates that to assist in maintaining peace and security around the world, all member states of the UN should make available to the Security Council necessary armed forces and facilities. Since 1948, close to 130 nations have contributed military and civilian police personnel to peace operations. While detailed records of all personnel who have served in peacekeeping missions since 1948 are not available, it is estimated that up to one million soldiers, police officers and civilians have served under the UN flag in the last 56 years. As of June 2013, 114 countries were contributing a total 91,216 military observers, police, and troops to United Nations Peacekeeping Operations.

text: As of 29 February 2016, 124 countries were contributing a total of 105,314 personnel in Peacekeeping Operations, with Ethiopia leading the tally (8,324), followed by India (7,695) and Bangladesh (7,525).[15] In June 2013. Pakistan contributed the highest number overall with 8,186 personnel, followed by India (7,878), Bangladesh (7,799), Ethiopia (6,502), Rwanda (4,686), Nigeria (4,684), Nepal (4,495), Jordan (3,374), Ghana (2,859), and Egypt (2,750).[16] As of 28 February 2015, 120 countries were contributing a total of 104,928 personnel in Peacekeeping Operations, with Bangladesh leading the tally (9446).[17] As of March 2008, in addition to military and police personnel, 5,187 international civilian personnel, 2,031 UN Volunteers and 12,036 local civilian personnel worked in UN peacekeeping missions.[18]

text: Through April 2008, 2,468 people from over 100 countries have been killed while serving on peacekeeping missions.[19] Many of those came from India (127), Canada (114) and Ghana (113). Thirty percent of the fatalities in the first 55 years of UN peacekeeping occurred in the years 1993-1995. About 4.5% of the troops and civilian police deployed in UN peacekeeping missions come from the European Union and less than one percent from the United States (USA).[20]

text: The rate of reimbursement by the UN for troop-contributing countries per peacekeeper per month include: $1,028 for pay and allowances; $303 supplementary pay for specialists; $68 for personal clothing, gear and equipment; and $5 for personal weaponry.[21]

text: Results[edit]

text: According to scholar Page Fortna, there is strong evidence that the presence of peacekeepers significantly reduces the risk of renewed warfare; more peacekeeping troops leads to fewer battlefield deaths; and more peacekeeping troops leads to fewer civilian deaths.[22] There is also evidence that the promise to deploy peacekeepers can help an international organizations bring combatants to the negotiation table and increase the likelihood that they will agree to a cease-fire.[23]

text: Similarly, Nicholas Sambanis asserts that the presence of a UN peacekeeping mission is correlated with a positive effect on the achievement of peace, especially in the short-term. However, he notes that this effect is lessened over time. Thus, the longer that peacekeepers remain in a country, the greater the likelihood that peace will maintain. Acknowledging the success that UN peacekeeping operations have achieved in increasing political participation, Sambanis claims that a greater focus on economic development would further increase the efficacy of peacekeeping efforts.[24]

text: Another study, conducted by Magnus Lundgren, suggests that doubling the peacekeeping operation budget stronger peacekeeping operation mandates and a doubling of the PKO budget would reduce armed conflicts by up to two thirds relative to a scenario without PKOs.[25]

text: Crimes by peacekeepers[edit]

text: Peacekeeping, human trafficking, and forced prostitution[edit]

text: Reporters witnessed a rapid increase in prostitution in Cambodia and Mozambique after UN peacekeeping forces moved in. In the 1996 UN study "The Impact of Armed Conflict on Children", former first lady of Mozambique Graça Machel documented: "In 6 out of 12 country studies on sexual exploitation of children in situations of armed conflict prepared for the present report, the arrival of peacekeeping troops has been associated with a rapid rise in child prostitution."[26]

text: Gita Sahgal spoke out in 2004 with regard to the fact that prostitution and sex abuse crops up wherever humanitarian intervention efforts are set up. She observed: "The issue with the UN is that peacekeeping operations unfortunately seem to be doing the same thing that other militaries do. Even the guardians have to be guarded."[27]

text: Human rights violations in United Nations missions[edit]

text: The following table chart illustrates confirmed accounts of crimes and human rights violations committed by United Nations soldiers, peacekeepers, and employees.[28][29][30][31][32][33][34][35][36][37][38][39]

text:
A comparison of incidents involving United Nations peacekeepers, troops, and employees.

Conflict
United Nations Mission
Sexual abuse1
Murder2
Extortion/Theft3

Second Congo War
United Nations Mission in the Democratic Republic of Congo
150
3
44

Somali Civil War
United Nations Operation in Somalia II
5
24
5

Sierra Leone Civil War
United Nations Mission in Sierra Leone
50
7
15

Eritrean-Ethiopian War
United Nations Mission in Ethiopia and Eritrea
70
15
0

Burundi Civil War
United Nations Operation in Burundi
80
5
0

Rwanda Civil War
United Nations Observer Mission Uganda-Rwanda
65
15
0

Second Liberian Civil War
United Nations Mission in Liberia
30
4
1

Second Sudanese Civil War
United Nations Mission in Sudan
400
5
0

Côte d'Ivoire Civil War
United Nations Operation in Côte d'Ivoire
500
2
0

2004 Haitian coup d'état
United Nations Stabilization Mission in Haiti
110
57
0

Kosovo War
United Nations Interim Administration Mission in Kosovo
800
70
100

Israeli–Lebanese conflict
United Nations Interim Force in Lebanon
0
6
0

text: Proposed reform[edit]

text: Brahimi analysis[edit]

text: In response to criticism, particularly of the cases of sexual abuse by peacekeepers, the UN has taken steps toward reforming its operations. The Brahimi Report was the first of many steps to recap former peacekeeping missions, isolate flaws, and take steps to patch these mistakes to ensure the efficiency of future peacekeeping missions. The UN has vowed to continue to put these practices into effect when performing peacekeeping operations in the future. The technocratic aspects of the reform process have been continued and revitalised by the DPKO in its "Peace Operations 2010" reform agenda. This included an increase in personnel, the harmonization of the conditions of service of field and headquarters staff, the development of guidelines and standard operating procedures, and improving the partnership arrangement between the Department of Peacekeeping Operations (DPKO) and the United Nations Development Programme (UNDP), African Union and European Union. 2008 capstone doctrine entitled "United Nations Peacekeeping Operations: Principles and Guidelines"[6] incorporates and builds on the Brahimi analysis.

text: Rapid reaction force[edit]

text: One suggestion to account for delays such as the one in Rwanda, is a rapid reaction force: a standing group, administered by the UN and deployed by the Security Council, that receives its troops and support from current Security Council members and is ready for quick deployment in the event of future genocides.[40]

text: Restructuring of the UN secretariat[edit]

text: The UN peacekeeping capacity was enhanced in 2007 by augmenting the DPKO with the new Department of Field Support (DFS). Whereas the new entity serves as a key enabler by co-ordinating the administration and logistics in UN peacekeeping operations, DPKO concentrates on policy planning and providing strategic directions.[citation needed]


document_title: The English Patient (film)

question_text: who played count almasy in the english patient

text: The English Patient (film)

text: Plot[edit]

text: In the final days of the Italian Campaign of World War II, Hana, a French-Canadian nurse of the Royal Canadian Army Medical Corps, obtains permission from her unit to move into a bombed-out Italian monastery, to look after a dying, critically burned man who speaks English but cannot remember his name. The patient's only possession is a copy of Herodotus' Histories with notes, pictures and mementos contained inside. They are soon joined by Kip, a Sikh sapper in the British Army posted with his sergeant to clear mines and unexploded bombs in the local area, including one in the monastery where Hana and the English Patient are residing. David Caravaggio, a Canadian Intelligence Corps operative who has no thumbs as a result of torture during a German interrogation, also arrives to stay at the monastery. Caravaggio questions the patient, who gradually reveals his past to him, Hana and Kip through a series of flashbacks.

text: The patient tells Hana and Caravaggio that, in the late 1930s, he was exploring a region of the Sahara Desert near the Egyptian-Libyan border. He is revealed to be Hungarian cartographer Count László de Almásy, who was mapping the Sahara as part of a Royal Geographical Society archeological and surveying expedition in Egypt and Libya with a group including his good friend, Englishman Peter Madox. Their expedition is joined by a British couple, Geoffrey and Katharine Clifton, who own a new plane and are to contribute to the aerial survey efforts. Almásy is given clues by a local Bedouin man which help the group to discover the location of the Cave of Swimmers, an ancient site of cave paintings in the Gilf Kebir. The group begin to document their find, during which time Almásy falls in love with Katharine. He writes about her in notes folded into his book, which Katharine discovers when Almásy awkwardly accepts her offer of two watercolours she has painted of the cave imagery, and asks her to paste them into the book. The two begin an affair on their return to Cairo, while the group arranges for more detailed archaeological surveys of the cave and the surrounding area. Almásy buys a silver thimble in the market as a gift to Katharine. Some months later, Katharine abruptly ends their affair from fear her husband Geoffrey will discover it. Shortly afterwards the archaeological projects are halted due to the onset of the war. Madox leaves his Boeing-Stearman aeroplane at Kufra Oasis before his intended return to Britain.

text: Over the days while Almásy relates his story, Hana and Kip begin a shy love affair, but Kip is reposted once he has cleared the area of explosives. They agree they will meet again.

text: While Almásy is packing up the base camp at the cave site, Geoffrey, in an attempted murder-suicide having apparently long known about the affair between Almásy and Katharine, deliberately crashes his own Tiger Moth plane, narrowly missing Almásy. Geoffrey is killed instantly and Katharine is seriously injured. Almásy carries her to the Cave of Swimmers, realising she is wearing the thimble he gave to her on a chain around her neck. She confesses that she has always loved him despite ending their affair. After leaving her with provisions, Almásy begins a three-day walk across the desert to get help. At British-held El Tag he attempts to explain the situation, but on revealing his name, is detained on suspicion of being a German spy and transported on a train. He escapes from the train, and soon afterwards comes in contact with a German army unit. He exchanges the survey maps in his possession for aeroplane fuel and transport to Kufra Oasis, where he refuels Madox's plane and flies back to the cave. However, he finds that Katharine has since died. He takes a letter she has written to him by torchlight to fold into his book, and he flies himself and Katharine's body away. Before long, though, the plane is shot down by German anti-aircraft guns. Almásy is badly burned and is rescued by a group of Bedouin, who bring him to the Siwa Oasis from where he is moved to Italy.

text: After he has related his story, Almásy indicates to Hana that he wishes to die, pushing several unopened vials of morphine towards her as she gives him his regular injection for pain relief. Though visibly upset, she grants his wishes for a compassionate death and reads Katharine's final letter to him as he dies. She and Caravaggio leave the monastery for Florence with a passing army truck, and she hugs Almásy's book to herself as she rides away.

text: Cast[edit]

text:
Ralph Fiennes as Count László Almásy
Kristin Scott Thomas as Katharine Clifton
Willem Dafoe as David Caravaggio
Juliette Binoche as Hana
Naveen Andrews as Kip
Colin Firth as Geoffrey Clifton
Julian Wadham as Peter Madox
Jürgen Prochnow as Major Müller
Kevin Whately as Sgt. Hardy
Clive Merrison as Fenelon-Barnes
Nino Castelnuovo as D'Agostino
Hichem Rostom as Fouad
Peter Rühring as Bermann
Geordie Johnson as Oliver
Torri Higginson as Mary
Liisa Repo-Martell as Jan
Raymond Coulthard as Rupert Douglas
Philip Whitchurch as Corporal Dade
Lee Ross as Spalding
Anthony Smee as Beach Interrogation Officer
Matthew Ferguson as Young Canadian Soldier
Jason Done as Kiss Me soldier
Roger Morlidge as Desert Train Sergeant

text: Production[edit]

text: Saul Zaentz was interested in working with Anthony Minghella after he saw the director's film Truly, Madly, Deeply (1990); Minghella brought this project to the producer's attention. Michael Ondaatje, the Sri Lankan-born Canadian author of the novel, worked closely with the filmmakers.[7] During the development of the project with 20th Century Fox, according to Minghella, the "studio wanted the insurance policy of so-called bigger" actors.[8] Zaentz recalled, "they'd look at you and say, 'Could we cast Demi Moore in the role'?"[9] Not until Miramax Films took over was the director's preference for Scott Thomas accepted.[8]

text: The film was shot on location in Tunisia and Italy.[10] with a production budget of $31 million.[5]

text: The Conversations: Walter Murch and the Art of Editing Film (2002)[11] by Michael Ondaatje is based on the conversations between the author and film editor. Murch, with a career that already included complex works like the Godfather trilogy, The Conversation, and Apocalypse Now, dreaded the task of editing the film with multiple flashbacks and time frames. Once he began, the possibilities became apparent, some of which took him away from the order of the original script. A reel without sound was made so scene change visuals would be consistent with the quality of the aural aspect between the two. The final cut features over 40 temporal transitions. It was during this time that Murch met Ondaatje and they were able to exchange thoughts about editing the film.[12]

text: Two types of aircraft are used in the film,[13] a De Havilland D.H.82 Tiger Moth and a Boeing-Stearman Model 75. Both are biplanes.[14][15] The camp crash scene was made with a 1⁄2-size scale model.

text: The Hungarian folk song, "Szerelem, Szerelem", performed by Muzsikas featuring Márta Sebestyén, featured in the film.

text: Reception[edit]

text: The film received widespread critical acclaim, was a box office success and a major award winner: victorious in 9 out of 12 nominated Academy Awards categories; 2 out of 7 nominated Golden Globe Awards categories; and 6 out of 13 nominated BAFTA Award categories.

text: The film has a "Certified Fresh" rating of 84% on Rotten Tomatoes based on 80 reviews, with an average rating of 7.7/10. The website's critical consensus states, "Though it suffers from excessive length and ambition, director Minghella's adaptation of the Michael Ondaatje novel is complex, powerful, and moving."[16] The film also has a rating of 87/100 on Metacritic, based on 31 critical reviews, indicating "universal acclaim".[17] Chicago Sun Times critic Roger Ebert gave the film a four-star rating, saying "it's the kind of movie you can see twice – first for the questions, the second time for the answers".[18] In his movie guide, Leonard Maltin rated the film 3 1⁄2 out of 4, calling it "a mesmerizing adaptation" of Ondaatje's novel, saying "Fiennes and Scott Thomas are perfectly matched", and he concluded by calling the film "an exceptional achievement all around".[19]

text: Awards[edit]

text:
Organization/Association

Award

Actor/Crew

Outcome

Remarks

69th Academy Awards[20][21]

Best Picture

Saul Zaentz

Won

Best Actress in a Supporting Role

Juliette Binoche

Won

In her acceptance speech, Binoche said she had expected Lauren Bacall to win for The Mirror Has Two Faces, which would have been her first Oscar.

Best Art Direction

Art Direction: Stuart Craig; Set Decoration: Stephanie McMillan

Won

Best Cinematography

John Seale

Won

Best Costume Design

Ann Roth

Won

Best Director

Anthony Minghella

Won

Best Film Editing

Walter Murch

Won

Best Original Dramatic Score

Gabriel Yared

Won

See The English Patient (soundtrack). As he accepted the Academy Award for Best Song, for "You Must Love Me" in Evita, Andrew Lloyd Webber joked, "Thank heavens there wasn't a song in The English Patient is all I can say." since it had such a strong presence.

Best Sound

Walter Murch, Mark Berger, David Parker, and Christopher Newman

Won

Best Actor in a Leading Role

Ralph Fiennes

Nominated

Best Actress in a Leading Role

Kristin Scott Thomas

Nominated

Best Screenplay Based on Material Previously Produced or Published

Anthony Minghella

Nominated

54th Golden Globe Awards[20][21]

Best Motion Picture – Drama

Saul Zaentz

Won

Best Original Score

Gabriel Yared

Won

Best Director

Anthony Minghella

Nominated

Best Actor in a Motion Picture – Drama

Ralph Fiennes

Nominated

Best Actress in a Motion Picture – Drama

Kristin Scott Thomas

Nominated

Best Supporting Actress – Motion Picture

Juliette Binoche

Nominated

Best Screenplay

Anthony Minghella

Nominated

50th British Academy Film Awards

Best Film

Saul Zaentz

Won

Best Cinematography

John Seale

Won

Best Editing

Walter Murch

Won

Best Performance by an Actress in a Supporting Role

Juliette Binoche

Won

Best Screenplay – Adapted

Anthony Minghella

Won

Best Music

Gabriel Yared

Won

Best Direction

Anthony Minghella

Nominated

Best Actor in a Leading Role

Ralph Fiennes

Nominated

Best Actress in a Leading Role

Kristin Scott Thomas

Nominated

Best Costume Design

Ann Roth

Nominated

Best Production Design

Stuart Craig

Nominated

Best Sound

Nominated

Best Makeup/Hair

Nigel Booth

Nominated

47th Berlin International Film Festival (1997)[22]

Silver Bear for Best Actress

Juliette Binoche

Won

Golden Bear

Anthony Minghella

Nominated

text:
Year

Category

Distinction

Date Checked

Remarks

2002

AFI's 100 Years...100 Passions

#56

1999

BFI Top 100 British films

#55[23]