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ACROSS
1 Negative
attention from the
press, briefly
6 Deep-voiced
opera singer
11 “I knew it!”
14 Blazing
15 Gossip spreader
16 Abu Dhabi is its
cap.
17 Change one’s
route to avoid
heavy traffic, say
19 Org. for
marksmen
20 “You __ here”
21 Pipe-cleaning
brand
22 Composer
Stravinsky
23 Likely successor
to the throne
26 Magnificent
29 Epps of “House”
30 Have no doubt
31 Fabulist
mentioned by
Aristotle
34 Soda
37 “You’re confusing
me”
41 Capitol Hill fig.
42 Quarrel
43 Machu Picchu
resident
44 “Me neither!”
46 Sacred river of
India
48 Sprained ankle,
often
53 “Peter Pan” beast
54 Safe place?
55 Help in finding
the hidden
treasure
58 Kept under wraps
59 Climactic show
ending, and a
literal hint to this
puzzle’s circled
letters
62 Blanc who voiced
Bugs
63 “__ bet?”
64 Kind of panel or
system
65 Keats work
66 Annual
celebrations, for
short
67 Plot surprise
DOWN
1 The Crimson
Tide, familiarly
2 In the distance
3 Storied water
barrier
4 Ante-
5 Page turner
6 Way to play
music if you can’t
read it
7 Insurance giant
8 Busybody
9 Good name for a
lover of hearty
meals
10 Paddle
11 Gut feeling at
dinner time?
12 Packers
quarterback
Rodgers
13 EKG organ
18 Smidgen
22 Nest egg
acronym
23 Previously cut, as
timber
24 Penniless
25 Gig equipment
26 Decide not to go
to
27 Loosen, as a knot
28 Cylindrical water
toy
31 Director Lee
32 School URL
ending
33 “Comprende?”
35 Fairy tale starter
36 High-tech appt.
books
38 Sharp-tasting
39 “Exodus” author
Leon
40 Minuscule
45 Tolkien beast
46 __ of Mexico
47 Whistler, but not
his mother
48 Blockhead
49 Jimmied (open)
50 The first Mrs.
Trump
51 Mary Poppins, e.g.
52 Biblical betrayer
55 Timbuktu’s
country
56 “__, poor
Yorick!”: Hamlet
57 Cheeky
59 Pres. #43
60 “Cool!”
61 “Immediately!”
By Bruce Haight
©2017 Tribune Content Agency, LLC
03/20/17
03/20/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Monday, March 20, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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‘Beauty and the Beast’
is magical and relevant
WALT DISNEY
Emma Watson stars as Belle in Disney’s ‘Beauty an d the Beast.’
Disney brings classic fairytale to life and introduces a modern
twist to the beloved tale of love loss, inner beauty and adventure
Magical is the first word
that comes to mind when
describing Disney’s latest live-
action princess movie remake.
“Beauty
and
the
Beast”
captivates
young
audiences
with its stunning effects and
scenery while respecting the
story adults know and love
with a more nuanced punch
than the original. The sets are
incredible, from the bourgeois
palace dripping with golden
decadence to the tiny little
village, bursting at the seams
with boisterous bakers, frugal
farmers
and
mini
Marie
Antoinettes. Alliteration aside,
“Beauty and the Beast” brings
every child’s storybook hero
to life beyond the flatness of
animation into the real-life
fantasy of live-action.
Our story begins in France,
at a “Phantom of the Opera”
style masquerade, completely
decked
out
with
towering
white
wigs,
extravagant
gowns
and
Stanley
Tucci
(“Hunger Games”) playing the
Harpsicord. We know what
happens next: The handsome,
selfish prince is turned into a
monstrous beast by a sorceress
who vows he will stay that
way
until
he
learns
how
to
love
another
person.
Days
turn into years
and
the
once
lively,
vibrant
palace turns into
a
lonely,
gray
and
decrepit
wasteland.
We
then turn to Belle
(the
brilliant
Emma
Watson,
“Harry Potter”),
who
wanders
her little town
in search of something less
“provincial.” Belle’s beloved
father
Maurice,
played
by
the always exceptional Kevin
Kline
(“The
Big
Chill”),
takes off for the market but
gets lost on his way, ending
a tumultuous journey at the
Beast’s
abandoned
castle.
When Maurice’s horse returns
to Belle alone, she takes charge
and goes after her father, who
has been taken captive by the
Beast. In an act of fearlessness,
Belle takes her father’s place as
the Beast’s prisoner. While she
is a prisoner, Belle never lets
herself become a victim. She is
strong-willed and poised, and
has no problem saying “No.”
Belle
befriends
the
household
staff-turned-
magical
objects
whose
performance of “Be Our Guest”
is as mesmerizing as it is
entertaining. The all-star cast
of enchanted housewares put
personality and style into their
animated inanimate personas.
Ewan McGregor’s (“Big Fish”)
Lumiere and Ian McKellen’s
(“Lord
of
the
Rings”)
Cogsworth
are
charming
and full of clever
banter.
Also,
Emma
Thompson
(“Love
Actually”)
is
the
perfect
combination
of
stubborn
and
caring
as
Mrs.
Pots.
Slowly
but
surely,
something
that wasn’t there
before
begins
to
take place between
Belle
and
the
Beast. Dan Stevens (“Downton
Abbey”) as the Beast is easy
to anger, but intelligent and
caring. The beastly friendship
takes form over conversations
about poetry and literature,
bonding over similar tastes in
table manners, and a hilarious
snowball
fight.
Meanwhile,
in the village, Luke Evans
(“Dracula”) as Gaston and
his trusted partner Le Fou
(“Frozen” ’s Josh Gad), put
on a delightful performance
in the local pub. The scene
is lively fun, complete with
a tabletop tap number and
Gad’s recognizable vocals that
couldn’t help but evoke his
animated alter ego, Olaf the
snowman.
We all know
how
it
ends;
there is a dance
(it’s
stunning)
and
a
fight
(it’s scary) and
suspense
and
tears
and
the
final petal, and
then
happily
ever after. While
the story is easily
summarized and
not at all new,
it still manages
to
absorb
the
audience. Belle is reminiscent of
Disney’s original Princess, but
more empowered than her 1991
counterpart. Watson’s Belle is
not simply the bookish daughter
of a kooky inventor, rather
an inventor in her own right.
She is confident; not naive,
complex, not simple. The Beast
is not simply an angry loner,
but a victim of bad parenting
and high society. The Beast
is brought to life even more
with the computer graphics
that make him, at times, more
human than beast. Le Fou is
not simply a blind follower of
Gaston, but a man in love with
a man in love with himself. Gad
perfectly
captures
Disney’s
first foray into representing a
gay character on screen with
his remarkable performance
and subtle hints at his love
for Gaston. As for Gaston, his
character is the classic example
of villainous incitement. He
riles up the town to destroy
anything that threatens their
sameness.
Overall, “Beauty and the
Beast”
is
an
enchanting
experience that will please
children
and
adults
alike.
The
film
is
able to capture
the
fantasy
of
the
story,
the whimsy of
the
cartoon,
all
the
while
addressing
topics
of
empowerment,
diversity
and
sexuality.
“Beauty and the Beast” proves
its worth as a tale as old as time,
and it is certainly worth yours.
‘Swimming’ stirs heavy
questions within readers
Claire Fuller keeps readers on their toes in sophomore novel
Claire
Fuller’s
second
novel, “Swimming Lessons,”
begins with famous author Gil
Coleman seeing his dead wife
outside a bookstore. He follows
her until she disappears, leaving
him to wonder if it was actually
her, or just a hallucination due
to his age and failing health.
Either way, Gil spends the rest
of the book trying to catch up
to her.
Ingrid had gone missing
twelve years earlier, when her
daughters, Flora and Nan, were
still children. After swimming
in the lake near their house
everyday
for
years,
Ingrid
allegedly drowned one day.
They never found her body.
After Gil takes a fall, he tells
his daughters that he’s seen
their mother. The older, more
sensible Nan, now working as
a nurse, doesn’t pay him any
mind. But the rambunctious and
bohemian
younger
daughter
Flora seems to have always held
onto the hope that her mother
was alive. From the start, Gil
and Flora have an optimistic
hope regarding her mother’s
disappearance that Nan does
not. Following this hope, Flora
and Nan move back into their
father’s house to take care of
him.
When Gil returns from that
fateful day at the bookstore,
the novel shifts form from the
third person perspective of he
and Flora’s narratives, to the
epistolary first person narrative
of Ingrid. Before disappearing,
Ingrid hid letters to her husband
in the multitudes of books that
line the house like wallpaper.
Ingrid adds insight to her
letters through the books she
chooses to hide them, whether
it’s “The Great Gatsby” or “The
Swimming Pool-Library.” It’s in
the letters that the reader gets
to know Ingrid, who despite her
absence, is the most interesting
and developed character of the
book.
The different sections are
marked not only by the forms,
but also by the personalities of
the characters. Flora’s chapters
ground us in the present, but
in her dreamy, open version
of the present. In her endless
belief that her mother could
be alive, Flora epitomizes the
danger of hope. For twelve
years, she’s been tied to a
ghost, an intangible mother
figure constantly slipping away.
Flora’s
elusive
hold on the reality
felt
by
others
manifests in her
synesthesia,
her
ability to smell
color.
The
novel
relies on Ingrid’s
accounts of the
past through her
letters. By reading
her urgent but ancient words,
Ingrid comes alive to both the
reader and to Gil. The letters
follow a young Ingrid through
her fall from grace into love
with Gil, her professor at the
time. We meet Gil, the real
Gil, not the decrepit Gil of the
present, who lectures fiercely
and shares his beliefs about
what it means to be a writer.
During one of their classes,
Gil tells Ingrid and her peers:
“Forget
that
first-edition,
signed-by-the-author nonsense.
Fiction is about readers. Without
readers there is no point in
books, and therefore they are
as important as the author,
perhaps more important. But
often the only way to see what a
reader thought, how they lived
when they were reading, is to
examine what they left behind.”
By weaving reader-response
theory into a novel, Fuller
forces the reader to examine
how they’re interacting with
the text, the character and the
setting while they read. Through
Gil, the impetus is placed upon
the reader to truly interact,
engage and find the nuance
in each character and every
choice made. As the letters and
their relationship progresses,
children are reluctantly born
and things settle, and we begin
to understand why Ingrid might
have left, like Flora thinks.
In her letters, Ingrid defies
all expectations and becomes
a nuanced, complex woman.
Ingrid
preemptively
begins
her adult life with Gil, who is
twenty years older than she
is,
marrying
at
twenty-one
and
starting
her
family.
Fuller makes it
incredibly easy to
feel all of Ingrid’s
aches
—
her
dissatisfaction
with her life, her
hardships
and
displeasure with
motherhood. Ingrid holds her
family together, even in her
absence, through the secrets
and the conditional love she
leaves in her wake.
Secrets and mystery, even
more than the dysfunction
of the family, prove to be
the backbone of “Swimming
Lessons.” The impulsive and
selfish actions of the characters
sometimes seem odd, until
the value system of the world
is recognized. In “Swimming
Lessons,” to have a secret or to
have an experience to yourself,
is to have power. It is to have a
story. Gil himself at one point
explains the prioritization that
drives the novel.
“Secret truths ... are the
lifeblood of a writer,” Gil says.
“Your memories and your own
secrets. Forget plot, character,
structure; if you’re going to
call yourself a writer, you need
to stick your hand in the mire
up to the wrist, the elbow, the
shoulder and drag out your
darkest, most private truth.”
REBECCA LERNER
Managing Editor
REBECCA PORTMAN
Daily Arts Writer
BOOK REVIEW
‘Beauty and
the Beast’
Walt Disney
Studios Motion
Pictures
Rave Cinemas,
Goodrich Quality 16
Our story begins
in France, at a
“Phantom of
the Opera” style
masquerade
‘Swimming
Lessons’
Claire Fuller
February 7, 2017
Tin House Books
FILM REVIEW