Critical response Belle has received mostly positive reviews from film critics, who praised her bravery, intelligence, independence, and maturity. Journalist
Janet Maslin said that by deviating from the film's source material, Disney created "a conspicuously better role model than the marriage-minded Disney heroines of the past". Similarly,
Utah State University assistant professor Claudia Schwabe said that Disney produced a "uniquely modern heroine" who is curious, feisty, and intellectual by changing Beaumont's heroine, who by contrast struggles with an "initial inability to see beyond appearances". Jennie Punter of
The Globe and Mail described Belle as a "smart, courageous ... 'take-charge kind of gal'", and the film's "main attraction". Martin F. Kohn of the
Detroit Free Press called her a "wonderful lead character". Both Emma Cochrane of
Empire and Annlee Ellingson of
Paste complimented the character's feminism, with the former calling Belle "more rounded than previous Disney characters". According to film critic
Stephen Hunter, Belle is "no passive fairy tale princess, but a real live girl, with a spunky personality and her own private agenda". A reviewer for
TV Guide thought the film's plot was improved by Belle's bravery, confidence, and independence, which
About.com's David Nusair called "nothing short of admirable". Journalist
Marc Bernardin deemed Belle "the hero" of
Beauty and the Beast, which he also described as the best of Disney's princess films. Bob Hoose of
Plugged In called her inspiring for being willing to set her dreams aside to protect her father, and associate professor Sarah Coyne said Belle's sacrifice allows parents and children to "focus more on her bravery ... as opposed to glitter and the glam" of a warrior-type princess. Many critics praised Belle as a departure from previous Disney princess characters, noting that she avoided some of the negative tropes associated with her predecessors. ''
Entertainment Weekly's'' Christian Blauvelt said, "Unlike previous Disney heroines who needed to be rescued by a prince themselves, Belle not only saves the Beast's life, she saves his soul".
AllMovie's Don Kaye and Perry Seibert echoed each other's reviews, with the latter calling Belle a "strong female character" who "sidesteps most of the clichés surrounding Disney heroines".
Common Sense Media hailed Belle as a positive role model and "one of Disney's smartest, most independent heroines". Journalist
Jennifer Roback Morse said Belle's appeal had never relied on her "embodiment of some new feminist protagonist", but rather her kindness, faithfulness, and selflessness, "the same reasons we have always loved our heroines". In
The Washington Post, linguist Carmen Fought said that, like
The Little Mermaid, critics deemed
Beauty and the Beast superior to other princess films of the time period because "They have 'active women who get things done'". Several critics preferred Belle over Ariel, her immediate predecessor. Film critic
Hal Hinson described Belle as a "compelling" character who he found "more mature, more womanly and less blandly
asexual" than the mermaid. John Hartl of
The Seattle Times said
Beauty and the Beast avoids
déjà vu by making Belle a "more poignant" heroine. Critics also praised O'Hara's performance.
The Star-Ledger's Stephen Whitty enjoyed O'Hara's "pretty
soprano". Hartl said she "does a spirited job of investing the character with warmth, intuition and maturity", while the
Sun-Sentinel's Candice Russel felt she "does a good job of creating Belle as intellectual, wisely feminine and disarmed by the stirrings of her heart". One of the character's few negative reviews was written by Ethan Alter of
Television Without Pity, who felt what agency Belle had was compromised by her "maternalistic streak" towards both the Beast and Maurice. Meanwhile, journalist
Tom Brook said despite her strong will, she loses some of her own identity once she "starts seeing the world from the perspective of the beast".
Feminist analysis Disney has marketed Belle as a feminist since 1991, which authors Timothy B. Cargal and Claudia Mitchell believe embodies the studio's initiative to update their heroines to reflect timely
social concepts such as
third-wave feminism and
girl power. Most critics and advocates initially applauded Disney's efforts to position Belle as more feminist than her predecessors by promoting her intelligence and courage, Hayden Manders of
Nylon dubbed her "the internet's favorite feminist princess". According to Constance Grady of
Vox, Belle's agency is a key reason critics argue that she is an empowered feminist.
feminist scholars have long debated and reevaluated the character's feminist qualifications. Daniel Wayland of
The Brown Daily Herald reported that, since 1991, Belle has been a contentious topic among feminist scholars, some of whom argue that her personality is not truly representative of empowerment, but rather a superficial marker that merely implies agency. Some critics have contested that she is hardly shown reading during the film and found her literary interests limited to fiction, fairy tales, and fantasy. Alfonso Pizano of
The Jesuit Post said that despite the studio's intentions, Belle doesn't fully reach her potential, as she is depicted primarily reading romances, has vague aspirations, and continues to exhibit some familiar Disney princess tropes.
Jezebel acknowledged that Belle is often regarded "as the standard of the 'feminist' Disney princess", but questioned why her actions are afforded more grace than Ariel's. Interpretations of Belle's role have been widely debated, with opinions remaining divided. While the animated film was initially praised for featuring a progressive feminist lead, some critics argue that, despite Belle's resistance to Gaston, the story is ultimately about her seeking an "ideal man". Michelle Ruiz of
Vogue and Manders noted that despite her intelligence and independence, Belle still settles down with a prince in a castle, like other Disney princesses. Judith Welikala of
The Independent commended Belle for seeing beyond the Beast's appearance but argued that she reverts to
domesticity once he becomes a prince. Andrew Teverson, author of
Fairy Tale, and Phyllis Frus, author of
Beyond Adaptation, considered Belle a response to feminist critiques of earlier Disney heroines, but criticized her curiosity as defined by romance. In
Refinery29's "Definitive Ranking of Disney Princesses as Feminist Role Models", Vanessa Golembewski ranked Belle eighth, calling her ambitions "confusing". Claire Fallon of
HuffPost noted that, in hindsight, Belle no longer seems as independent compared to newer heroines, but she laid the groundwork for stronger female leads. Writer
Mayukh Sen criticized the film's polished aesthetic for limiting the portrayal of Belle as a more compelling feminist figure and suggested that Woolverton's original vision for the character, which he believed was compromised by creative conflicts, might have better portrayed Belle as a more complex feminist. Feminist discourse surrounding Belle was revived by the
2017 live-action remake, Melanie Hamlett of
Paste observed that the film's major male characters either seek to control, imprison, or be saved by Belle. Writing for the
University of Central Florida, Faith Dickens argued that Belle's character development is overshadowed by the Beast's struggles, with her passion for adventure giving way to romance. Anna E. Altmann, author of
Tales, Then and Now: More Folktales as Literary Fictions for Young Adults, found Belle's relationships with both the Beast and Maurice to be overly motherly. Similarly, writer
Kit Steinkellner expressed concern about "abusive undercurrents" in Belle and the Beast's relationship, despite her proactive nature. Over time, some critics have argued that Belle exhibits
Stockholm syndrome, suggesting that she develops feelings for the Beast while being held captive. Writers for
Mother Jones called Belle "a near-perfect heroine", if not for the Stockholm syndrome, abuse, and kidnapping allegations, as well as
double standards perpetuating "that girls are often taught to fall in love with men for who they are and not how they look, while men in Disney movies (and beyond) so often fall in love with women because of their beauty". Woolverton refuted this interpretation, stating that Belle's love and kindness lead to the Beast's transformation without compromising her own identity. Chapman also defended the character, saying that their only intention had been to create a heroine who saves her father and just happens to reform a beastly character, as opposed to what some interpret as "an abused woman hanging out with her abusive captor". Ultimately, Ochberg described Belle as brave, courageous, and "a nice heroic story from a feminist point of view". Discussing Belle's mixed reception, Rebecca Farley of
Refinery29 described her as "the Disney princess we all love to hate", noting that some of her actions have been viewed as questionable. However, she also regarded Belle as a compelling heroine due to her unconventional nature. Additionally, Belle has been criticized for being portrayed in isolation from other strong female characters, which some argue suggests that she is "the only worthwhile woman around". == Cultural impact ==