Love and Disney
I know, I know, I've updated way too much today. A long day leading to a really good evening of social-ness. I just want to say, again, that I love my friends.
And, for the world to know, I will be flying home for Thanksgiving this year. I am going to go see the fall, at least for a few days, and see my other amazing friends, and chill at my ( Read more... )
And, for the world to know, I will be flying home for Thanksgiving this year. I am going to go see the fall, at least for a few days, and see my other amazing friends, and chill at my ( Read more... )
for instance, you say that you can speak for an hour about walking from your room to the livingroom but then are we to believe that you remember everything about the trek through your hall that is available to tell? chances are that you only noticed a third, or less, of those things on this particular journey through the hall; for unless you speak circumlocutiosly you won't actually be telling us about this particular time. you may indeed inform the listener as to the details of your hall, but if you cannot say that you actually noticed all these details at the particular time when the story takes place, you won't be giving us any details about that time.
also, if those details are irrelevant to the story, there is no place in the story for them, they only serve to bog down the story.
now to the Beauty and the Beast reference . . . those woods were quite large. it was a distance of miles not a hundred yards or so.
as for the tower . . . im sure someone would. whether it was a stupid idea or not, is not the point you brought up, but who would design such a thing . . . ask Disney.
the cracked gargoyle . . . doesn't matter.
the setting is fictional france . . . his title as "Prince of ___" doesnt matter.
Belle's justification . . . doesn't matter.
Bell staying in the castle . . . she was held captive.
the town's people accepting Beast . . . doesn't matter.
how old he is . . . doesnt' matter.
if the enchantment affects his aging process . . . isn't relevant.
you need to realize that the "details" you claim were "conveniently left out" were not relevant to the story. they do not advance the plot. they are not relevant to the telling of a fantasy story for children.
this is not real life . . .
when the details are relevant they should be in, but otherwise you're asking for people to tell longwinded stories that would wind up asking them to skip the details and get to the point.
can love, the emotional response of love, can conquer everything in life?
is it ok to feed the lie?
those are good questions . . . but the story isn't about Belle . . . it's about the Beast. if you look at Belle's character, she doesn't change in the movie. she grows to love the Beast but had he not first been cruel, she would have had no problem with accepting him, that is in her character. the story is about the Beast, and how he changes and grows as a character.
Andolini
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Let me tell another story and see if you can catch it this time.
A friend once asked me if I thought the kind of love in movies was real. She was a hopeless romantic who thought that there was this magical power called "love" that could conquer over everything else in life, any and every hardship, based entirely off an emotional response to another human being.
I was honest with her and said that I don't think that kind of "love" exists.
That's the impression of "love" I get from Disney movies.
It's about the happy warm fuzzies and ignores every other aspect of human relationships. You say that whether the Beast's aging will be affected is irrelevant, I disagree. Belle, being the good, old fashioned woman she is, will probably want a whole gaggle of children, especially now that she has the prospect of having them without worrying that they'll be covered in fur. And if Beast has, well, the procreative abilities of a 150 year old man, she probably won't be getting those little ones.
You say the story is about Beast, well, he's affected too. Love, as the emotional response in and of itself, can arguably be largely influenced by situation. With limited selection, couples often end up together who would not if they had more choice available to them. Now that Beast has regained his "freedom" so to speak, who is to say he won't revert to being what he once was?
In another line of thought that hadn't occurred to me, can the leopard change his spots? with his rediscovered man-hood, will the Beast retain his new found dignity, or will he go back to being a jerk ? What will become of his temper? Those men with tempers in my life, even after recognizing them, still often have difficulty controlling them. What about all of his selfish impulses? What about his pride and self-centered-ness? Will those things just evaporate now that his humanity is back? Let's remember that he was a jerk in the first place, that's why he became a jerk.
I guess my point is just that an emotional response to someone doesn't and can't change one's character. There has to be that growth from some other source than just an emotional response to a girl, or the growth will fall through and he'll end up selfish and tempermental and too proud to appreciate her.
Those things are in the details, in the what-happens-after-the-scene-fades-into-stained-glass-and-the-credits-roll.
Guess that's more what I was getting at in disagreeing with the all powerful emotional love that I feel like Disney is trying sell.
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i agree with you, i don't think that idea exists, i won't even label it as "love" because even if it did exist, that wouldn't be it.
here is an area where you are reading way too much into it. you are inappropriately taking the Beast's character out of the context for which he was created and using fabricated "what ifs" to make a claim that the idea of love which is being portrayed is incorrect.
the idea behind your argument is valid; critiquing the image of love being portrayed. but you are approaching it blindfolded. it has nothing to do with details that are "left out."
the problem you are seeking to uncover is in the movie. in the situation.
it has nothing to do with what is left out, or what comes after, they are irrelevant to the story, to the characters, and your argument.
Andolini
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