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• Howard Ashman • Alan Menken track listing ' (8) ' Beauty and the Beast' (9) 'To the Fair' (Score) (10) ' Beauty and the Beast' is a song written by lyricist and composer for the animated feature film (1991). The film's, the -inspired was first recorded by British-American actress in her role as the voice of the character, and essentially describes the relationship between its two main characters and the, specifically how the couple has learned to accept their differences and in turn change each other for the better. Additionally, the song's lyrics imply that the feeling of love is as timeless and ageless as a 'tale as old as time'. Lansbury's rendition is heard during the famous ballroom sequence between Belle and the Beast, while a shorted chorale version plays in the closing scenes of the film, and the song's motif features frequently in other pieces of Menken's. 'Beauty and the Beast' was subsequently recorded as a duet by Canadian singer and American singer, and released as the only single from the film's on November 25, 1991.

Lansbury was initially hesitant to record 'Beauty and the Beast' because she felt that it was not suitable for her aging singing voice, but ultimately completed the song in one take. In order to promote the film, Disney decided to release 'Beauty and the Beast' as a single, and first recruited solely Dion to record a radio-friendly version of it. However, the studio was concerned that the then-relatively obscure singer would not attract a large enough audience in the United States on her own, so they hired the more prominent Bryson to be her duet partner. At first Dion was also hesitant to record 'Beauty and the Beast' because she had just recently been fired from recording the theme song of the animated film (1991). First heard during the film's, the single was produced by who also arranged it with, and included on Dion's.

The single was accompanied by a music video. Directed by Dominic Orlando, it combined footage of the singers recording the song at with excerpts from the film. Both versions of 'Beauty and the Beast' were very successful, garnering both a and, as well as and. The single was also nominated for the and the.

Lansbury's performance has been universally lauded by both film and music critics. While the Dion-Bryson version received mixed reviews from critics who felt that it was inferior to Lansbury's original, the single became a commercial success, peaking at number nine on the and becoming the better-known of the two renditions.

In addition to returning Disney songs to the after a thirty-year absence, the success of 'Beauty and the Beast' also launched Dion's career and established her as a. After 'Beauty and the Beast' became the first Disney song to undergo a complete pop transformation, several contemporary artists were inspired to release their own radio-friendly renditions of Disney songs throughout the decade. Considered to be among Disney's best and most popular songs, 'Beauty and the Beast' has since been covered by numerous artists. In 2004, the officially recognized 'Beauty and the Beast' as one of the, ranking it 62nd. The song is also featured in the; sung by as Mrs. Potts during the film and also as a duet cover version by and during the end credits.

Grande and Legend's version of the song is an homage to the cover performed by Dion and Bryson for the 1991 film. At first English actress was hesitant to record 'Beauty and the Beast' because it had been written in a style with which she was unfamiliar; she ultimately recorded the song in one take. 'Beauty and the Beast' was written by lyricist and composer in 1990. Intending for the song to be 'the height of simplicity', the songwriters drew much of its influence from.

Due to Ashman's failing health, some of Beauty and the Beast's was relocated to a hotel in near Ashman's residence to accommodate the ailing lyricist. Out of all the songs he has written for Beauty and the Beast, Menken devoted the most time to the. The track was first recorded by British-American actress, who voices the character, an enchanted teapot. The songwriters first introduced 'Beauty and the Beast' to Lansbury as a, which was accompanied by a note asking her if she might possibly be interested in singing it. Although a seasoned film and stage performer who had previously done her own singing for Disney in the musical film (1971), Lansbury, who was more accustomed to performing songs, was hesitant to record the ballad because of its unfamiliar style.

Although she liked the song, Lansbury also worried that her aging singing voice was no longer strong enough to record 'Beauty and the Beast', and was especially concerned about having to sustain its longer notes. Lansbury suggested that the songwriters ask someone else to sing 'Beauty and the Beast', but they insisted that she simply 'sing the song the way [she] envisioned it.' On October 6, 1990, 'Beauty and the Beast' was recorded in a studio in New York accompanied by a live orchestra because the songwriters preferred to have all performers and musicians record together opposed to separating the singers from the instrumentalists. On the day of her scheduled, Lansbury's flight was delayed due to a, which prompted an emergency landing in Las Vegas.

Unaware of her whereabouts for several hours, the filmmakers had begun making plans to reschedule the session until Lansbury finally telephoned the studio once she arrived safely in New York. At the behest of one of the directors, Lansbury recorded a demo of the song for them to use in the event that no other actress was available to sing it on her behalf, or no character other than Mrs. Potts was deemed suitable. Ultimately, Lansbury recorded her version in one take, which wound up being used in the final film. Producer recalled that the actress simply 'sang 'Beauty and the Beast' from beginning to end and just nailed it.

We picked up a couple of lines here and there, but essentially that one take is what we used for the movie.' Lansbury's performance moved everyone who was present in the recording studio at the time to tears. Meanwhile, the actress credits recording the song with ultimately helping her gain further perspective on Mrs. Potts' role in the film.

Some of Ashman's cut lyrics from the 1991 film were reinstated for the version in the 2017 film. Animation of the Beauty and the Beast and ballroom sequence [ ] The scene in Beauty and the Beast during which the song is heard is the moment when Belle and the Beast's true feelings for each other are finally established. Set in the ballroom of the Beast's castle, 'Beauty and the Beast' is performed by the character Mrs.

Potts, an enchanted teapot, midway through the film as she explains the feeling of love to her young teacup son, referring to the emotion as 'a tale as old as time'. According to Armen Karaoghlanian of Interiors, 'Belle familiarizes the Beast with the waltz and as soon he feels comfortable, he gracefully moves her across the floor'. Afterwards, the song continues to play instrumentally as Belle and the Beast retire to the balcony for a romantic candlelit dinner. Believed to be the 'centerpiece that brings Beauty and her Beast together,' the sequence offers an insight into both characters' psyches. Qed Symbol In Microsoft Word. From the Beast's perspective, it is the moment he realizes that he wants to confess his true feelings for Belle to her and 'decides he wants to tell Belle he is in love with her.'

Meanwhile, Belle begins to fall in love with her captor. Writing for, Jennie Punter reviewed it as the scene in which 'romance finally blossoms.' Film critic Ellison Estefan, writing for Estefan Films, believes that the sequence is responsible for 'add[ing] another dimension to the characters as they continue to fall deeply in love with each other.' Explaining the song's role in the film, director described the scene as 'the culmination of their relationship,' while producer Don Hahn pegged it as 'the bonding moment of the film when the two main characters finally get together.' Supervising animator was responsible for syncing the two traditionally animated characters with their constantly changing computer-animated environment; principal design of the ballroom was handled by Scott F. The scene had long been envisioned as having a more feel to it than the rest of the film, an idea that originated from story artists and, who were the first to suggest that the ballroom be built using computers. As the film's executive producer, former Head of Disney's film division recalled that he began working on Beauty and the Beast deciding what its 'wowie' moment would be, defining this as 'the moment in the movie where you see what's on the screen and go, 'Wow-IEE'; this ultimately became the film's ballroom sequence.

According to Hahn, the scene was conceived out of the filmmakers' desire to manipulate the camera in order to 'sweep' the audience away. Allers and Chapman conceived the ballroom in order to provide the characters with an area in which they could linger, and were surprised by the amount of artistic freedom with which they were provided by the animators, who agreed to adjust to the changes in perspective that would result from the moving camera. While Allers decided to raise the camera in order to view the dancing couple from the overhead, Chapman decided to rotate the camera around Belle's skirt as the couple danced past it.

In their dance together, Belle and the Beast move toward the camera, as we pan up and into the 3D chandelier. In the next shot, the camera slowly drops from the ceiling as we once again move alongside the 3D chandelier. This adds depth to the scene, as the chandelier is placed at the forefront of the image and Belle and the Beast are in the distance. This shot continues as we move down below and gracefully move around them. The Beast then sways Belle around and near the camera, once again providing us with an illusion that a camera is following these characters around in an actual ballroom.

In a wide shot of Belle and the Beast dancing, the camera begins dollying back as Mrs. Potts and Chip appear in the frame. These beautiful compositions and camera movements show us how space functions within an animated feature film. — Armen Karaoghlanian of Interiors Regarded as an example of 'a pronounced use of height and of vertical movement in sets and settings, in virtual camera movement. And in the actions of characters' by Epics, Spectacles and Blockbusters: A Hollywood History author Sheldon Hall, Beauty and the Beast was one of the first feature-length animated films to use, which is prominently exhibited throughout the film's 'elaborate' ballroom sequence. Light Science: Physics and the Visual Arts author Thomas D.

Rossing believes that the filmmakers aimed to achieve 'a moving perspective that would follow the dancers around the room, giving visual expression to the soaring emotions of the scene.' CGI supervisor Jim Hillin was hired by Hahn to oversee the design of the scene's graphics.

However, because the computer-animation medium was so unfamiliar to the filmmakers at the time, at one point they had considered having Belle and the Beast simply dance in complete darkness – save for a single spotlight – should the project be unsuccessful; they jokingly referred to this idea as the ' version. First rendered as a simple, the filmmakers used computers to design the ballroom as a production set, making it the first full-dimensional computer-generated colored background in history.

Unlike Disney's previous CGI ventures, Beauty and the Beast's ballroom was a much more detailed task that required animators to work exclusively with computers to compose, animate and color the scene. According to Hillin, the revolutionary use of computers allowed for a combination of and 'sweeping' perspectives, which ultimately introduced live-action techniques to animation. To make the scene a 'special moment' for the characters, a ' was used to allow the animators to create the illusion of tracking, panning and zooming that 'establish[es] the mood' while helping audiences experience what the characters themselves are experiencing. Imitating s, the camera frequently soars and zooms around the couple. The camera first follows Belle and the Beast as they enter the ballroom before panning until it finally returns to focus on the two characters. In his book Basics Animation 02: Digital Animation, author Andrew Chong wrote that 'The sweeping camera move with a constantly shifting perspective during the ballroom sequence was a composition of traditionally drawn elements for the characters with digitally animated scenery.' Several computer animators, layout artists, art directors and background artists used their combined efforts to achieve the scene's end results; the ballroom's official dimensions read 72 feet high, 184 feet long and 126 feet wide.

The space also houses 28 windows and a dome that measures 86 by 61 feet; the dome's was first hand-painted before it was onto it using a computer. Each element was carefully constructed individually. Timothy Wegner described the finished product in his book Image Lab as a 'huge and elegant' ballroom in which 'the walls are decorated with elaborate moldings,, and hundreds of candles.' Writing for Combustible Celluloid, Jeffrey M. Anderson believes that 'The animators understood that the new technology couldn't be used to represent organic beings, so they simply used it for backgrounds; i.e. The swirling, spinning ballroom during the 'Beauty and the Beast' dance number.' At first, Belle and the Beast were vaguely represented by computer-animated box and egg-shaped 'stand-ins' in order to their dance while the ballroom was still little more than a ' frame.

Andrew Osmond, author of 100 Animated Feature Films, described this crude depiction of the characters as 'wire frames moving in.' The characters were eventually updated to 'stiff, line-drawn' versions of themselves.

Because Belle and the Beast are so 'interconnected' during this scene, both characters were animated solely by Belle's supervising animator; the Beast's supervising animator eventually traced over Baxter's work. Baxter prepared himself for animating the scene by studying ballet dancers in addition to taking dance lessons himself. Throughout the entire film, Belle moves with a ballerina's; the film critic Charles Solomon observed that Belle looks 'liveliest and prettiest' during this scene. At one point, both Baxter and Keane their characters' routine themselves under the guidance of a professional dance coach.

A software created by named CAPS () allowed the animators to paint Belle and the Beast using computers as opposed to the more conventional and time-consuming method of painting animated characters by hand. Art director Brian McEntee suggested a blue and gold colour scheme for the characters' costumes at a late-night meeting because he felt that the colors were 'compelling' and 'regal'.

Adhering to the ballroom's blue and gold, Belle’s gold ballgown complements the trim on the Beast's tuxedo, as well as the color of the ballroom itself, while the Beast's attire complements his eyes, the night sky, the curtains and the floor tiles. Meanwhile, Julia Alexander of Movie Mezzanine wrote that 'The elegance of their costumes against the background of a golden hall and a star filled sky adds to the whimsical of the movie.' The entire sequence took several months to complete, much of which was spent syncing the traditionally animated couple with their computer-animated environment, which otherwise would have been virtually impossible had the filmmakers decided to use a more traditional method. When Beauty and the Beast was released, many animators were impressed with the studio for ', while some considered the scene to be 'a miserable failure', accusing its new technology of distracting from 'the moment'. Describing the scene as 'an early experiment in computer animation,' Josh Larsen of Larsen on Film observed that the ballroom sequence features 'the camera swooping in and around to provide an expansive sense of space that 3-D still isn’t able to capture.'

In her book The Beautiful Ache, author Leigh McLeroy wrote that the scene represents 'one of those strange moments where love creeps in against all odds and insists on staying put.' Audiences tend to remember the ballroom sequence as 'the one in which Belle and the Beast share a romantic dance as the camera files and spins around them.' Angela Lansbury recalled being 'astonished' when she first saw the 'huge' and 'unique' scene. In Moviepilot's Chris Lucas' opinion, 'The ballroom scene remains the one that truly symbolizes their adoration for each other.' Believes that the scene 'signals the completion of [the Beast's] inner change - from irascible recluse into [Belle's] true love.' Music and lyrical interpretation [ ]. • • singles chronology ' (1991) 1991 ' Beauty and the Beast' (1991) Beauty and the Beast1991 ' (1992) 1992 singles chronology 'Closer Than Close' (1991) Closer Than Close1991 ' Beauty and the Beast' (1991) Beauty and the Beast1991 'Lost in the Night' (1992) Lost in the Night1992 Music video on Background and recording [ ] Much to Disney's surprise, Beauty and the Beast received three separate nominations for.

To avoid dividing and prevent a draw, Disney decided to promote the film's ahead of its fellow nominees ' and ' by releasing 'Beauty and the Beast' as a, similar to the way in which released ' from the animated film as a single in 1986. Coincidentally, Ashman and Menken had written the song so that it could potentially experience success outside of the Beauty and the Beast film itself. Although Lansbury's rendition was very much appreciated, it was considered to be unsuitable for a commercial release. Thus, the studio decided to make 'Beauty and the Beast' the first Disney song to be arranged into a pop version of itself for the film's. Menken referred to this experience as a 'turning point' in his career because it was also the first time one of his own compositions had ever undergone such a transformation. Producer was hired to produce the pop version of the song, which he arranged with musician.

Menken commended Afanasieff for successfully making the song his own. Actress and singer, who voices Belle, was among the first artists to express interest in recording the pop version of 'Beauty and the Beast', but Disney dismissed her for being 'too Broadway'. Unable to afford to hire a 'big singer' at the time, Disney settled for rising Canadian recording artist. Because she was relatively unknown to American audiences at the time, the studio doubted that Dion would have much of an impact in the United States on her own and subsequently hired the more well-known American singer to record the song alongside her as a. Disney contacted Dion's manager about having his client record 'Beauty and the Beast' while the singer was on tour in England. A fan of Dion's music, Menken personally wrote the singer a letter of approval.

Hailing from the French-Canadian province of Quebec, Dion had just begun to learn English. At first Dion was hesitant to commit to the project due to having just recently been fired from recording ', the theme song of the animated film (1991), in favor of American singer, who had previously experienced great success with her rendition of 'Somewhere Out There'. Ronstadt, who was producer 's first choice, only agreed to record 'Dreams to Dream' after hearing Dion's demo.

Devastated by her termination, Dion eventually agreed to record 'Beauty and the Beast' after listening to and being moved by Lansbury's performance. Meanwhile, Bryson became involved with the project via Senior Vice President Jay Landers, who was friends with President of Music Chris Montan at the time.

The song's instruments were recorded first at in California. The singers later quickly recorded their vocals at in New York over the, while mixing was completed at in Los Angeles. The song was released as the only single from the film's soundtrack, on which the song appears alongside Lansbury's version, on November 25, 1991. Composition [ ] The single is a pop ballad that lasts a total of four minutes and three seconds.

It begins in the key of at a moderately slow tempo of 72, before modulating to D major, then G major, and ending in E major. The orchestration of the 'conservatively-rendered pop song', as described by Filmtracks, includes an electric oboe, keyboard, synthesizer and acoustic guitar. Additionally, the song's ' instrumentation heavily relies on drums, an instrument that is noticeably absent from the remainder of the soundtrack.

According to Molly Lambert of, the track is 'a sweeping downtempo. Ballad' that evokes the 'early ’90s gossamer high-tech style', while Molly Horan of described it as a. According to the Chicago Tribune's Brad Webber, Dion and Bryson's vocals are 'resonant and multiflavored.' The opening line 'Tale as old as time' is preceded by Dion 'Ooh'. Similarities have been drawn between the song and 'Somewhere Out There' from the animated film An American Tail.

Reception [ ] Unlike Lansbury's original, the Dion-Bryson single has earned generally mixed reviews; critics generally voice their preference for Lansbury's version over Dion and Bryson's. Wrote that Dion's performance 'made many fans wish that she had been given it as a solo.' Arion Berger of praised Dion's vocals, describing 'Beauty and the Beast' as 'a perfect showcase for what she's best at.' Describing the duet as 'extremely effective,' 's Irving Tan lauded the single, writing, 'As the entirety of the film's poignancy is hinged on the chemistry between Bryson and Dion, having the pair pull their assignment off beautifully is ultimately a fantastic conclusion to events.' Jeff Benjamin of described the song as 'a fantastic duet.' However, the 's Brad Webber panned the rendition as a 'sickly sweet, by-the-book. ' that 'belie[s] [Dion's] talent', while 's Michael Cheang accused the single of being 'over-wrought.'

Critics have been vocal in their preference for Lansbury's rendition; while praising the film version, 's Andrew Unterberger dismissed the single as 'unbearably cloying.' Similarly, Kristian Lin of panned the single while complimenting Lansbury's version, advising audience members to 'Clear out of the theater before Celine Dion and Peabo Bryson butcher the title song over the end credits,' while 's Dan Caffrey felt that 'It’s a shame that the most globally known version of 'Beauty and the Beast' is the one sang by Celine Dion and Peabo Bryson as opposed to the one sung by' Lansbury. At the, 'Beauty and the Beast' won the award for. Additionally, the song was nominated for and, but lost both to 's '. In Canada, 'Beauty and the Beast' won a, beating Dion's own '. In 1993, 'Beauty and the Beast' also won an and for most performed song in the United States. Awarding the Dion-Bryson version an, ranked the song second in its article 'Counting Down the Top 10 in KIDS MUSIC!'

, while ranked it the fifth greatest cover of a Disney song. Included 'Beauty and the Beast' among Dion's 'Top five song lyrics or verses'. 'Beauty and the Beast' performed considerably well on charts around the world. The song peaked at number nine on the, becoming Dion's second top-ten hit on the chart after '. The song peaked at number three on the chart. In Canada, 'Beauty and the Beast' peaked at number two.

Outside of North America, the song peaked within the top ten in New Zealand and the United Kingdom, while peaking within the top twenty in Australia, Netherlands and Ireland. The song sold over a million copies worldwide. Music video [ ] Dion and Bryson's recording session at The Power Station was filmed and later interpolated with various scenes from the film in order to create a, was directed by Dominic Orlando. The video premiered on the, thus airing to an audience who was not accustomed to seeing animated characters appear in the midst of their regular programming. Live performances [ ] At the 1992 Oscars, Angela Lansbury, Celine Dion, and Peabo Bryson sang a composite of both versions from the film, backed by dancers dressed as Belle and the Beast. Celine and Peabo also duetted at the,,,,, and later that year.

The duo reunited in 1996 to perform the song for the television special Oprah in Disneyland, while Lansbury provided an encore performance at the 25th Anniversary screening of the film. Each of the 3 respective artists have performed the song in concerts later in their careers, outside the context of Disney's Beauty and the Beast.

For example, Lansbury sang it at the 2002 Christmas concert with Mormon Tabernacle Choir. Similarly, Dion and Bryson duetted at the JT Super Producers 94 tribute concert to David Foster, and as part of Dion's 1994-95, though they have also often sung with different duet partners. Dion has sung with,, Terry Bradford, Maurice Davis, Barnev Valsaint, and among others; Peabo has sung with and.

• • Ron Fair singles chronology ' (2017) ' Beauty and the Beast' (2017) ' (2017) ' (2017) ' Beauty and the Beast' (2017) ' (2017) singles chronology 'Penthouse Floor' (2016) Penthouse Floor2016 ' Beauty and the Beast' (2017) Beauty and the Beast2017 ' (2017) 2017 Music video on and covered 'Beauty and the Beast' for the 2017. The accompanying music video, directed by premiered on on March 5, 2017. In March 2017, arranged an orchestral cover of the song featuring cellist Armen Ksajikian to coincide with the release of the 2017 film. The success of 'Beauty and the Beast' established Canadian singer as an international recording artist. Continues to be best remembered for spawning the Dion-Bryson single, which established itself as an instant classic. The success of song is believed to have established Dion as a bankable recording artist. Before agreeing to record 'Beauty and the Beast', Dion had been fired from recording the theme song of An American Tail: Fievel Goes West in favor of the more well-known.

Although both singles were released around the same time, the success of Dion's song ultimately eclipsed Ronstadt's 'Dreams to Dream'. Referred to 'Beauty and the Beast' as Dion's 'real breakthrough into pop music stardom.'

According to, the song 'cemented her international success,' while wrote that the release of 'Beauty and the Beast' is when the singer truly went 'global.' In the wake of 'Beauty and the Beast's success, young fans who had not yet learned Dion's name would simply refer to her as 'Beauty and the Beast'. The commercial success of 'Beauty and the Beast' ultimately earned Dion a $10 million recording contract with; the song was then included on Dion's successful, serving as the record's 'cornerstone'. American musician was so moved by Dion's performance on 'Beauty and the Beast' after hearing it on the radio that he personally wrote a song for her to include on the album. According to, 'Beauty and the Beast' offered 'a glimpse at a forthcoming mega-movie song presence for Celine Dion.' Evidently, the singer has since recorded the theme songs of several films, including ' from (1993), ' from (1996) and finally her ' from (1997). 'Beauty and the Beast' has since appeared on several of Dion's, while the singer has returned to Disney as a to host various segments for certain Beauty and the Beast re-releases.

In addition to establishing Bryson as a mainstream recording artist, the singer has since returned to Disney on two separate occasions to record pop versions of ' and ', the theme songs of the animated films (1992) and (1997), respectively, both of which are duets. Although 'A Whole New World' was very successful, 'Beauty and the Beast' remains a larger hit for the singer.

Bryson also included 'Beauty and the Beast' on some of his compilation albums, including Through the Fire (1994) and (2000). Meanwhile, Afanasieff would go on to produce several Disney singles, including 'A Whole New World' from Aladdin, for which he reunited with Bryson, and ' from (1997). In 2004, Bryson was forced by the (IRS) to auction off several of his personal belongings in order to help repay the singer's $1.2 million tax dept, among them his Grammy Awards for 'Beauty and the Beast' and 'A Whole New World'. While the latter song's Grammy was purchased by a friend and gifted back to the singer, Bryson's Best Pop Performance by a Duo or Group with Vocals trophy for 'Beauty and the Beast' was ultimately sold to a stranger for $15,500. Both the song's film and single versions have been included on several compilation albums released by Disney, including (1992), (1995), (2004), (2006), (2006), and (2011). In 2005, actress and singer, a, included Lansbury's rendition of 'Beauty and the Beast' on her album Julie Andrews Selects Her Favorite Disney Songs, although she does not cover the song herself; the album is a simply compilation of Andrews' favourite Disney songs.

Parodies [ ]. The song has been parodied and referenced both visually and musically in many forms. This Beauty and King Dork sequence is from the pilot of The Critic. The of the animated TV series featured a minute-long 'musical lampoon' of the Beauty and the Beast ballroom sequence and song entitled 'Beauty and King Dork', written and composed by writer.

In the context of the episode, the unappealing protagonist Jay Sherman falls in love with a beautiful actress named Valerie, and this song is performed as they dance in his apartment where they are serenaded by a sentient vacuum cleaner and toilet. AnimatedViews deemed it 'a spot-on rendition' due to its use of singing furniture and 'lavish' CGI-animated backgrounds. Hollywood.com listed it in its article The Best Parodies of Disney Songs from Cartoons, writing ' It’s a quick one, but the inclusion of singing dust busters, a Mork and Mindy reference, and Jay Sherman’s attempts to cover up the embarrassing lyrics make for one of the best gags on the list.' It was TelevisionWithoutPity's 'favorite musical number' from the series. Slant Magazine saw it as a 'gut-busting parody'. CantStopTheMovies said the 'nice scene' was 'a bit crass' due to the singing toilet, yet had mostly 'pretty great' lyrics. In Disney's fantasy film (2007), the ballad ' serves as a 'deliberate' reference to both the song and scene.

Because director had always wanted to recreate the cinematography exhibited in Beauty and the Beast's ballroom sequence in live-action, an entire dance sequence was filmed to accommodate his vision. In addition to being composed by Alan Menken, one-half of 'Beauty and the Beast's songwriters, 'So Close' was arranged by Robbie Buchanan, who arranged the Dion-Bryson single. In a duet with, American singer impersonated Dion while performing 'Beauty and the Beast' live on the comedian's late-night talk show in 2015. M Magazine deemed it 'amazing', while 2DayFM said 'the singing is so good it gave me goosebumps'. SugarScape deemed it 'pretty hilarious and surprisingly pretty much spot on'. Billboard said the duo 'put their own spin' on the song, and that she 'nailed her Celine impression'. NineMSN called it a 'pitch-perfect rendition', while Access Hollywood said she belted out the song like a diva.

The ballroom sequence was parodied in an episode of. See also [ ].

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