Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.
For decades the science fiction genre has long excluded the female demographic. Although it is unclear why, one can perhaps assume that women’s exclusion was rooted within misogynistic sexual and gender-based viewpoints. What IS clear, is that Madeleine L’Engle’s novel A Wrinkle in Time was unique for its time and a welcomed surprise enjoyed by all audiences, later winning the John Newbery Medal in 1963. Over fifty years later, it seems only fitting that Emmy Award-winner Ava DuVernay would be chosen to direct the re-adaptation as the first black woman to direct a live-action film with a budget of over a $100 million.
The sudden disappearance of NASA scientist Dr. Alexander Murry (Chris Pine) has caused havoc on both his children Meg (Storm Reid) and Charles Wallace (Deric McCabe) as well as his wife Dr. Kate Murry (Gugu Mbatha-Raw). This leads to gossiping among peers and bullying by classmates. The Murry family endures as best they can until three celestial visitors – Mrs. Which (Oprah Winfrey), Mrs. Whatsit (Reese Witherspoon), and Mrs. Who (Mindy Kaling) – come to help. Asking what appears to be the impossible, Meg, Charles Wallace, and a classmate Calvin O’Keefe (Levi Miller) seek to find Dr. Murry, who has been missing for the last four years.
Traveling through time and space by a process called tesseract to Uriel, a planet billions of light years away, the three children join Mrs. Whatsit, a spunky, form-changing character who interacts well with the children; Mrs. Who, a great linguist who recites insightful quotes when she cannot find her own words; and Mrs. Which, the most omniscient of the group. After arriving in Uriel, each child is made aware of their special talents. Calvin, a supportive, fearless boy whose agape love for Meg, is quite remarkable to watch as he unfolds. Charles Wallace, a telepathic genius with an extensive vocabulary, is extremely poised for his tender age of five. And Meg is a mathematic wiz, who, like many adolescent girls feels awkward about her appearance due to her curly, brown hair and large spectacles.
As the search begins for Meg’s father, the children encounter an evil darkness cast by the “It,” who rules from its planet called Camazotz. The It’s purpose is to cast confusion, jealousy, anger, fear, and pain throughout the world. Realizing that her father has been taken by this entity, Meg, Charles Wallace and Calvin embark on an unforgettable journey.
The cinematography and use of color in this film is superb. From the use of aerial photography to the use of cinemagraphs, DuVernay takes the audience on a magical journey. More importantly, slogans such as “Be a Warrior,” and encouraging teaching moments that acknowledge “all hair is beautiful,” and to “embrace your faults,” should resonate well with both young girls and boys of all colors, backgrounds, and religions. Although L’Engle’s strong beliefs in the Christian faith didn’t rear as strongly in the movie as it did in her book, DuVernay does an excellent job of taking a timeless classic and turning it into a stunning re-adaptation.
The studio’s live action remake, with a superbly talented cast, breath-taking sets, lavish costumes, and special effects that enhance rather than detract, surpasses the original 1991 animated classic. With the previous film, as well as the stage version, in the rear view mirror, and with La La Land whetting the public’s appetite for more musical films, Beauty and the Beast’s timing couldn’t be better.
Dan Stevens as the Beast
Director Bill Condon leads a production team that manages to do everything right. Condon, whose film adaptation of the Broadway hit Dreamgirls, won two Academy Awards and three Golden Globes, also knows his way around a script. He won an Academy Award for Best Adapted Screenplay for Gods and Monsters which he also directed. The screenplay by Stephen Chbosky and Evan Spiliotopoulos builds on the original, filling in some of the backstory about Belle and the Prince/Beast. The score with music by Alan Menken and lyrics by Tim Rice, retains the songs in the animated version, while eliminating some from the stage version, and adding several that serve to advance the story in key moments.
Emma Watson as Belle and Luke Evans as Gaston
The cast, many of whom had worked with Condon before, trusted his vision and were eager to sign on for this mission. Emma Watson, known to younger audiences as Hermione Granger in the Harry Potter films, is radiant as Belle, projecting the heroine’s intelligence and kindness, but also her bravery when faced with danger. Her face lights up the screen and her singing voice projects a sweet innocence which befits her character.
Dan Stevens, the doomed Downton Abbey heir, might seem an odd choice to play the Prince who, because of his selfishness, is turned into the Beast by an enchantress. Yet he attacks (in some scenes quite literally), the role with relish. While the Beast is a fully digital character (according to the press notes the actor wore stilts and a prosthetics muscle suit with a grey bodysuit during filming), Stevens was determined to display the fine line between man and beast, striving to make his live action character “more dimensional than the Beast from the animated film.” He succeeds, revealing the human trapped inside a horrible-looking animal, particularly when singing the lament “Evermore,” a new addition to the score.
Kevin Kline as Maurice and Emma Watson as Belle
Belle’s father has evolved from the zany inventor in the animated version to an artist who creates beautiful, ornate music boxes. Kevin Kline’s mere presence adds depth to any scene he’s in. His Maurice projects a father’s love, but beneath the surface there’s a sadness about the past. (Through the magic of a mirror, the Beast takes Belle back to her life in Paris and she understands the secrets Maurice holds in his heart.) Kline’s Maurice is not without humor, especially when he encounters some of the talking objects in the Beast’s castle, and he delivers a stirring “How Does a Moment Last Forever,” another new song.
Josh Gad as LeFou and Luke Evans as Gaston
Gaston’s resume has been beefed up, transforming him into a war hero who saved Villenueve, the fictional French village, from invaders. What hasn’t been altered is Gaston’s quick-trigger temper, his oversized ego, and his inability to accept Belle’s refusal to marry him. Welsh actor Luke Evans brings his stage presence and booming baritone to the “role he was born to play,” according to Condon. Paired with Josh Gad as Gaston’s sidekick LeFou, Evans takes advantage of Gad’s impeccable comic timing to make the interaction between the two fun to watch. (There’s been much pre-publicity – both positive and negative – about LeFou’s obvious attraction to the manly Gaston.)
The Castle Objects
Those who signed on as the humans doomed to live as various objects in the Beast’s castle until the spell is broken, include a mind-boggling group of A-list actors. For most of the film, they are voicing the characters, but they are seen briefly in the beginning and finally emerge in the flesh at the end. They include: Ewan McGregor as Lumière, the candlestick holder; Stanley Tucci as Cadenza, a harpsichord; Audra McDonald, as Madame de Garderobe the wardrobe; Gugu Mbatha-Raw, as Plumette, the feather duster; Ian McKellen, as the clock, Cogsworth; Emma Thompson as the teakettle, Mrs. Potts; and Nathan Mack as the teacup, Chip. Hattie Morahan who lurks around the village as the homeless woman, Agatha, is actually the Enchantress who casts the spell on the Prince.
Production Designer Sarah Greenwood, responsible for the visual aspect of the film, led a team of more than 1,000 crew members who worked to create the sets that would mimic those in the animated film. These sets built on the backlot at Shepperton Studios outside London, include: the fictional town of Villeneuve; the castle’s ballroom, with a floor made from 12,000 square feet of faux marble; Belle’s bedroom; and the castle’s library holding thousands of books created specifically for the production. The largest set – 9,600 square feet – is the forest surrounding the castle which included real trees, hedges, a frozen lake, a set of 29-foot high ice gates, and about 20,000 icicles.
Costumes are period perfect and eye-catching. Designer Jacqueline Durran’s team, made up of embroiders, milliners, jewelers, painters, and textile artists, worked for three months before filming began. That lead time was necessary since Durran wanted to create sustainable costumes from fair-trade fabrics. The greatest challenge was designing that iconic yellow dress that Belle wears when dancing with the Beast in the castle’s ballroom. Made from 180 feet of feather-light satin organza, the dress used up 3,000 feet of thread. All that attention to detail pays off. Belle’s gown glows in that dance number, a high point in a film with many high points.
In a cynical world, the “tale as old as time,” never gets old. Disney’s new version continues that legacy.
Photos courtesy of Walt Disney Studios
Beauty and the Beast opens nationwide on March 17, 2017.
After viewing Rogue One, a prequel to George Lucas’ original trilogy, you might find yourself wanting to binge watch the first three films. Rogue One fills in the blanks, specifically how the Rebel Alliance learned about the Empire’s Death Star. Without giving anything away, we know that Han Solo, Princess Leia, and Luke Skywalker, eventually help to destroy that weapon of mass destruction. Now we learn the backstory, namely the identity of the scientist who helped to create the Death Star and how the Rebel Alliance exploited the design flaw that left the device vulnerable to destruction.
Diego Luna, Felicity Jones, K-250 (voiced by Alan Tudyk)
There’s a world of difference, however, between the first three films and Rogue One. While all are rated PG-13, younger children may find Rogue One’s action too violent and intense and both the heroes and villains a little scary. (The director, Gareth Edwards directed Godzilla.) There are no Muppet-like aliens that once populated the venues visited by Han Solo and his crew. While the new characters in Rogue One are engaging, it remains a challenge to top the original cast, particularly because after last December’s Star Wars: The Force Awakens, they remain fresh in our minds.
Felicity Jones, last seen running around Italy with Tom Hanks in Inferno, is Rogue One’s female lead. Her Jyn Erso is every bit as brave and smart as The Force Awaken’s Rey, played by Daisy Ridley. Jyn’s story serves as the film’s centerpiece. As a child, she watches while her mother is killed and her scientist father, Galen (Mads Mikkelsen), is taken away by an Imperial force led by Orson Krennic (Ben Mendelsohn). The Empire needs Galen to finish the Death Star. The young Jyn flees to a pre-arranged hiding place where she is rescued by Saw Gerrera (Forest Whitaker).
While Jyn has a vague memory of her father being captured, rumor has it that he has gone over to the dark side. But when she’s shown a hologram of her father speaking to her, she learns that he is being coerced into working for the Empire. He’s managed to program into the Death Star a weakness that can be exploited. The organized Rebel Alliance, led by Mon Mothma (Genevieve O’Reilly) and Bail Organa (Jimmy Smits) doubts Jyn’s story. (Blink and you’ll miss Smits appearance, it’s so brief.) However, a rag-tag group of fighters enlists to help Jyn find her father.
Jyn’s new crew is certainly diverse. We have the leader, Cassian Andor (Diego Luna), a very tall droid, K-250 (voiced by Alan Tudyk he gets all of the film’s best lines), a blind swordsman (Donnie Yen), a warrior (Jiang Wen), and Riz Ahmed, as a pilot who defected to help the Rebellion. Once the organized Rebellion realizes Jyn’s group has a chance to succeed, the much-needed air support arrives. The battle scenes are exciting, although the demise of some characters may be upsetting to younger viewers.
Darth Vader, once again voiced by James Earl Jones, makes an appearance towards the end in a scene that sets the stage for what is to come next. While Jones’ voice delivered the expected jolt, it was nowhere near as shocking as the appearance on screen of Peter Cushing, who died in 1994, and was resurrected courtesy of CGI as the Imperial leader Grand Moff Tarkin. (There was an audible gasp from the preview audience at my screening.)
While the Lucas prequels failed to catch fire with fans, Rogue One should live up to expectations. Connecting it so closely to the trilogy works in its favor. And the musical score, from Michael Giacchino, includes enough of John Williams’ original themes that audiences will certainly tap into memories of all those galaxies that came before.