kevin kline played bells dad in beauty and the beast.
who played bells dad in beauty and the beast?
kevin kline
one of at least nine significant ways in which the remake deviates from its source material, "evermore" is among the film's songs that emphasize the sadness and loneliness of both the beast and belle's situations. occurring approximately two-thirds into the film, the song assumes a role that was originally occupied by the song "if i can't love her" in the broadway musical, identified by fred hawson of "abs-cbn news" as "a grand moving solo" during which the beast sincerely expresses his undying feelings for belle. in "beauty and the beast", "evermore" appears as a solo performed by the beast shortly before "the mob song" as the film approaches its dramatic climax. after the beast and belle (emma watson) share a dance in the castle's ballroom to mrs. potts (emma thompson) singing "beauty and the beast", the couple has a conversation during which the beast learns how much belle actually misses her father, maurice (kevin kline). finally admitting that belle is no longer his prisoner, the character sings "evermore" shortly after he releases the heroine from the castle, insisting that she return to her village and protect maurice from gaston (luke evans). believing that belle has been lost to him forever, the beast is heartbroken by the character's departure and laments his misfortune by performing "evermore", accepting that releasing his former prisoner makes breaking the enchantress' spell more difficult, even impossible. serving as a culmination of both the beast's personal and emotional journeys, tracy goldman of "the" "cornell daily sun" observed that the song "adds more depth to the character" by "highlighting the changes he goes through throughout the movie."
evermore (beauty and the beast song)
the earliest known records of multiple musical instruments being played at the same time date from the 13th century, and were the pipe and tabor. the pipe was a simple three-holed flute that could be played with one hand; the tabor is more commonly known today as a snare drum. this type of playing can still be heard in parts of rural france, in england and spain. an elizabethan-era woodcut shows a clown playing the pipe and tabor. an 1820s watercolour painting shows a one-man band with a rhythm-making stick, panpipes around his neck and a bass drum and tambourine beside him. henry mayhew's history of london street life in the 1840s and 1850s described a blind street performer who played bells, the violin and accordions.
one-man band