Ho Ho Ho! Merry Christmas! Mouse House Movie Club’s gone AWOL for a few weeks, but that’s just because I’ve been super busy and stuff like that. It’ll be back properly in the New Year and is here now with a bit of a Christmas Special. Because all great things have Christmas Specials, and you’re not seriously going to tell me that Mouse House Movie Club isn’t a great thing. Are you? Are you!?
Disney have done a few different festive-themed films over the years and having caught Mickey’s Twice Upon A Christmas on TV over the weekend, I was considering writing this entry on that. It’s actually pretty good, and features a great Mickey and Pluto story. Dogs and Christmas? Is there anything better? No, chums. No there is not.
However, while wrapping presents, I put in the Beauty and the Beast Christmas Special, The Enchanted Christmas, and was hugely impressed by it. It’s a surprisingly dark, genuinely worthwhile, and very charming film that takes place in the middle of the original movie, and significantly alters the way you perceive it. What I’m saying is that it’s the Rogue One of the Beauty and the Beast universe. And I’m entirely, 100% per cent sincere about that.
Yeah, but aren’t Disney sequels terrible?
Well, no not really. During the Renaissance (and for a little while after it), Disney put their classics and modern releases into the sequel churner, pushing out spin-offs and TV series to the likes of Bambi, Cinderella, Peter Pan, The Little Mermaid, Aladdin, and The Lion King. Made by Disney’s television animation wing, and often telling stories that frankly didn’t need to be told, these films are not great pieces of art and, even as an avid defender of them, I’ll admit that some are downright awful and/or baffling (the time-travel based Cinderella 3: A Twist in Time).
Sadly, fandom being fandom, all the films have been tarred by the same brush, so even the good one (Cinderella II, Aladdin and the King of Thieves, Peter Pan: Return to Neverland) are seen as poor. The Enchanted Christmas has largely escaped the sharper end of fan anger, mostly because it’s a Christmas film, and, well, it’s bloody Christmas, innit, come on! But it still gets lumped into that homogeneous mass of Disney direct-to-video mediocrity, and its position is made worse because it’s a midquel, a sequel subset so ludicrous nobody could come up with a proper word to describe it so they just cobbled some letters together and hoped for the best.
PARENTHESES! If you don’t know what a midquel is, it’s a story that takes place during a gap in a previously established story. It’s a nonsense word, but amazingly, it’s not even the most nonsensical word out there. There are also sidequels (stories which take place alongside existing stories), pseudosequels (sequels which have little in common with their predecessors but are still judged to be sequels) and most laughably at all macroquels (sequels which cover events before, during, and after the previously existing story). I am not making this up! This is an actual type of spin-off, and according to Wikipedia, 300: The Rise of an Empire is one of them. 2016, man: is there no insanity too insane for it?
Still with me? Good. Ok, so The Enchanted Christmas is a midquel, and it takes place directly after the moment in the original when Beast saves Belle from the wolves. It’s Christmas (because, y’know, it’s a Christmas film and it’s hardly likely to be set in May, is it?!) and Belle really wants to throw a Christmas party. The Beast, on the other hand, does not. (It’s called dramatic tension, folks. Come on, keep up.)
You’re a mean one, Mr Beast
Of course, that in itself isn’t a particularly sensational revelation. At this point in the original film, Beast isn’t in the best of moods, and the idea of celebrating Christmas probably wouldn’t appeal much – especially as he was struck with the Enchantress’s curse during the festive season. By all rights, The Enchanted Christmas should be a pretty standard story then, and it could well have turned out to be just that had the script run with the original concept of making Gaston’s vengeful brother the villain. This isn’t necessarily a bad idea, it’s just a bit of a mediocre one (though admittedly it worked pretty well for Die Hard With A Vengeance two years earlier. Y’know, I’d say Vengeance is as good to the original, even though most deem the original to be an unimpeachable classic. I mean, it’s good and all, but Vengeance has Frozone and Scar in it, and I’m still not exactly sure how they solved that puzzle with the water. I hate maths. It sucks.)
But anyways, I digress.
Ultimately, the brother plot was abandoned and instead a villainous organ was introduced. Yes… a villainous organ. Mwa-ha-ha-ha-ha. But a villainous organ voiced by Tim Curry, making this villainous organ at least 35% more delicious than any other villainous organs you may be acquainted with. His name is Forte and before being turned into a villainous organ, he was the disconcertingly grey-faced palace musician who enjoyed scowling, sucking up to the Prince, and playing… an organ! Dun-dun-duuuuuuuun!
Forte was ignored by Prince Adam when he was a human, but has now won a measure of respect and influence in his new giant organ form. He’s the Prince’s confidante, hearing all his concerns and frustrations from the confines of a dark room high in a secluded part of the castle. He’s chained to the wall so can’t do much beyond sitting around and waiting for Adam to come vent to him, but that doesn’t seem to bother him much (for some reason). He’s just desperate for Beast not to turn back into a human so he can continue to hang around with him. Hey, even deliciously evil giant organs need a buddy.
So what you have in The Enchanted Christmas is a villain who, despite being static throughout the entire film and despite being part of a tale whose outcome is beyond doubt, is surprisingly threatening. Part of that’s down to Curry being thoroughly delicious, part of it’s down to Beast being as angry as he is at this stage in the original, and part of it’s down to Forte being rendered with the same dodgy CG that the Hydra from Hercules is (weird). But more than anything, it’s because Beast seems genuinely vulnerable here, Forte representing his inner monologue and everything he hates about himself. If you’ve ever been alone with your dark inner thoughts, you’ll know exactly how scary that can be.
I think it’s perhaps going a little too far to liken The Enchanted Christmas to the complex emotional landscape Elsa inhabits in Frozen, but there are similarities. Like Elsa, Beast hides himself away from the world, convincing himself he’s happy in the state of loneliness he’s built for himself because that’s what he needs to tell himself to get by. Fighting against it is so much more difficult and so much more unpredictable than simply giving in. Accepting your fate is easier and safer. Better the devil you know, and all that.
In light of all this, Beast’s anger and frustration (here and in the original) becomes much more understandable. Being a dick because you’ve been turned into a beast is fine and all. You could be less of a dick, but hey, we get it. Being a Beast is bad. But being a dick because you’ve been turned into a beast and have Tim Curry dressed as a poorly CG’d giant organ whispering nasty stuff in your ear every time you feel down? Well, if that happened to me, I think I’d be pretty down too. I getcha Beasty boy.
The Enchanted Christmas also brings fresh insight into Belle, who seems even more heroic in light of the film’s events. In the original, Beast’s anger is a plot point: a feature of the narrative that needed to be established and overcome. It’s like the Ark of the Covenent or the Death Star plans: a MacGuffin that’s there to reflect, primarily, Belle’s character and the tenacity with which she goes about getting what she wants from life. Here, however, it’s a real character point; indeed a real character – Forte. So while Beauty and the Beast‘s main threat was a moron (a very very very very very manly moron, but still a moron), The Enchanted Christmas‘s is anger, depression, and frustration. There’s absolutely nothing funny or charming about Forte like there is about Gaston.
Listen to his song. While Gaston got to brag about his manliness and expectorating prowess, Forte tells Beast not to fall in love in a fantastic villain song that even manages to nod to the original’s classic ‘Beauty and the Beast’. Here’s a cut of the lyrics.
As soon as your heart rules your head
Your life is not your own
It’s hell when someone’s always there
It’s bliss to be alone
And love of any kind is bad
A dog, a child, a cat
They take up so much precious time
Now where’s the sense in that?
Love takes the wildest heart and makes it tame
If you’re turned on, then just turn off
Emotions are a thing all great men overcame
Please, don’t make this grande catastrophe
Don’t get attached to anyone or anything
There’s nothing worse than things that cling
Pretty brutal, pretty scary (and more than a little reminiscent of Elsa’s ‘conceal, don’t feel’ mantra). Yet Belle’s kindness perseveres: she never takes her eye off her goal, and never lets Beast’s Forte-driven depression set her off her path. She represents kindness, love, and compassion in the face of Forte’s sheer hatred and misery, and she mounts a fierce opposition, despite the fact she never really faces off against him. Indeed, her lack of interaction with Forte may make her faith in the Beast and love as a whole even more heroic: she doesn’t have the luxury of knowing where his misery is coming from like we do.
Until then, we’ll have to muddle through somehow…
I know what you’re thinking: Paul, for a post that opened with a GIF of a dog doing Yoga, this has been awfully depressing. And yes, you’re right. But then, The Enchanted Christmas isn’t an entirely happy-go-lucky film, and indeed many of the best Christmas things aren’t. Look at It’s A Wonderful Life or listen to ‘Have Yourself a Merry Little Christmas’ (from Meet Me In St Louis) if you want proof. Both are, of course, about the magic of the season and how festive goodwill can turn around even the darkest of days, but for that to work, the day has to be dark: George Bailey has to be standing on that bridge ready to jump in the water. Festive? Not really. Dramatically important? Yes!
The Enchanted Christmas sits alongside films like It’s A Wonderful Life (in theme more than quality) because it’s all about finding the goodwill amongst the bad, the light in the dark, the hope in the despair. It’s a little naive and certainly not as emotionally complex as more recent Disney films that have taken on the theme (Frozen and Inside Out in particular), but it’s a hell of a good effort for a 1997 direct-to-video feature and deserves respect for that alone. Add in to it the fact that it genuinely enhances the original and has Tim Curry as a deliciously evil organ and you’re on to a winner. A big old festive, slightly depressing, weirdly CG’d winner.
Until next year folks, Happy Holidays! Have a lovely time whatever you’re celebrating and however you’re celebrating it.