La bella e la bestia

Corporate lawyer Catherine Chandler (Linda Hamilton) works for her father's big law firm. She's mistakenly kidnapped and brutally slashed in the face. She's dumped in the park left for dead. Vincent (Ron Perlman) rescues her and treats her in the underground world. His 'father' Jacob Wells (Roy Dotrice) objects. She returns to the above world and joins the NYDA office. She becomes a trusted helper to the residents of the underground world and feels connected to Vincent. Joe Maxwell (Jay Acovone) is a deputy D.A.

It's a new take on the old classic. Hamilton is a compelling heroine. She has enough femininity to be romantic but also enough power to fight. The show is a bit restricted in its structure. The central relationship has one mode and cannot be changed easily. I like in particular the Gothic nature of the show. It is melodramatic at times and the romanticism gets heavy. The balance between romanticism and action is not always easy. By the second season, the balance is off. Hamilton leaves after two seasons and the show loses its raison d'être.

There's a reason why "Beauty and the Beast" still holds a place in its legions of fans' hearts after all these years: it's a tender, earnest, lovely little series that celebrates a love that goes beyond shallow expectations. This isn't "The O.C.", where it's only a matter of time before the bland, attractive leads jump in the sack. "Beauty and the Beast" chronicles the unique, powerful love between plucky assistant attorney Catherine (Linda Hamilton) and Vincent (spellbinding Ron Perlman), a courageous, compassionate man-beast. Because they live in two different worlds (she in the bustling world "Above", he in the secret utopia of "Below"), they cannot have a real life together, but, as Catherine assures us in the opening credits, they "will never, ever be apart". Today's jaded viewers might scoff at the fact that Catherine and Vincent never go further than hugs and hand-holding in their relationship, but you know what? Catherine and Vincent express more joy, passion, respect and love in their very first embrace in the pilot episode than all the bed-hopping in the six seasons of "Dawson's Creek". Hamilton is appealing as Catherine, making her strong and vulnerable at the same time. Perlman is unforgettable as Vincent. Unhindered by the prosthetic make-up on his face, he expresses layers of complex emotions with just his eyes. He brings warmth, integrity, and, yes, beauty to a role that even Perlman himself has said is "too good to be real". He deservedly won and Emmy and a Golden Globe. "Beauty and the Beast" is now on DVD for all to discover or re-discover the most innocent, sincere love story ever on TV.

When it became obvious that this series, which obviously aspired to be the next Star Trek (not just a TV show but a cult, complete with movies, action figures, conventions, t-shirts, books, calendars, etc.) had die-hard fans but not enough of them to sustain the phenomenon, I recall that CBS started running a little promotional blurb for it. The blurb was not very well done, but in any case concluded with the remark: "Are you ready for a different kind of passion?"

For good or ill, most people weren't. There's a lesson here, or several. I wish I knew what that message was. But here are some thoughts.

(1) We are told that the audience was heavily female. This is not at all surprising, since it's women who read what is called "romance", which its opponents call "mush": the lovers talking in flowery, quasi-religious language about their relationships; no development or change in the characters; and an absolute lack of humor. You find this sort of thing profound or silly, and in our society it seems the majority find it silly. Statistics suggest that significantly more women than men find it profound. This says something weird about our society, although (I repeat) I don't know exactly WHAT it says. That cheesy popular guru who writes about Mars and Venus appears not to know the half of it.

(2) On the other hand, a significant portion of our population likes "fantasy" (as opposed to "romance" in the narrow sense), as is proved by the popularity of the Lord of the Rings films. This series is just about the only unashamed fantasy (for adults) which TV seems to have produced with a mass audience in mind and without intending satire, a takeoff, or "camp." Which is, I suppose, why the promoters of this series thought they had a chance.

(3) I'm not a fan of what is called "romance" (few men are, as I've pointed out); in fact, the overly solemn Winter's Tale is the only Shakespeare play I don't like. And I don't especially like "fantasy", with a few exceptions. But I found this series strangely watchable, and others of my temperament have said the same. Few of the episodes had a plot worthy of the name, but it was often pleasant to hear Ron Perlman reciting poetry. The dialog had a kind of elegance to it, not at all common in TV, which I admit to enjoying. Sort of like enjoying opera, maybe. And Perlman (who from all accounts did take Beauty and the Beast very seriously) did a wonderful a job of acting, through all that getup.

(4) One fine day, Linda Hamilton decided she wasn't going to spend the rest of her life playing this goody-goody role, trying to breathe life into what she must have begun to see as rather bland and stilted dialog and a relationship which never changed or developed. I suppose it was at this point that the producers made a desperate effort to save the show by altering the whole thing to a dark, moody piece with suggestions of "The Shadow" or the "Dark Knight" side of Batman. And BANG, the last season was a totally different concept, in these terms: (a) there is violence and villainy, the nocturnal creep Gabriel, and in one episode Gabriel's Terminator-style henchman, all of which a lot of the original fans found disturbing; (b) Vincent and Catherine have a baby, which again grated on fans' nerves after they'd been hit over the head for two seasons with how platonic their relationship had been (c) bad symbolism, as when Diana the policewoman announces "This is Catherine Chandler's gun!" before shooting Gabriel in cold blood, as if Catherine had been the type who would have wanted revenge in any case; and so on.

So what is "A different kind of passion"? Well, for one thing, the platonic nature of the Vincent-Catherine relationship, which recalls such images as the knight who prefers to worship his lady chastely, from afar, rather than "defile" her. When women want their horny male companions to leave them alone, they say things like "Let's not ruin our friendship" and "You're making me uncomfortable." Well, maybe men should brood on that a little, and ask why so many female reviewers of this series are saying things like "Vincent is the greatest", "I'd love to have a man like Vincent", etc., and follow that up by asking what Vincent's got that we haven't. I'm serious. (A Don Juan could be defined as a jerk who PRETENDS to be "like Vincent" in order to control women, wouldn't you say?)

The last season, with its overthrow of many of the series' basic assumptions, shows how confused things can get when you wed a concept like Beauty and the Beast (which inherently caters to a niche audience) to TV (which inherently seeks a common denominator in its fans). The irony is that this show still has such a following. Not hard to understand, but ironic, that the fans of this series still hold their conventions, StarTrek style, and still hope for a movie. I wish them well.

And I hope that if someone who does figure out the significance of this series' failed attempt to "catch on" will be kind enough to enter a review at IMDb.

Indeed, maybe there's a good reason why Vincent and Catherine never kissed (leaving aside the last season, which doesn't count). What a drag it would be if the kiss turned him into a handsome prince! He would simply cease to be The Beast and would no longer concern us. Who would want Don Quixote without his delusions, or the Flying Dutchman with no curse on him? ... So here, at the end of my comments, we come at last to the beginning of the subject.

"Beauty and the Beast will be continued"? No kidding.

Can't tell you exactly why this series caught the imaginations of so many; it probably differs for each person. But this was a winner of a show in a style I've not seen since. It was fantasy, true enough, but it addressed many contemporary issues with a skill seldom seen in TV. The love story was believable, the acting was outstanding, and the minor characters were generally engaging. This was a show for romantics, and for those who believe in the power of love--not just between lovers, but between family and friends, and those whose love spills over into actions. Good fought evil in the grimy real world as well as in fantastic battles against shadowy adversaries. And for those of us who like to pretend that the unknown really is just around the corner--this was our show. Requiescat in pace.

I remember watching this show when I was 13 with my mother. This show was a great display that two people who love each other can be together no matter what their circumstances are or what there backgrounds are. Further, although Vincent was did not look like the average man, but he was smart, strong, loving and had a wonderful spirit. Most women are looking for a man like him. What he looked like did not bother me at all. Vincent was always their to protect and defend Catherine in any way he could. Their bond was so strong that they knew when each other was in distress. This show was realistic and did focus on many issues that exist today. For example, both Vincent and Catherine had past relationships, but they unlike many people in the real world were honest with each other even if what they said may have hurt them. I watched every episode that was on Netflix, and I was hooked. I only wish they could have ended the show in a better way then they did. The acting was excellent and I wish their were more shows like this. This show was a great adventure.