History Awesome / BeautyAndTheBeast

* Finally, there's the moment when it becomes clear Belle has done much more than invoke a DisneyDeath for the Beast: the transformation sequence.
** There are a lot of fans who didn't like the transformation since they preferred the Beast over the Prince.
** The animators have been quoted as saying that no matter what they would design for his human form, the audience would never be satisfied simply for this reason. It is kind of hard when you turn an awesomely designed hybrid-Beast into a cross between Steve Clark and Vivian Campbell of Def Leppard. It never really bothered myself, to be frank.
*** Maybe. Maybe not. But you have to admit this was also a Moment of Awesome for The Beast's animator, Glen Keane. He had less then a week to make the transformation scene. What we got was one of the best pieces of modern Disney animation.
*** That's nothing compared to the transformation in the Broadway show. Absolutely breathtaking.
*** This troper used to squirm uncomfortably during the transformation scene as a kid for some reason. After seeing the Broadway show, she went ahead to give it another chance, and now agrees the animation is very beautiful.

** YourMileageMayVary. There are a lot of fans who didn't like the transformation since they preferred the Beast over the Prince.

* Gaston's rousing [[CrowdSong "Mob Song"]] where he paraphrases both Literature/TheBible ("If you're not with us, you're against us") and WilliamShakespeare ("Screw your courage to the sticking place!") to rally a, well, mob to, as the song is also known as, "Kill the Beast".

* Gaston's rousing [[CrowdSong "Mob Song"]] where he paraphrases both TheBible ("If you're not with us, you're against us") and WilliamShakespeare ("Screw your courage to the sticking place!") to rally a, well, mob to, as the song is also known as, "Kill the Beast".

** Lumiere's SugarWiki/MomentOfAwesome has to be when he saves his beloved Babetté by ''scorching the backside off of the villain tormenting her''!

*** That's nothing compared to the transformation in the Broadway show. Absolutely breathtaking

-->'''Mob:''' We don't like\\

-->Here we come, we're fifty strong\\

** Lumiere's [[CrowningMomentofAwesome CMOA]] has to be when he saves his beloved Babetté by ''scorching the backside off of the villain tormenting her''!

** The entire latter half of the fight counts. After seeing Belle has returned to him the Beast regains his will to live and utterly ''dominates'' Gaston.
he size and strenth of a grizzly bear combined with the intelligence and agility of a human.
** The Beast has ''multiple'' [=CMOAs=], but this troper agrees that his cold delivery of those two words takes. the. cake.
*** His very ''design'' is a CMOA, up until them every version had been some variation of "man with an animal's head." Disney's character is a completely new chimera who can simply be described as a "beast." He ''is'' his name.
* I think Gaston gets a CMOA when he manages to temporarily hold his own against the Beast, who has the size and strength of a grizzly bear combined with the intelligence and agility of a human.

*** Maybe. Maybe not. But you have to admit this was also a CMOA for The Beast's animator, Glen Keane. He had less then a week to make the transformation scene. What we got was one of the best pieces of modern Disney animation.

* Gaston's rousing [[CrowdSong "Mob Song"]] where he paraphrases both TheBible ("If you're not with us, you're against us") and {{Shakespeare}} ("Screw your courage to the sticking place!") to rally a, well, mob to, as the song is also known as, "Kill the Beast".
** Doubles as a CrowningMomentOfFunny when you hear some of the other lyrics in the song.

** On that note, this troper thought the way the choreography of the furniture's dancing during "Be Our Guest" was CMOA.
** Menken's incidental music ''between'' the songs also had its awesome moments. When Belle discovers that her father may be dying out in the cold, the Beast looks at the wilting rose and, in a moment of utter anguish, decides to let Belle go anyway, knowing it will probably doom his only chance to remove his curse. The music that plays at that moment is utter [[AwesomeMusic/{{Disney}} Crowning Music of Awesome]].
* And one must not forget: Menken's songwriting partner since practically the start of his musical career, Howard Ashman. Some time before ''TheLittleMermaid'' won Oscars for Best Song and Best Score, Ashman was diagnosed HIV-positive. When he was put to work for ''Beauty and the Beast'', Ashman was noted to be irritable and would soon not even be able work in the studio. But did he give up his work? Not at all; he would instruct recording sessions via telephone even when he was weak and he wrote what are probably some of the most memorable songs in cinema, period, during the last year of his life (the title song's lyrics undoubtedly being his MagnumOpus). Even though he never lived to see the finished film, Ashman's sheer dedication to his work counts as this trope, a TearJerker, and a great CrowningMomentOfHeartwarming. Dedications often refer to him as the man 'who gave a mermaid her voice and a beast his soul'.

** Menken's incidental music ''between'' the songs also had its awesome moments. When Belle discovers that her father may be dying out in the cold, the Beast looks at the wilting rose and, in a moment of utter anguish, decides to let Belle go anyway, knowing it will probably doom his only chance to remove his curse. The music that plays at that moment is utter [[CrowningMusic/{{Disney}} Crowning Music of Awesome]].

* Yet another out of character example: AngelaLansbury recorded the title song in a single take.

* I think Gaston gets a CMOA when he manages to temporarily hold his own against the Beast, who (lest we forget) has t

** I think Gaston gets a CMOA when he manages to temporarily hold his own against the Beast, who (lest we forget) has the size and strenth of a grizzly bear combined with the intelligence and agility of a human.

--->'''Gaston''': Don't hurt me, please! I'll do anything! ANYTHING!\\
'''The Beast''': GetOut.

* I cannot BELIEVE the wolf sequence in the forest scene hasn't been mentioned yet. Belle's attacked by a bunch of wolves. She defends herself well, but there are just too damn many of them. Wolf leaps, she goes down, another wolf leaps, looks like the end. Cue the Beast grabbing the wolf and ROARING in it's face as the music goes berserk, then proceeding to rip the entire pack apart. Epic.

--> Mob: We don't like
-->What we don't understand
-->In fact it scares us
-->And this monster is mysterious at least
*** Also,
-->Here we come, we're fifty strong
-->And fifty Frenchmen can't be wrong...

'''The Beast''': Get out.

** Menken's incidental music ''between'' the songs also had its awesome moments. When Belle discovers that her father may be dying out in the cold, the Beast looks at the wilting rose and, in a moment of utter anguish, decides to let Belle go anyway, knowing it will probably doom his only chance to remove his curse. The music that plays at that moment is utter [[CrowningMusic/Disney Crowning Music of Awesome]].

** Menken's incidental music ''between'' the songs also had its awesome moments. When Belle discovers that her father may be dying out in the cold, the Beast looks at the wilting rose and, in a moment of utter anguish, decides to let Belle go anyway, knowing it will probably doom his only chance to remove his curse. The music that plays at that moment is CrowiningMusicOfAwesome.

* And one must not forget: Menken's songwriting partner since practically the start of his musical career, Howard Ashman. Some time before ''TheLittleMermaid'' won Oscars for Best Song and Best Score, Ashman was diagnosed HIV-positive. When he was put to work for ''Beauty and the Beast'', Ashman was noted to be irritable and would soon not even be able work in the studio. But did he give up his work? Not at all; he would instruct recording sessions via telephone even when he was weak and he wrote what are probably some of the most memorable songs in cinema, period, during the last year of his life (the title song's lyrics undoubtedly being his MagnumOpus). Even though he never lived to see the finished film, Ashman's sheer dedication to his work counts as this trope, a TearJerker, and a great CrowningMomentOfHeartwarming.

** Lumiere's [[CrowningMomentofAwesome CMOA]] has to be when he saves his beloved Babetté by ''scorching the ARSE off of the villain tormenting her''!

* Alan FUCKING Menken, [[ThisIsForEmphasisBitch bitches!]] SONGS.

* And one must not forget: Menken's songwriting partner since practically the start of his musical career, Howard Ashman. Some time before ''TheLittleMermaid'' won Oscars for Best Song and Best Score, Ashman was diagnosed HIV-positive. When he was put to work for ''Beauty and the Beast'', Ashman was noted to be irritable and would soon not even be able work in the studio. But did he give up his work? Hell no; he would instruct recording sessions via telephone even when he was weak and he wrote what are probably some of the most memorable songs in cinema, period, during the last year of his life (the title song's lyrics undoubtedly being his MagnumOpus). Even though he never lived to see the finished film, Ashman's sheer dedication to his work counts as this trope, a TearJerker, and a great CrowningMomentOfHeartwarming.

* And one must not forget: Menken's songwriting partner since practically the start of his musical career, Howard Ashman. Some time before ''TheLittleMermaid'' won Oscars for Best Song and Best Score, Ashman was diagnosed HIV-positive. When he was put to work for ''Beauty and the Beast'', Ashman was noted to be irritable and would soon not even be able work in the studio. But did he give up his work? Hell no; he would instruct recording sessions via telephone even when he was weak and he wrote what are probably some of the most memorable songs in cinema, period, during the last year of his life (the title song's lyrics undoubtedly being his MagnumOpus). Even though he never lived to see the finished film, Ashman's sheer dedication to his work counts as this trope, a TearJerker, and a great CrowningMomentOfHeartwarming.

* And one must not forget: Menken's songwriting partner since practically the start of his musical career, Howard Ashman. Some time before ''{{TheLittleMermaid}}'' won Oscars for Best Song and Best Score, Ashman was diagnosed HIV-positive. When he was put to work for ''Beauty and the Beast'', Ashman was noted to be irritable and would soon not even be able work in the studio. But did he give up his work? Hell no; he would instruct recording sessions via telephone even when he was weak and he wrote what are probably some of the most memorable songs in cinema, period, during the last year of his life (the title song's lyrics undoubtedly being his MagnumOpus). Even though he never lived to see the finished film, Ashman's sheer dedication to his work counts as this trope, a TearJerker, and a great CrowningMomentOfHeartwarming.

* Alan FUCKING Menken, [[ThisIsForEmphasisBitch bitches!]] SONGS.

* What? No one's mentioned the fact that this is the ''first'' '''ever''' ''animated movie to be nominated for Best Picture?'' Sure it didn't win, but it did what was considered to be impossible for animation at the time and establish it as a medium of story-telling and not [[AnimationAgeGhetto kid fodder.]]

* When Gaston tries to get Belle's dad into the crazy house because he tells everyone about the beast, unless Belle marries him, Belle comes to the rescue and shows everyone the beast in her magic mirror and says that he's her friend. Gaston, who sees that his plan isn't going to work anymore, wants revenge on Belle and then tells everyone that the beast is going to attack them, eat their children etc. and that they should go and kill the beast, which all men of the village are going to do afterwards. This troper found the evilness of that extremely awesome.

** The Beast has ''multiple'' CMOAs, but this troper agrees that his cold delivery of those two words takes. the. cake.