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Roger Vadim should've taken note: not a nice concept to take from a really nice translation of a faerie tale when you can just interpret it your own way. Because, if memory serves, many shots and scenes and moments in this Beauty and the Beast episode of the Faerie Tale Theatre series is just like the Jean Cocteau 1940s film. There are some minor changes here and there- most significantly because this time it's half the running length of the former ver and, perhaps, slightly more faithful to the original source story- but overall it's a fairly low adaptation. Susan Sarandon is as nice as she can be in the part, which is fairly one 1/2 dimensional at best, but mostly is directed to look "surprised" and "frightened" and maybe a tiny "angry" but never so much so to deter the Beast or her father or her sisters.The present basically, by default, belongs to the nice Klaus Kinski, who almost in spite of the large mask and make-up acts the pants off of anyone else in this production just by his eyes alone. He has a type of natural power to frighten and intrigue, and here he is just downright freaky as he comes out with the smoke rising up from his paws torn from ripping apart deer. In truth, I wanted to see this more than anything for Kinski and on that lvl I was pleased (albeit it doesn't support how soft the ending is and, in a way, how scary Kinski still looks when *trying* to look handsome!), but I wasn't expecting how much of a let-down it would be from the director of the cult movie Barbarella. It's OK at best, and mediocre in most of it, which is a shame since it also details Angelica Huston as one of the sisters, relegated to a lot of girlish giggling and cavorting with her sibling.
There is a lot to like about the 'Faerie Tale Theatre' series. Many of their adaptations of different well-known and well-loved fairy tales are charming, intelligent and sometimes funny, a several even emotionally moving. 'Faerie Tale Theatre' puts its own magical spin on the greatest of the episodes while still capturing the essence of the stories, while also giving further enjoyments in seeing talented performers in early roles or in roles that are departures from their usual roles.'Beauty and the Beast' is a storyline that warms my heart and touches me to this day, with two characters that burn long into the memory. It has been oft-adapted, no wonder, though the quality has varied. 'Faerie Tale Theatre's' adaptation doesn't keep a candle to the stunning 1946 Jean Cocteau movie or one of the greatest animated movies ever made in Disney's from 1991 in terms of production values and memorability. It is however a very decent version, though not for all, that is nowhere near as terrible as some have made out.It is not one of the classics of the series. Between "The Tale of the Frog Prince" and this, that game is applicable to "Rumpelstiltskin", "Little Red Riding Hood", "Hansel and Gretel", "The Princess and the Pea" and "Snow White and the Seven Dwarfs". At the same time, while one of the weaker episodes up to this mission alongside "The Nightingale", "Jack and the Beanstalk" and "Pinocchio", it is not skip-able.Anybody expecting high energy and humour from "Beauty and the Beast" will be disappointed. "Beauty and the Beast" is played very straight, with no humour at all really (not a terrible thing as the original storyline is as serious and mature as one can get), and is more measured in pacing. The latter is one of the weakest elements, there are parts that do lack momentum and drag as a result.Cocteau's 'La Belle Et La Bete' has often been brought up and one can understand why. Visually, "Beauty and the Beast" does look cute sumptuous and the Gothic look is very atmospheric and striking. Was expecting Beast's costume and make-up to look stiff and weird, neither were the situation here, he was very convincingly animalistic. Vs all that, it is in some method far too closely indebted to 'La Belle Et La Bete' and should have done much more to steer beyond that, it just felt too derivative and Cocteau's had more charm and emotional power. Was not satisfied at the relative waste of Anjelica Huston either, a fine actress with tiny to do.However, as said, it looks nice and has a hauntingly pretty score that does have the memorability factor if not the unforgettable factor like Disney's. The dialogue doesn't ramble and doesn't feel cheesy, instead being quite touching.Despite it being too faithful to 'La Belle Et La Bete' with not enough touches of its own, the storyline is still very movingly told, the growing relationship between Beauty and Beast being well depicted and not rushed, a nice thing as the love is meant to be very much gradual.Susan Sarandon has rarely looked lovelier and she portrays Beauty with enchanting dignity and affecting sincerity. Stealing the show, and the greatest thing about "Beauty and the Beast" is Klaus Kinski's incredibly strong Beast. He gets right under the Beast's complex and conflicted character, his presence is magnetic and his voice each bit as commanding (Kinski was now German so am not sure why there are complaints about his accent). Underneath the frightening and animalistic exterior that has a true creepiness there's the soulful eyes, gentle voice and loving soul, that is why the complexity and conflict works so well with Kinski's interpretation.In conclusion, not a classic of 'Faerie Tale Theatre' but hardly a skip-able stinker, up to this mission in the present none of the episodes fall under that dubious category. 7/10 Bethany Cox
Lovingly designed after Jean Cocteau's 1946's French masterpiece "La Belle et La Bete," this episode of Shelley Duvall's beloved children's tool is one of its most artistically satisfying. Operating beyond the conventions of family entertainment, the episode casts the enigmatic, intense Klaus Kinski as Beast and the inaccessible Susan Sarandon as Beauty, which creates a memorable dynamic between two disparate acting ways that blend surprisingly well. In addition (as referenced by the comparison to Cocteau's surreal adaptation), the set design is absolutely stunning, recreating Cocteau's dreamy approach on a smaller scale but nevertheless effectively. It's unlike anything else in the imaginative series, and stands out even among the high standards the present established for itself.
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