(Note: some spoilers for the recently released film.)
Everyone who knows me knows I was looking forward to seeing Gaston in Beauty and the Beast (2017). I have often joked that my PhD thesis was inspired by Gaston’s biceps and it’s actually, absolutely true. I was really interested in how the transition from animation to stage production was achieved and Gaston’s sheer physicality in the animated feature made a great case study. I won’t deny that research was fun. I took Eisenstein’s theory of plasticity in animation and applied it to theatrical performance.
I felt confident about Luke Evans’ casting from the moment I saw him singing with Australia’s first Gaston, Hugh Jackman, on the Jonathan Ross Show. The big expressions and gestures? The physique? The deep voice? Check, check, check.
Jacqueline Durran retained Gaston’s colour palette for the film, particularly that explosive red (my PhD supervisor was in stitches when he noticed I’d written that the colours of Gaston’s costume detonated strength and violence). The transition from animation is particularly successful. Stage productions replicated the cartoonish appearance of Gaston’s wardrobe with its bright, bright reds and yellows, and even added a little extra definition to pectoral and stomach muscles with some judicious padding and painting. Durran’s costume for Gaston is earthier and more wearable, so to speak. The suggestion of the military about his frock coats and the loose linen shirts shift attention from his physical to his sartorial display, which works just as well for the character. He remains larger than life without pumping up his biceps to rival Popeye’s.
It’s difficult to pin down why Gaston is such an attractive figure, despite being completely awful, malicious, and terrifying. I remember speaking to one actor who had played Gaston and he professed to being very confused about the women who gathered at the stage door to see him! Yet, there it is. Indeed, recently Gaston proved a hit at Disney World, as reported by GQ. And on io9, Katharine Trendacosta argued for a Gaston prequel: “It wasn’t exactly that Gaston had depth so much as he walked a line of menacing and hilarious that just worked.” Emily Asher-Perrin on Tor.com further reflects: “Luke Evans gives a fantastic turn as Gaston, but it isn’t merely his performance that stands out—it is that manner in which the script addresses Gaston’s toxic masculinity with far defter strokes that its predecessor. Gaston isn’t just some big burly alpha male who gets what he wants with the application of muscle and bullheadedness; the film reveals this construction to be a lie, and instead chooses to focus on how men like Gaston truly operate in the world.” Perhaps it’s that latter point that makes him all the more chilling. The film, while allowing us to laugh at his brazen narcissism, also offered us the opportunity to baulk at his malice and manipulation. The film went deeper into his villainy by showing how it operated in the community itself. This was no solo-villain, living on the fringes of society like a Maleficent or Ursula or Scar. This is a villain in complete command of the populace and they love him, even as he despises them.
The truly terrifying aspect of Gaston is perhaps that I realise I’m fascinated by him too.