Changes

|2017

|2017

|PG

|PG

|On the one hand, the 2017 film version of ''Beauty and the Beast'' is the latest in the film trend of needlessly and shamelessly remaking animated films or children's stories for the sake of earning quick revenue in the dying Hollywood studio system. Liberals also seized the opportunity with the remake to exploit diversity within the ''Beauty and the Beast'' universe. The final result of the diversity inclusion is that it feels self-congratulatory in the sense of putting it in for the sake of having it, rather than having it be just a part of the story and the film. One notable example is the filmmakers' decision to make LeFou, Gaston's diminutive and bumbling sidekick, a homosexual who is conflicted with his feelings for Gaston. At the end of the film, LeFou is shown taking a romantic interest in a musketeer who is now a transgender woman after being transformed into one during Gaston's siege of the Beast's castle. Not only is it an atrocious artistic decision of the filmmakers to needlessly incorporate diversity simply for the sake of it, but the 2017 film version of ''Beauty and the Beast'' also serves as an example that liberals can legitimately shoehorn the [[homosexual agenda]] into Disney films. Adding salt to the wound, the filmmakers also further changed history to suit their feminist agenda, similar to previous Disney films like ''Mulan'' (1998), ''Pocahontas'' (1995) and ''The Princess and the Frog'' (2009). The 2017 film version of ''Beauty and the Beast'' is now even more of a feminist propaganda film than the 1991 animated film version ever was.

|On the one hand, the 2017 film version of ''Beauty and the Beast'' is the latest in the film trend of needlessly and shamelessly remaking animated films or children's stories for the sake of earning quick revenue in the dying Hollywood studio system. Liberals also seized the opportunity with the remake to exploit diversity within the ''Beauty and the Beast'' universe. The final result of the diversity inclusion is that it feels self-congratulatory in the sense of putting it in for the sake of having it, rather than having it be just a part of the story and the film. One notable example is the filmmakers' decision to make LeFou, Gaston's diminutive and bumbling sidekick, a homosexual who is conflicted with his feelings for Gaston. At the end of the film, LeFou is shown taking a romantic interest in a musketeer who is now a transgender woman after being transformed into one during Gaston's siege of the Beast's castle. Not only is it an atrocious artistic decision of the filmmakers to needlessly incorporate diversity simply for the sake of it, but the 2017 film version of ''Beauty and the Beast'' also serves as an example that liberals can legitimately shoehorn the [[homosexual agenda]] into Disney films. Adding salt to the wound, the filmmakers also further changed history to suit their feminist agenda, similar to previous Disney films like ''Mulan'' (1998), ''Pocahontas'' (1995) and ''The Princess and the Frog'' (2009) (most infamously, the villagers are shown to be explicitly intolerant of Belle learning how to read and teaching girls to do the same, smashing her washing machine in the process, despite the fact that the namesake for the village in this film, Mdm. Gabrielle-Suzanne Barbot de Villeneuve, the original author for the fairy tale, was herself a woman). The 2017 film version of ''Beauty and the Beast'' is now even more of a feminist propaganda film than the 1991 animated film version ever was. There were also hints at an anti-war message due to Gaston being turned into a war veteran.

All of that, along with the other shortcomings of the film, reinforces the statement that most of Hollywood is currently out of ideas for motion pictures. It also re-establishes the fact that Disney would, at times, forsake genuine family entertainment in favor of blatant liberal propaganda.

All of that, along with the other shortcomings of the film, reinforces the statement that most of Hollywood is currently out of ideas for motion pictures. It also re-establishes the fact that Disney would, at times, forsake genuine family entertainment in favor of blatant liberal propaganda.

On the other hand, Christianity is treated in a far more positive light in this film than in the 1991 version as one of the few friends Belle has in this version is the village Chaplain named Pere Robert who is shown to be sympathetic to her bibliophilic nature and also attempts to prevent Maurice from being sent to the Asylum, and later is shown to be horrified at the formation of the mob against the Beast (it is to be noted that in the original 1991 film, the character in question was merely a bookseller, not a priest, and most of the villagers, implied to be devout Christians, were demonized in the film). In addition, Maurice actually is shown to be more proactive in this film, such as directly refusing Gaston's attempt at marrying Belle and even attempting to expose Gaston as an attempted murderer and psychopath, and also plays a direct role in saving Belle from the paddywagon after she exposes Beast to the villagers.

On the other hand, there were also several surprisingly Conservative messages in the film, significantly more than in the 1991 version. Namely, Christianity is treated in a far more positive light in this film than in the 1991 version as one of the few friends Belle has in this version is the village Chaplain named Pere Robert who is shown to be sympathetic to her bibliophilic nature and also attempts to prevent Maurice from being sent to the Asylum, and later is shown to be horrified at the formation of the mob against the Beast (it is to be noted that in the original 1991 film, the character in question was merely a bookseller, not a priest, and most of the villagers, implied to be devout Christians, were demonized in the film), which was also surprisingly accurate to history despite the aforementioned changing of history in the film (in real history, Christianity, especially the Catholic Church, actively encouraged literacy, writing, and arithmetic among both genders, with girls being taught in convents or at the home.). In addition, Maurice actually is shown to be more proactive in this film, such as directly refusing Gaston's attempt at marrying Belle and even attempting to expose Gaston as an attempted murderer and psychopath, and also plays a direct role in saving Belle and himself from the paddywagon after she exposes Beast to the villagers (in the original film, although he does set out to try and find Belle and save her after trying to get the villagers to help failed, he ultimately required saving by her due to catching an illness during his trek, and ultimately needed saving alongside Belle via Chip). In addition, Lumiere as well as the featherduster (named Plumette in this version) are shown to be an actual loving couple (in the original film, it is heavily implied that Lumiere was a frequent womanizer and that the featherduster was also sexually loose), and the remake also doesn't demonize traditional marriage nearly as much as in the 1991 version (notably, the remake cut out Gaston's wedding proposal as well as Belle shoving Gaston into mud in front of attendees). The forgiveness and redemption theme was also significantly more emphasized in the remake, due to Beast ultimately forgiving Maurice after learning why he had tried to steal the rose and even allowing Belle to save Maurice specifically to make up for his past behavior, with Maurice also forgiving Beast upon Belle showing him the baby rattle (originally, Maurice was a bit more hesitant to forgive the Beast). It is also shown to be significantly more pro-family as well, as not only is Belle shown to be loyal to her father like in the 1991 original, but as noted above, Maurice himself took measures to protect Belle and notably agreed with Belle that Gaston would not have worked out for her (originally, Maurice also thought Gaston was alright for her), and he also was shown to be very protective of Belle after his wife had died from the plague, with Belle's mom specifically sacrificing herself by telling them to leave her behind to allow Belle a healthy life. In addition, the triplets (renamed to "Village Lasses") in the remake were depicted as having haughtiness, arrogance, being jealous of Belle, as well as overall being nasty people, including briefly smirking at Belle when she was locked up in the paddywagon as well as being actively involved in the arrest of Maurice as well as the later attack on Beast's castle (in the original film, the triplets were not shown to have any negative behavior to them besides their crushing on Gaston [not participating in the later arrest of Maurice, let alone the attack on Beast's castle shortly afterward during the climax, and also implying at one point that they were willing to give their blessing to Gaston marrying Belle when Belle refused him in the beginning of the film, and while they were present during the final lyrics for the Gaston reprise where Gaston explicitly divulged key details for his blackmail plan, the way it was framed could easily be interpreted as the triplets genuinely not knowing about the plan due to their absence from Maurice's arrival up to the scene where Gaston whispers the plan to LeFou.], and it is also heavily implied that they supported traditional marriage and were demeaned in the film by being referred to in the script as The Bimbettes and treated as dumb blondes for this reason). In addition, according to the film's director Bill Condon as well as one of the triplets' actresses, Rafaelle Cohen, the reason the triplets were intensely jealous and spiteful of Belle was because their mother neglected them while doting on Belle, showcasing the dangers of parental neglect.

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