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"Tale as old as time True as it can be Barely even friends Then somebody bends Unexpectedly Just a little change Small, to say the least Both a little scared Neither one prepared Beauty and the Beast"
Entry #30 in the Disney Animated Canon, from 1991.This retelling of the old fairy tale "Beauty and the Beast" has Homages to Jean Cocteau's 1946 film, but in its tone and divergences from both versions it becomes its own, so to speak, beast. Belle is a bookish lass in a French village who lives with her genial dad Maurice, who tinkers with various inventions. She would be a total outcast if not for her loveliness (it's in the name, after all), and the brutish Gaston wants her as an almost literal trophy wife — even though she sees him for the jerk he is.When Maurice doesn't return from a trip to a fair, Belle searches for and finds him in the forest-hidden palace of a monster who imprisoned him when he sought shelter there. She offers herself in his place and the monster accepts. "The Beast" is actually a cursed human Prince (due to arrogant selfishness) who hopes her love will break the enchantment on him and his many servants, who were transformed into living furniture, crockery, and so forth. With time limited (an enchanted rose serves as an hourglass — and it is beginning to wilt), the Prince must tame his temper, she must learn to see the goodness beneath his exterior... and once that has been accomplished, together they must face the murderous wrath of Gaston.It was adapted into a stage musical in 1994, which will receive its own movie adaptation, directed by Bill Condon. The feature also spawned two Direct-to-Videomidquels by decade's end, is featured in the Kingdom Hearts video games (with Beast and Belle kicking ass), and with Belle as one of the official Disney Princesses, the merchandise just keeps on coming.See Beauty and the Beast: The Enchanted Christmas for the first direct-to-video follow-up. For the Perspective Flip novel The Beast Within, see the A Tale Of series.
This film contains examples of:
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3-D Movie: The conversion process began back in 2008, with the intention of a 2010 theatrical release. However, doubts about releasing digital 3-D versions on home video led Disney to delay the release. In 2011, they released the 3-D version on 3-D Blu-Ray. It finally came to theaters in January 2012, months after an enhanced version of The Lion King vastly exceeded performance expectations.
Abomination Accusation Attack: Gaston doesn't believe that the Beast even exists. When Belle proves him wrong, he changes his position to accusing him of eating children - never mind that the Beast has been around for a long time and the only person who had been missing was Belle herself!
Adapted Out: Belle's Alpha Bitch sisters from the original story. They served no real purpose, so it wasn't really a big loss.
Maurice has to watch as Belle arranges to be kept prisoner in his stead, all while he cries for her to just escape and leave him to his fate. He spends the rest of the movie trying to rescue her.
Once Belle and Maurice are reunited? Belle faces the fear of having her father taken away from her, as Gaston blackmails her into either becoming his puppet-wife or getting him thrown in the local asylum. She takes a third option and proves her father is telling the truth... but they're imprisoned and the townspeople go Storming the Castle.
All Girls Want Bad Boys: The three blond girls are desperately attracted to Gaston who is such a tall, dark strong and handsome brute. Inverted with Belle, who doesn't like Gaston and also hates the Beast when he's in his "bad" phase; it's only when he starts to be kinder and gentler that she falls in love with him.
All-Loving Hero: One of these is necessary to break the spell; 'for who could love a beast'? Belle herself is a played with example; she loves Beast because, despite his monstrous appearance, he has a noble personality (eventually) but she doesn't love Gaston because, despite his handsome appearance, he has a wicked personality.
A lot of people assume this about Lumiere but the eccentricities can be written off by virtue of the French accent. Plus, he's always flirting with the female feather duster; they're even Holding Handsin the final sequence◊).
Cogsworth is involved in several questionable incidents, including a rather awkward moment with Maurice. Ever since David Ogden Stiers, who voiced Cogsworth, came out of the closet, the effect has only amplified.
Lefou has what can be considered Disney's first Gay Love Song in the number 'Gaston': "Ask any Tom, Dick, or Stanley, and they'll tell you which team they'd prefer to be on..." and that's not the only lyric that deserves a mention.
American Gothic Couple: Cogsworth and Mrs. Potts looking like this during the Cut Song (and later restored for the special edition release) "Human Again."
Amusing Injuries: This is LeFou's life. Interestingly, the moment when Gaston only threatens to hit LeFou (when talking to Monsieur D'Arque, the asylum keeper) is much more alarming than the rest of Gaston's abuse.
The flatware form an Eiffel Tower during the "Be Our Guest" music number. The movie takes place in the latter half of the 18th century, but the Eiffel Tower wasn't built until towards the end of the 19th.
The use of Wagner's "Bridal Chorus" (composed in 1850) in Gaston's failed marriage attempt.
The featherdusters dancing a Can Can during Be Our Guest. That style of dance did not appear until 1830.
The Beast's design changes and evolves considerably throughout the film. When we first see him storm in on Maurice, he's a monster; he walks on all fours, his fur bristles near-constantly, and he barely wears clothes, but by the end of the movie his face is softer and more human, he's fully dressed and walks upright. His voice also changes from a low snarl to a much more gentle, softer tone. The only thing in his design that doesn't change are his eyes, which not only remain a specific shade of blue but also keep the same basic shape when in both forms. This is important.
By contrast, Gaston's gait becomes progressively less upright, his hair wilder, and his overall demeanor increasingly animalistic. In the final fight between him and the Beast, it's the latter who moves in a more human way. As if that weren't enough, when Gaston falls to his doom, his screams take on a very female tone.
The castle itself gets this treatment as well; when the Beast transforms back to his human form, the gargoyles on the castle roof turn into white statues of angels—-a full out Unnecessary Makeover, particularly to those of certain religions.
Angry Mob Song: The villagers grab their torches and pitchforks to storm Beast's castle. It's even called "The Mob Song".
Ascended Extra: In the stage musical, the feather duster and the wardrobe are given bigger roles and more developed personalities. They are also named Babette and Madame de la Grande Bouche, respectively - which is odd, because in the direct-to-video sequel, the feather duster is named Fifi.
Ascended Fangirl: Belle reads romantic adventure stories about far-off places and magic spells while wishing for adventure in the great wide somewhere.
Audience Surrogate: Often assumed to be Belle, what with her desire for "Adventure in the great, wide, somewhere." It's actually the Beast, confirmed by the filmmakers that he was written to react to his curse the same way most people would: with anger and depression.
Badass: The Beast — who else can handle a pack of hungry wolves and get away with only a scratch?
Belle: Do not fuck with Belle.
Even Philippe - Belle's horse - gets one. The look on his face as he bursts into the castle with Belle! WOO!
Badass Baritone/Guttural Growler: The Beast again — the thing is pretty odd if we consider that Robby Benson's real voice is more like a tenor (the production crew mixed Benson's lines with the growls of various wild animals). This is mentioned by Benson himself in a making-of special; his natural speaking voice is closer to the Beast's baritone, but directors have constantly asked him to pitch it higher because they think a Tenor Boy would make a better Love Interest. It's actually kind of a shock when he speaks candidly.
Badass Cape: Beast wears a purple cape at the height of his 'beastness' and only a cape. (Well, no, to be fair he wears pants as well, but the cape is the only thing up top.) Once he mellows out and regains his humanity, (thanks to Belle) he switches to Sharp-Dressed Man.
Bad Boss: Gaston is a warped variation. Even though he is shown to be a Grade A jerk in the village, and makes no effort to hide it in his villain song, the villagers genuinely love him and don't follow him out of fear.
Lefou: "Ev'ry guy here'd love to be you, Gaston. Even when taking your lumps."
Bandage Wince: Beast can fight packs of wolves without complaint, but one wet cloth brings out a roar. It was vert hot but it was a still a cloth.
Bar Brawl: There's one in the tavern during "Gaston," but it breaks back up amiably after doing its part to show off how awesome Gaston is.
Beautiful All Along: The prince transforms back into his handsome human guise. Although when he changed back, it wasn't good enough for Belle, and she had to look into his eyes to see that he was the same person she fell in love with.
Beauty Equals Goodness: Beauty comes across as more of a neutral force here. Belle is a good person, the Beast became what he is as karmic punishment for selfishness (only becoming handsome again when he's redeemed), and the corrupt asylum director Monsieur D'Arque is very sickly looking. The "beautiful enchantress", on the other hand, is morally dubious, and Gaston is handsome but wicked. In fact, Gaston takes advantage of this trope when he convinces the villagers to kill the ugly, monstrous Beast.
Beauty to Beast: The Prince is a handsome human transformed into a beast to reflect his inner selfishness.
Bouquet Toss: In the coloring book for the movie, it's shown that the Bimbette sisters were invited to Belle and Adam's wedding, and they were fighting over who of them would catch Belle's bouquet.
Brainless Beauty: The female villagers might or might not qualify, but the Bimbettes (the blonde triplets who fawn over Gaston) certainly qualify as such; hence their name.
Brainy Brunette: Belle; the only female character with brown hair is the bookworm.
Breakout Character: Chip's voice actor was so popular with the filmmakers that his tiny role was greatly expanded; he replaced another character, a music box, for the most part (the music box was only relegated to a cameo in the final version, specifically right before the battle).
In the middle of the movie, Beast lashes out at Belle when she enters the West Wing. She runs away, and is attacked by wolves, until Beast (who feels remorseful for yelling at her) comes to save her life. She has the opportunity to leave for good, but instead brings the Beast back to the castle. They have a childish argument, and finally start warming up to each other. This is a turning point in their relationship.
Another particular case. Later in the movie, Beast lets Belle go help her father, and falls into deep depression because he believes she will never come back to a monster like him, since he openly gave her back her freedom. She does come back, however, which makes him happier than he ever hoped to be.
Breather Episode: After the Heartwarming and Tearjerker Ballroom scene, Belle's reunion with her father, the serious mob song "kill the beast" and before the fight between Gaston and the Beast, the battle between the villagers and the servants is probably the funniest scene of the movie, and one of the funniest battles in the Disney Canon.
Bruiser with a Soft Center: The Beast is as strong as his seven foot chimera appearence suggests and he takes on a wolf pack single handed but by the end he's mellowed.
Bullying a Dragon: Gaston fighting the Beast atop the castle. Unusually for this trope, Gaston at least - as the biggest and strongest man around - has some reason to think he's as much of a dragon as his victim is. But the fight is over in mere seconds once Beast starts fighting back instead of just hiding.
Cogsworth regularly suffers comic incidents. This is especially evident in the Updated Re-release, where his entire role in the added musical number seems to consist of nothing but him being picked on.
Also there's Gaston's loyal sidekick Lefou. Gaston uses him as a punching bag ever so often. Heck, Lefou even means "the daft," "the crazy", "the demented" or "the fool".
Maurice? His inventions misfire, he gets lost in the woods, he gets captured by a beast, his daughter takes his place, when he tries to get Gaston and the villagers to help him, they throw him out in the snow and later they even try to lock him up in the nuthouse. This guy gets a raw deal.
Buxom Is Better: Inverted as near every female minor character in the movie (Bimbettes, Babette/Fifi, random extra asking baker about wife) is clearly bustier than Belle, yet she is seen as more desirable by generally everyone.
''It is no wonder that her name means 'beauty'; her looks have got no parallel'.
Cannot Spit It Out: The climax of the film only happens because neither the Beast or Belle can confess their feelings for one another until it's almost too late.
Captain Obvious: Lumiere, upon being asked by Belle if the castle truly had a library.
Belle is the only person in her town who wears blue. This is symbolic of how different she is from everyone else around.
When we first see the Beast, he's wearing purple, which is the color of royalty and highlights his "darker" moods and tendencies. Later on he switches to royal blue, which highlights his eyes. As a result, while this is the same character, we can see just how much he's changed.
Gaston is a hunter who wears red, the color of blood.
Come to Gawk: The Beast thought Maurice had. At that point in the film he was still acting like a jerk.
Covered in Mud: After Belle rejects Gaston's marriage proposal, Gaston falls over and lands in the pigs' mud hole.
Crapsaccharine World: It's a highly-idealized rural French town which, while poor, still has lots of wide open spaces and the castle is gorgeous on the interior. However, it's still eighteenth-century France, where Maurice and Belle are shunned because of odd inventions and the idea that women aren't supposed to read.
Creative Closing Credits: In the 3D re-release, the credits are accompanied with design sketches of various characters and scenes in the film.
Crowd Song: "Belle", "Gaston" and its reprise, "Be Our Guest" and "The Mob Song". "Belle" is so crowded toward the end (right after the three blondes squee over Gaston) that it manages to be in two keys almost at once.
During the climax of the film, Beast is willing to let Gaston beat him to death... Then he sees that Belle has returned, giving him something to live for. He immediately shows Gaston just how stupid you would have to be to pick a fight with a seven-foot chimera.
The servants vs. the villagers. The servants win effortlessly.
Curse Escape Clause: The Beast will return to human form if, and only if, he truly loves someone who loves him as a beast before his magic rose runs out of petals.
Curtain Camouflage: Lumiere at one point is doing inappropriate things to a feather duster while hiding behind a curtain. Ooh-la-la.
This also makes Gaston a deconstruction of the type of hero that appears in Grimm's fairy tales: handsome and adventurous hunter/woodsman, loved son in both his world and his own mind out to court his fair maiden, who, as far as he thinks, should be owed him and fall into his arms. He encounters monsters and never bothers to think they're anything but evil, since the original stories weren't inclined to have that belief as well. Even his jerkassness is a characteristic of Grimm's heroes, who were often known to do sadistic things to defeat their enemies, and were occasionally Designated Heroes. However, the movie shows the inherent wickedness these qualities brought together in the wrong way could create, without catering to Values Dissonance.
The Beast is a deconstruction of the character from the original tale who was kind and gentlemanly despite his monstrous appearance. Here the loss of his humanity as well as the impossible nature of his task only serve to drive him deep into depression and seclusion. He gives up hope of ever breaking the spell and begins to give into his beastly urges: stops wearing clothes, hunting for his food, and becoming fiercely territorial. If Belle hadn't come along exactly when she did, he would have never broken the spell and become an animal completely.
Decoy Protagonist: Belle. Early on we are shown her situation and her dreams and are made to sympathize with her and her situation. Once the Beast rescues her and shows his true colors the story focuses on him trying to woo Belle to break the spell and Belle shifts over into the Deuteragonist. Interestingly, there were initially some disagreements among the crew over who the true protagonist was, with Howard Ashman in particular thoroughly convinced that the Beast was the main character. It's outright confirmed in the commentary that the Beast is the true protagonist but doesn't become active until late in the story.
The narration in the beginning explains that he crossed it years ago when he gave up all hope of ever becoming human again.
After The Beast lets Belle go, he howls in anguish and frustration, not expecting that she'll ever come back, thus crossing it again. He's perfectly willing to let Gaston kill him until Belle comes back, but then...
The Blu-ray of Beauty and the Beast has an unusual glitch altering the ending of the "There's Something There" number. Originally, it ended with the objects watching Belle and the Beast read by the fireplace. Since the extended version follows this song with a scene of the objects cleaning the castle, it now closed with the objects in the hallway, closing the doors to give Belle and the Beast some alone time. Selecting the "Original Theatrical Version" on the Blu-Ray changes the ending of the song to the objects about to close the doors, but abruptly cuts to a different scene before they shut.
The Platinum Edition DVD and the Diamond Edition 2D Blu-ray and DVD all have different color schemes than the Walt Disney Classics VHS and laserdisc before them, making fans fear that Disney tampered with the picture.
The restoration for the Platinum Edition removed a credit before the prologue for Silver Screen Partners IV, and some stuttering from the scene where Beast asks Belle, "You wan-you wanna stay in the tower?" The restoration for the Diamond Edition put both of these back in.
Thankfully averted with the 3D version, which not only presents this picture the way it was originally seen (save for altered opening credits and refreshed closing credits which add credits for the 3D conversion, in addition to minor cropping which was necessary to fit a 16:9 3D television set for which the 3D Blu-ray was designed) but also has coloring closest to what was seen in the original theatrical and Classics releases.
Dirty Coward: Gaston resorts to dirty fighting in his battle against the Beast, mocking Beast while he was too depressed to defend himself, then pleading for his life when he finds himself at Beast's mercy. Beast finally lets him go... only for Gaston to stab him In the Back.
Disney Acid Sequence: "Be Our Guest", as noted under Artistic License, streches the boundaries of what's possible. However, compared to other Disney examples, it is a Downplayed Trope.
Disney Death: The Beast after Gaston stabs him in the back. Justified because he was under a magical spell and Belle reversed it.
Disney Princess: Belle joined the line up. She's one of the 'by marriage' princesses.
Disney Villain Death: Gaston falls from the roof of Beast's castle after stabbing Beast in the back.
Maurice "reaching inside" Cogsworth early in the film.
When the castle is invaded by the mob, one of the townsfolk grabs Babette and starts ripping out her feathers as she shrieks and struggles. Lumiere saves her in an angry boyfriend fashion. Yeah.
Draco in Leather Pants: Gaston is one in-universe. He's a controlling and arrogant egomaniac, but he's so charismatic that the people love him, and as seen in his Villain Song his negative traits are spun as virtues ("in a wrestling match, nobody bites like Gaston!")
Drowning My Sorrows: Gaston tries to do this after being thrown out of Belle's house. He eventually refuses more alcohol, telling LeFou "Nothing helps."
Pausing during the part of Gaston's death scene where his face is closest to the camera will allow you to see the skulls the animators painted into his pupils for that scene, just in case you weren't sure he'd died.
In the first song, where Belle sings in the town, she sits by a fountain. As she reads the book (described earlier, as an adventure with a prince in disguise, it sounds like Beauty and the Beast), she flips to a page, with a picture. Look closely, and you will see that she is in the bottom right, the beast in the middle left, and the prince's castle in the middle.
The first stained glass window seen in the prologue has the Latin phrase 'vincit qui se vincit', which means (in a subtle prefiguring of the arc of the whole story) 'He conquers who conquers himself'.
Caricatures of the directors, Kirk Wise and Gary Trousdale, can be seen in the scene where Belle is given the book as a gift. As she is leaving the store three men are seen pretending to not look through the window and then they sing, "Look there she goes. The girl who's so peculiar. I wonder if she's feeling well." They are the two men on the outside of the large blonde man.
Among the trophy heads on Gaston's tavern is what appears to be a frog's head, visible in the shot as Gaston spits. A bald eagle can be seen while he jumps onto his chair during his song.
The original "cute" character of the movie was a music box, which was supposed to be a musical version of Dopey from Snow White and the Seven Dwarfs. But when the character Chip's role was expanded, the music box idea was scrapped. However the music box can be seen for a brief moment on a table next to Lumière just before the fight between the enchanted objects and the villagers in the Beast's castle.
Almost all of the gargoyles and statues seen in the West Wing are previous designs for the Beast.
In the span of thirty seconds from the beginning of his introduction, Gaston shows off being an egotistical macho hunter with eyes only for Belle and is determined to marry her, believing she'll fall for him without hesitation.
The Beast has his when Belle bargains with him for her father's life. He is abrasive and cruel, but unlike Gaston, he can be moved to compassion and feels guilt for his misdeeds and tries to make up for them.
Even Evil Has Standards: Subverted: When the Asylum Warden learns from Gaston that he wants to incarcerate an innocent and harmless crackpot in order to blackmail his daughter into marrying him, he initially seems to react with disgust towards Gaston's Evil Plan ("Oh... that is so despicable"), only to immediately declare after chuckling that he actually likes The Plan ("Hehehehe...! I LOVE IT!")
Evil Cannot Comprehend Good: Gaston cannot understand why Belle refuses his advances, especially after threatening to have her father committed if she wouldn't marry him, and choose to fall in love with the Beast instead.
Evil Counterpart: Gaston to the Beast. The Beast may look like a monster, but he's revealed to be daring, heroic and protective. Gaston on the other hand, is handsome but extremely ruthless and brutish.
Evil Plan: Double Subverted. Gaston's initial plan to make the most beautiful girl in town, I.E. Belle, his Housewife isn't really diabolical. It's the plan that involves unjustly locking a man away just so he can achieve his goal that is evil.
During the castle invasion scene the wardrobe jumps off a second story balcony on to a guy. This is a comedy fight so you normally wouldn't think about it, that is until we cut back to see the wardrobe fighting someone else with the mangled corpse of the guy she killed on the ground...
There's also the Beast's death after being stabbed in the back by Gaston (who falls off the roof into a canyon seconds later), the placement of the wound and the way he struggles to breathe makes it clear he has a punctured lung and slowly bleeds to death in Belle's arms (an agonizing way to die). It's okay, though, he got better.
It was also originally intended that Gaston would have suffered this trope: Specifically he would have survived his fall, albeit with a broken leg, and ended up encountering the wolves from earlier. Apparently, they felt it was too gruesome even for someone like him. This specific death is ultimately used forScar and the Hyenas.
Family-Unfriendly Violence: The Beast is on the receiving end of this several times (being one of the few Disney characters to actually bleed). He's noticeably cut up and bloody after the fight with the wolves, takes Gaston's arrow to the shoulder, and has a large bleeding wound on his side after Gaston stabs him.
Feet-First Introduction: The Beast remains in silhouette until the dungeon scene, when Belle asks him to come into the light. This trope then occurs (with a brief cutaway to Belle's face up close and horrified).
Feigning Intelligence: A subtle one during Cogsworth's tour of the castle; the architectural terms he uses are nonsensical and frequently contradictory, indicating he has no clue what he's talking about.
The Fighting Narcissist: Gaston is an unusually manly example. He has an rather effeminate pose when he sings about his skills in decorating. Said decorations are all animals he's hunted and killed.
In Maurice's first scene, he tells Belle that the woodchopping machine "will be the start of a new life for us" when he wins first prize at the fair for it, which will kickstart his career as an inventor. Since it's getting lost on the way to that fair that leads him to the Beast's doorstep, it is the start of a new life for them, if not the one they planned. Later it is later used by Chip to break them free, which lets Belle get back to the castle and sets off the chain of events which breaks the curse and begins their new life in the restored castle.
"No one takes cheap shots like Gaston!" Gaston stabs the Beast in the back during the climax, seconds after the Beast spared his life.
"It's my favorite! Far off places, daring sword fights, magic spells, a prince in disguise!" That's a pretty good approximation of the entire plot.
Corrupt asylum owner Monsieur D'Arque's response when Gaston asks him to imprison Belle's father Maurice just to coerce Belle into marrying Gaston. It's made even better when you realise thathe's Frollo.
Monsieur D'Arque: Oh, that is despicable...[Evil Laugh]...I love it!
Initially Gaston wants to kill the Beast because he "loves" Belle. Then seeing how much fiendish joy he tortures him (the Beast) with, it's implied he enjoys doing these things in general.
Fourth Date Marriage: An interesting aversion. The seasons change throughout the film, leaving the time Belle spends in the castle with the Beast indeterminable from weeks to months prior to their marriage. In addition, it is not shown that they actually married during the film, although it is heavily implied that they did some time after.
Parodied with Gaston, who arranges a wedding for him and Belle outside her house without them ever even dating...or him proposing; something he cheerfully jokes about to the wedding party.
Fridge Logic: In-Universe. When everything returned to normal. Chip out of nowhere ask if he has to sleep in the cupboard.
Frothy Mugs of Water: Averted, as Disney was never for this trope. In both the movie and the Broadway play, the beverage in the tavern is referred to as "beer". "The wine's been poured" for Belle in "Be Our Guest". Come on, it's France. Spoofed in the DVD Commentary, when the guys insisted that the beer was root beer.
The whole song "Belle" is full of these. You can see a kid chasing a piglet, just to be chased away by it's mom, and a woman complaining why her fish comes with a squirrel. Among other things.
Near the end of "Something There", there's Beast getting owned by Belle in a snowball fight.
During the Enchanted Objects' fight with the villagers, specifically in the scene where a villager is "eaten" by a chest that burps, there is a shadow cast on a pillar of a man being attacked by a mace in his own hands, putting a twist on the classic "Stop Hitting yourself".
Gainaxing: The Bimbettes. It's a wonder how Disney even managed to get this past the radar.
GASP!: Belle does a quick one and turns away when she first sees Beast.
Genre Blind: One would think as big of a reader as Belle would know not to explore forbidden areas of the castle where she's prisoner, enter the master bedroom, and try to touch the ominously glowing rose in a glass case. Alternatively a case of Wrong Genre Savvy, as she could have believed she was the Damsel in Distress who had to find the magic rose to free herself. Alternately alternatively, she's Genre Savvy and knows that messing in what shouldn't be messed with is just the way to kick-start your story. She just didn't expect the result she got.
Gentle Giant: The Beast, himself (mostly in the film's second half) and in an excellent use of Primal Stance (see below) the kinder he becomes the bigger he seems to get. He's so big he could probably snap most average-sized men in half over his knee.
Get It Over With: This is the Beast's reaction to Gaston attempting to kill him, when he thinks Belle has left him forever.
Get Out: The Beast to Belle after she ventures into the West Wing. He gives a much colder delivery to Gaston after utterly destroying him and revealing him as the coward he truly is in the finale.
Remember Maurice's curiosity concerning Cogsworth's... pendulum? Or Cogsworth's indignant reaction to his prodding?
Gaston mentions that every last inch of him is covered in hair, accompanied by a wink to the camera.
The feather duster/maid is picked up, held upside down, and has her feathers ripped out during the end fight scene. As an adult, you realize that the feathers are her 'skirt'... Also, the shrieks she makes as she's being yanked at and how she's rescued by her very angry boyfriend.
Gaston's attempt to propose to Belle. Especially the end, when he's menacingly advancing towards her, pushing furniture out of the way, and leaning in to kiss her. Admittedly he's still convinced she's just playing hard to get, but it's very worrying and arguably make it worse. Then the look in his eyes when he's told that Belle is in a dungeon....
There's Lumiere and the featherduster. The two are clearly necking behind the curtains when Belle first leaves her room and she tells him very coquettishly that she's "Been burned by [him] before", and in the subtitles at the very end it says that Lumiere gives a "lusty laugh" when she walks past him with a very... suggestive look in her eyes for a Disney character.
The Wardrobe tells Belle, that she'll "see what [she has] in her drawers!" before a cloud of moths flies out. It's a pun, as she's referring to the actual drawers, but considering that "drawers" is slang for underpants, and her embarrassed reaction, it's not difficult to imagine the human analogue.
For some reason after the song "Something There", Mrs. Potts wants to delay answering Chip's question.
During "Human Again" the servants take special care to fix up and make the Beast's bed.
Anything involving the Bimbettes. For instance, You have the three females (the ones in red, green, and yellow) at the water pump. The one in green moves the pump with her elbows, the yellow with her hands, but the one in red pushes it with her boobs.
There's a brief moment in song "Belle" while Belle is riding on the back of a carriage cart, and one of the merchants selling bread to one of his female customers is very clearly eyeing her very noticeably exposed cleavage. He's promptly struck on the head by his wife with a rolling pin.
The Beast is first and one of the very few Disney characters to be completely naked on-screen, right as he gets out of the bath.
An extra feature on the DVD shows the storyboard and initial sketches for the original opening, which is vastly different from the final product. One of the scenes that was scrapped involved Maurice walking through town and openly propositioned by a prostitute.
Gilded Cage: When Belle trades herself in for her father in the Beast's captivity, she initially thinks that she'll be kept in the dungeons, but the Beast takes her to much better arrangements in a guest room. She has the Beast's entire servant staff waiting on her and almost the entire castle to herself — none of which conceals the fact that she is a prisoner.
The Golden Rule: Played as an underlying Aesop. What really sets him free is that he lets Belle go. No longer his prisoner, she is free to love him, thus releasing him from his own magical prison.
Gonk: Most of the villagers are rather cartoony looking, especially LeFou.
Good Is Not Nice: The Enchantress, who cursed a child and his servants. The child was a brat and the servants could be considered guilty to some degree, but still it's disproportionate. If you're feeling less charitable than Light Is Not Good. She has all the characteristics of a good fairy, except ostensible Knight Templar leanings.
Goofy Print Underwear: A villager at the bar is revealed to wear some, and Belle's father, Maurice, has a pair.
Grand Romantic Gesture: Discussed by Beast, Lumiere, and Cogsworth before being done - when Beast gives Belle the library. Then an even deeper one when he lets Belle go.
Belle and the newly transformed Prince do this, and it is as Belle is gazing into the Prince's eyes that she recognises that he is indeed her Beast, which is then succeeded by the "kiss the whole castle was waiting for", according to the script.
Belle trading herself for her father is this - when she gave herself up she had no way of knowing that the hideous monster she had seen would let her out of the tower, or even let her live. For all she knew he might be intending to rape her on a nightly basis or eat her the next day.
Beast letting Belle go is this, since it means he and his people will never break the curse.
The Hero Sucks Song: "The Mob Song" which is sung by the village mob and Gaston about how scary and mean the Beast is.
Crowd: We don't like what we don't understand, in fact it scares us, and this monster is mysterious at least.
Hidden Depths: Yes, the Beast is a jerk; however he is also brave, cunning, determined, and in his own harsh, angry way merciful. The castle staff even state that he really isn't that bad once you get to know him; he's just angry and very, very depressed.
Hit Flash: A double impact during the battle in the castle was censored when televised.
The fact that seemingly inanimate objects could move of their own accord (and speak in voiceover) in the Beast's castle in Jean Cocteau's film version was detailing that became the direct inspiration for the Enchanted Objects. Both versions have a villain added in the form of a man who wants to marry Belle, though this may not have been a deliberate callback to the Cocteau film.
Tony Jay's casting as the head of the insane asylum is a nod to his role as the major villain in the TV series Beauty and the Beast.
The library in the Beast's castle bears a strong resemblance to the oval reading room of the Richelieu Building at the Bibliothèque Nationale de France, Paris.
In "The Mob Song", when Gaston says "Screw your courage to the sticking place", this is a reference to Shakespeare's Macbeth. He also says "If you're not with us, you're against us" which is from The Bible.
Horrible Judge of Character: The Village qualifies, no doubt. Even though Gaston makes no secret of his Jerkass nature, such as loudly stating things that imply his plan to marry Belle involved locking up Maurice in the asylum under deliberately false pretenses so as to blackmail her into marrying him, they still love him.
House of Broken Mirrors: The West Wing is a mess because of Beast's initial rage at what happened to him. There's also slashed portraits.
Howl of Sorrow: More of a roar, but there is bit of a howl in there when the Beast watches Belle leave.
Gaston is the most eligible bachelor in the village for this reason. The bimbettes say he's 'dreamy'.
The Beast's true form is a blonde haired, blue-eyed, stud.
Hybrid Monster/Mix-and-Match Critter: The beast has the mane of a lion, the beard and head of a buffalo, the brows of a gorilla, the eyes of a human, the tusks of a wild boar, the body of a bear, and the hind legs and tail of a wolf.
I Gave My Word: Subverted; Belle did promise to stay in the castle with the Beast forever if he let her father go, but she breaks that promise pretty quickly. You can't blame her, though, considering the Beast had just chased her out of the West Wing and she was probably afraid that he'd tear her to bits on a whim.
Anytime Gaston is around Belle he makes aggressive advances on her and tries to blackmail her into marrying him. The "coerced marriage" theme is a literary fig leaf for lust and rape.
The film's battle scene includes a man ripping the feathers from the sultry feather duster in another rape metaphor. Her candelabra boyfriend doesn't take this well and gives the jerk what's coming to him.
Implausible Deniability: After all that Belle had seen, Cogsworth still tried to deny that the castle was enchanted. Note that Cogsworth himself is enchanted; a definite no win situation there.
Impossibly-Low Neckline: Belle's yellow ball gown appears like this is some shots. Specifically when they're on the ballroom terrace after the title song.
Informed Attractiveness: Belle. While certainly pretty, she's described as an unparalleled beauty in the movie, which also depicts every other woman as busty and very attractive, particularly the Three Bimbettes. It may be due to her seeming unattainable, unlike most of the other women who absolutely swoon over Gaston. In addition, Belle is designed to be taller and more slender, thus giving her a different kind of beauty than the other women.
In Harm's Way: Belle craves adventure, because her hometown is safe and happy and boring.
Ink-Suit Actor: Richard White is very similar to Gaston, and Human!Beast resembles Robby Benson.
Insult Backfire: "Gaston, you are positively primeval." "Thank you, Belle."
In the Back: Near the end, the Beast lets Gaston live after he wins their fight. He goes over to Belle, who has just returned. At that point Gaston takes the sneaky road and climbs up to the Beast so he can stab him from behind. When the Beast lashes out after getting knifed, Gaston subsequently loses his footing and plummets to his death.
Belle says this when she and Maurice are trapped in the cellar while Gaston and the mob are on their way to the Beast's castle. She says it again after Beast is stabbed.
This is so the Beast's (silent) reaction when he learns Belle's father is sick and lost. His face says it all.◊
It's Personal: The final showdown between the Beast and Gaston. As the latter said:
Gaston: Take whatever booty you can find, but remember: the Beast is mine!
I Want My Beloved to Be Happy: The reason the Beast allows Belle to leave when they learn her father is sick and lost in the woods, even though the time in which his curse can be broken is fast dwindling, and she hasn't yet admitted she loves him. The Objects, also threatened by the curse, find out ("He did WHAT?") and must confront the irony that in learning to love someone for the first time, he's sealed his and their fate by letting her go.
Gaston, on the other hand, is a textbook example of a Jerkass, through and through.
Jerkass Has a Point: Yes, Beast shouldn't have scared Belle in the West Wing, but he had every right to be alarmed about her touching the rose - that thing is kept under glass for a reason. She might have destroyed his chance to break the spell, or possibly even killed him, without meaning to! Also she deliberately disobeyed the one rule he imposed on her (that was as much for her own protection as it was to guard what little dignity he had).
Jerk with a Heart of Gold: Cogsworth. He's pompous, grumpy and a bit rude, but he's really just as good-natured as Lumiere and he can also be very helpful. The song "Human Again" gives the impression that a lot of his attitude comes from being incredibly stressed out; he noted, when introducing himself to Belle, that he's the head of the household. This little clock is the one who keeps the place running while their master is storming around in his beast form.
The Enchantress cursed at least 5 children for the actions of their mother's employer, and those of any other servant who had children. The Beast was quite young himself when cursed; see Writers Cannot Do Math below. The enchantress also cursed at least one dog and, in the extended version, a cat. As the castle had a carriage, the enchantress cursed the horses as well. Either way, this is blatant cruelty to animals who could not be held accountable for their master's behavior. She is never called out on it nor does anyone bear her any ill will. This is likely because everyone was better for it. Notably, we never see or hear from the Enchantress again, but given that she's likely one of The Fair Folk, her sense of morality really only needs to make sense to her.
Monsieur D'Arque, the asylum owner, is clearly a sadist who loves Gaston's Evil Plan but drops out of the story after The Plan backfires and is never shown to be brought to justice for his part in it.
The villagers as a whole. They gleefully take part in a violent mob against the Beast and the residents of his castle, and aside from some comical beatings from the enchanted objects, seem to escape any sort of comeuppance. note Although, being on the wrong end of a Conservation of Ninjutsu situation with a wardrobe would probably have you questioning both your manliness and your sanity for a few years...
Karmic Death: Gaston stabs the Beast in the back, but he immediately loses his grip and falls off the balcony and into the same deep frightening moat that the Beast spared him from moments before.
Kindly Housekeeper: Mrs. Potts is one of the castle's maids and full of maternal love for everyone. She's the one who roused the kitchen when Belle came down for a snack.
Mrs. Potts: But if the master doesn't learn to control that temper, he'll never break the sp-
Cogwsorth (as Belle enters): Splendid to see you out and about, Mademoiselle!
Leitmotif: The "Prologue" theme, the Beast's theme (which has a Dark Reprise during his death scene), "Belle", Maurice's theme, "Gaston", and "Prince Charming" (the love theme). Some of these became the bases for new numbers in the Screen-to-Stage Adaptation.
Let's Get Dangerous: When the cute, whimsical, talking household items get fed up of cowering from the marauding peasants and duke it out instead it leads to several silly, yet awesome, moments. The Beast also does this upon Belle's return to the castle and dominates the latter half of the fight with Gaston.
During the wolf chase, Belle's ponytail came loose, revealing her beautiful long brown hair, but we get a more prominent look at it in the next scene when she treats Beast's wounds. This is the first moment of tenderness between them.
During the famous ballroom scene, Belle's hair is mostly down with only a small portion tied back.
She also has this look towards the climax for the raw emotion.
Lightning Bruiser: Beast. Despite his size, he's agile, fast and able to beat wolves.
Lima Syndrome: Beast falling for his captive, Belle. It is a deconstruction; by the time this happened, she was less a captive and more like an honored guest that wasn't allowed to leave.
Loss of Identity: Word of God says that the Beast's humanity was slowly fading away and he was becoming more animal like as the years went by. The reason the floor of the West Wing is rarely seen is because its littered with the carcasses of his prey, as he'd long since given in to the urge to hunt. Word of God also says that if Belle had never arrived he would have eventually grown so distant from humanity that he would stop wearing clothes, walk only on all fours and forgotten how to speak. In fact, in a shot when Belle sneaks up to the West Wing, in the bottom left corner of the screen you can see the ribs and part of a leg of a creature Beast has hunted; it's cast in shadow so it's a bit difficult to see any detail, but the shape itself is very clear if you look closely. The novelization of the movie outright confirms this, in the brief snippets we get to see from the Beast's perspective. He mentions that he's much more hot tempered than he ever was as a human and has trouble remembering simple things like his name, his parents, or even exactly how long he's been cursed, and he's completely forgotten how to read. His greatest fear is losing his mind and becoming an animal for good.
This seems to be ditto for the staff. That once the curse is complete they would eventually become completely inanimate, though since real-life Clocks and Candlesticks cannot think or see, there is no And I Must Scream involved.
Love at First Punch: Belle is the first person after the enchantress who confronted Beast on his treatment of others.
It's implied that the Beast fell in love the moment he saw Belle but was so angry and frustrated at his situation that he still lashed out at her.
Averted in the stage musical. Beast sings a song about what will happen if he's unable to fall in love with Belle.
Love Epiphany: The song "Something There" is all about this, but most prominent is when Belle goes behind a tree and is visibly shocked as she realizes her feelings. The Beast has a different one later on (after the ballroom scene) when he realizes what lovetrulymeans.
Love Hurts: The Beast's heartbreak after the uplifting ballroom scene is palpable. As she leaves, he starts sobbing and finally breaks into a primal scream of despair as Belle gallops away.
Love Redeems: Thanks to Belle, Beast becomes a kinder person.
Love Theme: As mentioned above, the "Prince Charming" motif, as well as the title song.
Love Triangle: Belle, Beast and Gaston, although the latter is just him forcing this trope.
Made of Iron: LeFou can get punched 10 feet and just get up and keep singing.
Magic Mirror: Beast has one that serves as his only connection to the outside world; it functions like a typical Crystal Ball would. The user says "Show me X" and X appears.
Manipulative Bastard: Gaston is well aware of his popularity in the village, and in the end, he uses it to turn most of the male population of his town into an angry mob.
Mean Boss: Gaston is completely abusive to LeFou, who seems to be the closest thing to his "best friend", and even forces LeFou to wait outside Belle's home in the snow for what seemed to be weeks, if not months. Oddly, LeFou never complains.
Meaningful Echo: " Please let (insert person here) go! I'll do anything!" First with Belle when she takes her father's place, second when the Beast is holding Gaston over the edge of the roof, which was probably why he was spared. Interestingly, both times had people at the Beast's mercy, and both times resulted in an unusual act of kindness from him (taking up Belle's offer and letting Gaston go).
Belle is French for "beautiful", since the original tale is French and its title in French is "La Belle et la Bête" ("The Beautiful and the Beast"). This even gets a Lampshade Hanging by one of the female villagers, who sings, "Now it's no wonder that her name means 'beauty' / Her looks have got no parallel..."
In the original de Beaumont fairytale (or at least the earliest version we have), she has a different name, but we never learn it. Everyone just calls her La Belle. Her name being Belle is an improvement. (The Beast doesn't have a name there either.)
"LeFou" is a phonetic pun on "the fool" (the actual translation from French to English is closer to The Madman, the Insane, The Mad, or Insanity). Likewise, Lumiere, Cogsworth, Mrs. Potts, and Chip all have names relating to the objects they became (with Chip being a reference to his state of being).
Monsieur D'Arque, the asylum proprietor, certainly is dark and sinister.
Mob song: We're fifty strong, and fifty Frenchmen can't be wrong!
Mighty Roar: Beast lets out a few good ones such as when he fights the wolves, when Belle leaves and when he starts fighting back against Gaston. When he yells (which he does a lot) animal roars are mixed into the dialog for extra oomph.
Monster Modesty: Tied into The Beast's character development. He starts off only in a pair of pants and a cape and as he becomes more humanized he starts wearing more clothes until we finally see him in full formal wear. Justified in that he's still desperately trying to maintain his humanity and is also ashamed of his appearance (hence the cape, which hides his body). Word of God says that eventually his humanity would have degenerated to the point where he'd wear no clothes at all.
The Beast drags Maurice off. Gaston's ridiculous (first) marriage proposal follows.
In a meta example, Paige O'Hara sobbed real tears while recording Belle's mourning of the Beast. Her performance was so intense that the director asked her if she was OK, upon which O'Hara immediately dropped out of character and said "Acting!"
The Beast's utterly heartbreaking releasing of Belle after the amazingly romantic and uplifting ballroom scene.
The alternating scenes of the funny and happy fight of the servants with the villagers, along with Gaston's hunting pursuit.
The wardrobe crushing a villager, and then shoving another into herself, causing him to emerge dressed in drag and freaking out. The crushed villager is still lying there and not moving...
Murder the Hypotenuse: Gaston attempts this in the film's climax. He succeeds, except he was the hypotenuse.
Music for Courage: Done to a villainous end with "Gaston" where he riles up the villagers into a mob with a song.
After the Beast scares Belle out of the west wing and the castle, he silently FacePalms.
Another example is more of a "My God, What Did I Almost Do?": The look on The Beast's face screams this as he holds Gaston over the edge of the castle. The Beast has a similar reaction in the musical, when he grabs Belle's arm after catching her in the West Wing and accidentally rips her sleeve. This is what prompts her to leave the castle, while he desperately tries to apologize.
See above under It's All My Fault. The Beast has a moment of silent horror at the consequences of his actions (namely, Belle's father being in danger).
Neck Lift: The Beast to Gaston, during the final fight.
No Badass to His Valet: Belle and the Beast's relationship develops into this at first. Out of a whole castle full of servants who alternately cringe in terror of his rages or try to bring him up like he's a child, Belle is the only one who talks to him like an equal.
No Celebrities Were Harmed: For the voice of Lumiere, Jerry Orbach did an absolute dead ringer impersonation of Maurice Chevalier.
No Indoor Voice: The Beast persistently shouts, especially his howling "GET OOOUUUUUUUTTTT!" which sounds even more "bestial" since they mixed animal growls, snarls and roars in with his dialogue to make him sound more wild and show just how inhuman he's become.
No Name Given: The Beast. His servants refer to him only as "The Master". Belle doesn't even know his name. At the climax, she simply calls him 'Beast'. When "Belle" at meet & greets in Disney Parks is asked about the Beast's real name, she responds by saying that he had been a Beast for so long, he cannot remember.
Not So Above It All: Cogsworth, would you believe? He may act prim and proper... but when the castle is attacked, he dresses like Napoleon with a sword and a pistol and takes Le Fou out with aplomb, absolutely magnificent aplomb.
Not Even Bothering with the Accent: Most of the cast; as MAD Magazine pointed out in their parody, this is especially noticeable because of Lumiere's extremely pronounced accent. Cogsworth and Mrs. Potts have British accents, because all butlers must be British. They shouldn't even be speaking English anyway, so...
Not Good with Rejection: Gaston's response is to drink and sulk. When he finds out he has a rival, he goes out to kill the guy.
Obfuscating Stupidity: Gaston plays with this trope. He at first seems to be an arrogant, uneducated and unintellectual buffoon. The first hint that there's more to him than that comes as he skulks away from Belle's house after his unsuccessful proposal (complete with moody music to give us a clue). Then later on in the movie he turns out to be a manipulative, deceitful and cunning psychopath. However, he's still got some obvious stupidity, as no one with half a brain cell would challenge a seven-foot-tall chimera monster to fisticuffs over a woman who doesn't even remotely like him.
The Bimbettes have 3 different hair styles and 3 different color dresses, but in various scenes the colors of their dresses keep changing. In addition, their hairstyles are all the same at the end of the "Gaston" reprise.
A few of Belle's scenes were done by a different animation team, giving her face a somewhat different, more rounded look. It's probably most noticeable when she enters the bookshop in the opening song.
Oh, Crap: Three in the span of just a couple minutes during the climactic battle between Gaston and the Beast.
First, when the Beast is on the edge of the roof refusing to fight. Gaston grabs part of the castle and brandishes it like a club about to go for the kill. Then Belle announces her arrival. Beast is suddenly filled with the will to live, grabs the club and towers over Gaston.
Second, when Gaston yells "It's over, Beast, Belle is mine!", the Beast grabs him by the throat and holds him over the edge of the roof from the top of the castle.
The third is right after stabbing the Beast when Gaston realizes he's about to fall off the roof (having been previously spared that fate).
Beast gets one earlier in the film, when he's drives Belle out of the West Wing; after a moment he realizes what he's done - quite possibly scared away his only chance of breaking the spell - and he buries his face in his handin despair.
Belle is at first apprehensive when she meets the Beast for the first time, but when she asks him to come into the light and sees him properly for the first time, she has Oh, Crap written all over her face.
Once Upon a Time: The film opens with a 'once upon a time' explanation of how the Prince was selfish and then was turned into the Beast by the beggar woman who asked him for shelter in exchange for a single rose, then turned into the enchantress when he kept refusing her.
The second half of the phrase includes "In a far away land", even though the movie makes it pretty clear early on that it's set in France. Of course, opening with "In 18th century France" wouldn't have fit nearly as well.
Plucky Girl: Belle repeatedly refuses to submit to the Beast and only treats him better when he starts reforming.
The Pollyanna: The servants. They are as desperate as the Beast for breaking the spell. But they are also more optimistic and at least try to keep their lifes as normal as they can.
Pretty in Mink: They animators seem to like putting Belle in furs. Her wine-colored winter cape comes with white fur trim. In The Enchanted Christmas, she is also seen in a scarlet jacket with white fur trim, and later a matching cape and skirt for when she goes out into the woods.
Primal Stance: The Beast is stuck in this pose for the first half of the movie; in fact it's kind of hard to tell just how tall he is because he spends so much time bent over. The first shot of Belle and the Beast standing face-to-face shows that while he's taller than her she can still look him directly in the eye. The ballroom scene is one of the few times he's actually standing up straight and it becomes obvious that he completely dwarfs her.
Prince Charming Wannabe: Gaston, towards Belle; he thinks he's a dashing and heroic suitor that will sweep her off her feet. She is less than impressed.
Prince Charmless: Beast was this before the curse and before Belle came into his life. It's the reason he was cursed in the first place.
Promoted to Love Interest: In the stage musical, Cogsworth and the wardrobe are portrayed as a couple but are much more reserved about it than Lumiere and the duster.
Proper Lady: For all the village thinking she is odd, Belle is well-mannered, sophisticated and has high morals.
Pun: "If it's not Baroque, don't fix it!" It's supposed to be a lame pun to add to the notion of Cogsworth having no sense of humour.
Purple Is Powerful: The Beast's cloak is a dark reddish purple. He also has a straight purple one (which is what he wears in nearly all other appearances). In this case, the association is with royal power.
Belle's large carthorse Phillipe had to be written out of the stage musical, due to the challenges of having a horse onstage.
Chip's role in the stage musical was greatly reduced, since it was hard to portray a hopping tea cup on stage.
While Paige O'Hara was auditioning, a bit of her hair flew in her face, and she tucked it behind her ear. The animators liked that, so they included it in the beginning of the film.
Recycled: The Series: For a short time, there was a live-action tv show starring Belle, a talking cat puppet and a bunch of modern day kids as she would read books to them, which were really Classic Disney Shorts with her dubbing over all the songs. It had nothing to do with Beauty and the Beast besides Belle. (Although Gaston would make a few appearances, being much Lighter and Softer.)
Refuge in Audacity: Gaston loudly proclaims some stuff in the reprise that would heavily imply blackmailing Belle by having Maurice arrested under false pretenses of being a dangerous madman and the villagers agree with The Plan. Surely their "pure paragon" of manliness is kidding, right?
A turning point in Beast and Belle's relationship is when he rescues her from a pack of wolves, and she chooses to take him back to the castle and tend to him when she still has the option of fleeing (she fled the castle because she was so afraid of his violent behavior), but it was further helped by the understanding they came to as Belle treated Beast's wounds.
Gaston pretends he's doing this when he goes to kill the Beast.
Roof Hopping: Gaston does this to catch up to Belle when he can't get through the crowd. He later shows off this same skill (as does Beast, though he's justified by having claws) during the Climbing Climax.
Rule of Funny: The enchanted objects inexplicably moo like cows as they ignore Cogsworth's command to "Come with me!" during the Lead In to the "Human Again" song.
Sacred Hospitality: The Prince defying this trope for the disugised enchantrress is why he was cursed. The Objects are quick to follow it when another old person (Maurice) comes calling.
Screw This, I'm Outta Here!: After Beast rages at Belle for nearly touching the rose, Belle realizes she'd be in too much danger if she stayed. She comes back mainly because Beast saved her from a pack of wolves.
During the "Come down to dinner" fight the Beast mimics Jackie Gleason from The Honeymooners.
The song "Human Again" in the extended version features enchanted brooms. Mickey didn't do as well with them...
Also in "The Mob Song":
A chest seems to eat an invader, similar to the chest in Discworld.
During the mob's approach to the castle, a dark example of this comes in the villagers' reflections in the water as they cross a fallen tree, referencing as it does the Seven Dwarves during "Heigh-Ho".
Also, near the end of "The Mob Song", the lyric "Fifty Frenchman can't be wrong" is probably a spoof on the title of the 1959 Elvis Presley album 50,000,000 Elvis Fans Can't Be Wrong.
While in the bookshop, she mentions that the story has "Far off places, daring swordfights, magic spells, a prince in disguise." All of these could apply to her adventure.
Silk Hiding Steel: Belle reforms Beast first by standing up to him and then with more gentle affection. She's technically a captive with no authority the whole time.
Simple Yet Opulent: Belle's green and pink dresses are nowhere as fancy as her yellow ballgown but still something that a highclass lady would wear.
Single Woman Seeks Good Man: Belle shuns the good-looking but thoroughly vain and egomaniac Gaston and disliked the Beast initially because of his monstrous looks and serious temper problems. Once the Beast shows he is brave, determined and capable of good, she falls for him.
Slapstick: The servants fight against the villagers was largely this, though there are one or two scenes that dip into frightening territory-like the scene when the Wardrobe dove off a balcony and landed on a guy was hilarious, but after a cut to Gaston looking for the Beast, we cut back to see her fighting other townsmen-and the guy she landed on is lying limp and lifeless in a crater where she landed on him, his weapon still in his hand, arms and legs sticking out of the hole and spread askew in what looks like death.
Smug Snake: Gaston shows the classic 'too confident to fail' attitude when he storyboards his Evil Plan.
The Smurfette Principle: Does better than other Disney Renaissance Movies. Belle is the protagonist with Mrs Potts in a big supporting role. There's also a sizeable collection of female side characters like the wardrobe, the feather duster and Gaston's three Bimbettes.
Snowball Fight: Belle is lucky that the enormous snowball done by the Beast didn't hit her (but him, instead.).
Snow Means Love: A whole song about them noticing their feelings have changed is in winter.
Spirited Young Lady: Belle, with her literary tastes and intelligence, is a middle-class version.
Spotlight-Stealing Squad: LeFou in the theatrical version. Watching him lead another chorus of "Nobody Xs like Gaston!" is somehow twice as funny with a live person on stage.
Stalker with a Crush: Gaston tracks down the Beast to his castle in order to kill him and take Belle for himself.
Stay in the Kitchen: Gaston's plan for Belle is to cook for him, raise children, and nothing else; certainly no reading or thinking. Though it is worth noting that he considers 'thinking' a dangerous pastime for men too, even ones as masculine as himself.
The villagers seem like the typical friendly chorus of many a musical, but they're shallow and all too willing to pick on anyone who's "odd". As "The Mob Song" puts it: "We don't like what we don't understand/In fact it scares us..." It is also implied that they may have some monstrous tendencies as well, seeing how the villain song "Gaston" has them singing praises about Gaston, and many of them were implied to be stuff that is horrible. When Gaston admits that he's up to no good in the final verses, they are in full support of Gaston's plan without any hint of fear or resentment. After the cheerful first couple of verses, and his cheerful rendition of the last verse, they probably thought he was joking.
The musical implies that the servants are this to an extent. While they act upbeat and cheerful, several bits of dialogue hint that they are secretly scared that they're slowly turning into inanimate objects.
The dance between Belle and her Prince in the finale is reused animation of the dance between Princess Aurora and Prince Phillip in Sleeping Beauty. The original Sleeping Beauty pair had been drawn over to become the new Beauty and the Beast pair, and this was done because they were running out of time during the production of the movie.
The smoke seen during the transformation of the Beast to the Prince is real smoke, not animated. It was originally used in The Black Cauldron.
Stock Scream: The infamous Wilhelm Scream can be heard during the mob's battle with the enchanted castle's residents, right after Chip saves Belle and Maurice.
Storming the Castle: Fitting with Gaston believing himself to be a heroic figure he rallies the townspeople to storm the castle of a horrible monster. It doesn't go well for them.
Straw Misogynist: It's not right for a woman to read—soon she starts getting ideas... and thinking.
Sweet and Sour Grapes: Averted. There is no sign that Belle prefers Beast in his human form and in fact she has to look into his eyes (the only things that didn't change) to confirm that this strange human is truly her beloved chimera. As is noted on the YMMV page and elsewhere, there are fans that prefer the chimera form to the human form.
Take Me Instead: Belle says this to Beast when she wants to be in her father's place, and the Beast accepts her offer.
Take That: "Here we come, we're 50 strong and 50 Frenchmen can't be wrong!"
Tame His Anger: Beast must learn to control his temper before anyone will love him.
Techno Babble: Cogsworth's architecture lecture: "As you can see, the pseudo-façade was stripped away to reveal the minimalist Rococo design. Note the unusual inverted vaulted ceilings. This is yet another example of the late neoclassic Baroque period." Rococo or Late Baroque and Neoclassical are two very distinct architectural movements. "minimalist Rococo" is an oxymoron.
That Reminds Me of a Song: We all know someone who feels "Human Again" was an un-needed addition to the film, since the movie didn't have it originally. It isn't a terrible song, nor completely irrelevant (its in the stage versions of the movie, too). It didn't exactly advanced the plot or provided much if any character development, but it was intended to be in the original production (and is in the Special Edition).
Beast:(to Belle) You will join me for dinner! That's not a request!
They've Come So Far Song: "Something There," in which the two main characters remark on how their view of each other has changed.
Title Drop: For animated movies it's not as important, but for the magnificent Oscar Bait song, they use the title drop, and if you haven't figured out what the song is about yet, then think about it.
Too Dumb to Live: Watch closely the scene where Belle's father and his horse (Phillippe) arrive at a crossroads on their way to the fair. Phillipe clearly tries to pull Maurice towards the brighter, more cheerful path on the left, while Maurice adamantly chooses the foggy, eerily lit path on the right.
Tragic Monster: The Beast is this due to his past and his suffering that the curse caused.
Trivially Obvious: In the play, Lumiere prompts the Beast to "say something" about Belle's new dress. The Beast addresses Belle gracefully and informs her that the dress is blue. Cue the Beast being dragged aside for the clarification of something complimentary.
True Beauty Is on the Inside: Played with. Initially The Prince was handsome but vain so he was cursed to be a monster. Then he reformed and was still a monster until Belle confessed her love, at which point he turned back, but Belle wasn't impressed.
True Blue Femininity: Belle's main dress is white and blue, which the filmmakers said is symbolic to her personality and situation.
True Love's Kiss: Variation—it isn't what breaks the curse on Beast himself (that's just Belle's declaration of love), but it does dissolve the rest of the spell to restore the castle and all the servants.
Unflinching Walk: Belle in a somewhat comedic example; she's able to thread her way through town on what appears to be a market day, effortlessly blocking falling water with a hanging sign as she passes under it, all the while reading a book.
Unknown Character: The sorceress who put the curse on the Beast and his castle in the first place. We learn nothing about her and she only appears in the stained glass windows of the prologue. Yet without her, there would be no movie.
The Un-Smile: When Lumiere tries to get the Beast to smile for his date with Belle, he grins so that all his fangs stick out. Thankfully he learns to smile much more naturally later.
Ur Example: Although it's not the first animated movie to do this, Beauty and the Beast is the first Disney movie where famous musicians cover the movie's love/whatever ballad during the credits.
Villainous Valour: Gaston has a good reason to boast about his strength. He fought toe-to-toe and did it pretty well against Beast, even when Beast got over his despair and stopped letting himself get beaten. He also ripped off a marble/stone ornament from the castle with little to no effort, and was able to carry approximately 400+ lbs (The Triplets sitting on a bench) with one hand and with very little effort, which places his strength at superhuman levels.
The Villain Sucks Song: Inverted. "Gaston" is all about glorifying the villain in question (though at that point in the story, he's only a bastard and not a true villain).
Villain with Good Publicity: Gaston is loved by all the other villagers except Belle and is apparently the most powerful and influential person there. This means none of them object to an ailing old man who's been desperately searching for his daughter being carted off to an insane asylum based on an odd story that might have come from stress. Then they are easily convinced by Gaston to kill the Beast once his existence has been confirmed even though Belle is the only one who knows him and begs them to reconsider. They always thought she was weird anyway for her bookishness ("I wonder if she's feeling well.") What's even worse is that they follow him out of loyalty, and not out of fear, and it is implied from the Villain Song that they love him specifically because of his despicable acts.
Vitriolic Best Buds: Lumiere and Cogsworth. Type 2, good friends who are very different and often butt heads. Their relationship is said to mirror that of the two animators who drew their characters. In fact, a special feature on the Diamond Edition of the film shows the two animators performing the final scene with Lumiere and Cogsworth human again in live-action form.
"I want adventure in the great wide somewhere! I want it more than I can tell!"
Welcoming Song: "Be Our Guest", as the denizens of the castle introduce themselves to Belle.
What Does She See in Him?: Inverted as Gaston desires Belle who everyone in town finds odd. Also, he can't understand what she sees in the Beast.
What Happened to the Mouse?: We never do see what happens to the Magic Mirror—it disappears from Gaston's belt once they break down the doors and is never shown again. It could have been lost/broken during the battle, discarded because he didn't need it anymore, or despite not being drawn there it was on his belt all along and fell with him into the moat. In the end, it would likely have disappeared when the spell was broken.
Windows to the Soul: A variation. We get several shots of Beast's eyes and when he tears up the picture of his human face, his eyes are largely undamaged. After he turns back into a human, Belle doesn't care about that. She isn't convinced it's him until she looks into his eyes. As mentioned above, the Beast's eyes were as carefully designed as the rest of his body, in order to give the impression that he was a man trapped in the body of a monster.
World-Healing Wave: After the Beast is restored to life and humanity and he and Belle have their Big Damn Kiss, the resultant magical fireworks shower a sparkling rain over the castle and restore it to its original state; the Enchanted Objects are similarly restored to the humans and animals they once were.
Writers Cannot Do Math: The film has a dodgy timeline. Deleting "Human Again"(and deleting time related lyrics when it was later re-inserted) was an attempt to avoid this trope, but didn't answer all the questions.
Xanatos Speed Chess: Gaston's plotting in the second half of the film. Belle refuses to marry him? Use Maurice's rantings to declare him insane and blackmail her. She proves Maurice was telling the truth? Rally the town to kill the Beast now that he knows Belle loves him.
Yandere: Gaston to Belle; the stalking, the mad love, the attempted murder of her boyfriend, etc.
Year Inside, Hour Outside: Not explicit, but time seems to run more slowly inside the Beast's castle. Belle has time to reform the Beast and fall in love with him while only two or three days pass "outside." If the midquel is anything to note, two of those days were Christmas Eve and Christmas itself.
Ye Goode Olde Days: Belle's walking along the street with her nose in a book. A woman throws water out of the window, but she blocks herself with a streetsign. If the story takes place in the time it was written, then that wouldn't be water. It'd be something else...