You know the scene. Belle is wearing that pink winter cloak. The Beast is trying—bless him—to feed birds without scaring them into the next kingdom. It’s "Something There," and honestly, it’s the only reason the rest of the movie even works.
Most people focus on the title track. They want the yellow dress. They want the ballroom. They want Angela Lansbury’s soothing voice making them cry over a teapot. But if you skip over Something There Beauty and the Beast, you’re missing the actual turning point where these two weirdos stop being captor and captive and start being, well, people. It’s the pivot. Without it, the romance feels rushed and, frankly, a bit creepy. With it? It’s a masterclass in musical storytelling.
Howard Ashman and Alan Menken were geniuses. No debate there. But "Something There" was their secret weapon for fixing a massive plot problem: how do you make a girl fall for a guy who literally threw her father in a dungeon? You do it through a montage and some really clever internal monologue.
The Lyricism That Saved the Plot
Let’s talk about the structure. It’s not a duet in the traditional sense. It’s a series of "thought-songs." Belle is thinking to herself. The Beast is thinking to himself. They aren't even talking to each other for most of it. That’s a huge distinction.
When Belle sings, "New and a bit alarming / Who’d have ever thought that this could be?" she’s acknowledging her own confusion. She isn't just "falling in love." She’s surprised by it. It’s self-aware. That’s what makes it human. The Beast’s lines are even better because they show his total lack of confidence. "And when we touched / She didn't shudder at my paw." It’s heartbreaking. He’s a monster who expects to be feared, and for the first time, he isn't.
If you look at the original 1991 production notes, this song was a late addition. Early versions of the film struggled with the transition. The jump from "get out or starve" to "let's dance in a ballroom" was too jarring. Ashman knew they needed a bridge. He needed to show the passage of time. Snow falls. The seasons change. Their relationship thaws. It’s a literal and metaphorical winter melting away.
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The Animation of the "Something There" Sequence
The animation in this specific sequence is surprisingly subtle for a 90s Disney flick. Look at the Beast’s eyes. This is where the animators, led by Glen Keane, really leaned into the "human trapped in a beast" aesthetic. During Something There Beauty and the Beast, he isn't snarling. He’s shy. He’s awkward.
Remember the soup scene? It’s not in the song technically, but it’s part of that mid-movie development. He can't use a spoon. Belle doesn't mock him. She just picks up her bowl and drinks. That’s empathy. The song provides the emotional soundtrack to these small, domestic moments that build a foundation. You can’t build a house on a ballroom dance; you build it on how you treat someone at breakfast.
Why the Live-Action Version Felt Different
In the 2017 remake with Emma Watson and Dan Stevens, they kept the song, obviously. You can't cut it. But the energy changed. Some fans argued that the CGI Beast made it harder to feel the "shudder" he sings about. In hand-drawn animation, you can exaggerate a wince or a sparkle in the eye. In photorealistic CGI, it’s a bit stiffer.
Still, the 2017 version added a bit more dialogue around the song, trying to ground it in their shared love of books. It’s a nice touch. It gives them more common ground than just "we both live in this castle." But the 1991 version remains the gold standard because of the vocal performances. Paige O’Hara has this Broadway clarity that makes every realization feel like a lightbulb going off.
The Psychological "Thaw"
Psychologically, this song handles the "Stockholm Syndrome" criticism that people love to throw at this movie. Is it Stockholm? Probably not, mostly because Belle constantly challenges him. In "Something There," we see the power dynamic shift. She isn't submissive. She’s observant.
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- She notices his change in demeanor first.
- She initiates the kindness.
- She leads the interaction with the birds.
The Beast is the one following her lead. This is vital. For a healthy relationship to form out of a toxic beginning, the "oppressor" has to give up power. We see him doing that here. He’s vulnerable. He’s scared of her rejection.
Facts About the Recording
Did you know Robby Benson (the voice of the Beast) actually sang his parts with a specific softness to contrast his earlier yelling? He wanted to sound like a teenager on a first date. It’s adorable.
Also, the song is incredibly short. It’s barely over two minutes. Yet, it does more heavy lifting for the character development than the seven-minute "Be Our Guest" spectacle. It’s the difference between a "show" and a "story." One is for the audience; the other is for the characters.
The Legacy of the Mid-Movie Montage
Disney tried to replicate this "love-growing" montage formula dozens of times afterward. Think about "I See the Light" in Tangled or even parts of Frozen. But they usually happen when the couple already likes each other. Something There Beauty and the Beast is unique because it starts while they are still basically strangers who don't like each other very much.
It’s the "enemies to friends to lovers" trope executed perfectly in 120 seconds.
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If you’re a songwriter or a storyteller, study this track. Notice how the melody is playful. It’s bouncy. It’s light. It contrasts with the dark, heavy "prologue" music we heard at the start of the film. The musical palette is literally changing to reflect the Beast’s soul.
Actionable Takeaways for Fans and Creators
If you're revisiting the movie or writing your own stories, keep these points in mind regarding character arcs:
- Look for the "Pivot" Moment. In any great story, there is a specific moment where the "status quo" breaks. In Beauty and the Beast, it isn't the wolf attack; it's the morning after. It's the moment in this song where they stop looking at what the other is and start looking at who they are.
- Internal Monologue Matters. If you're writing, don't just show characters talking. Show them thinking. The most relatable parts of "Something There" are the private thoughts Belle and the Beast have.
- The Environment is a Character. Notice how the snow plays a role. It’s cold, but they are outside. They are leaving the cramped, dark rooms of the castle. Use your setting to mirror the emotional state of your characters.
- Simplicity Wins. You don't need a 50-piece orchestra and a thousand backup dancers to show love. You need a bird, a bit of bread, and a realization that someone isn't as mean as you thought they were.
The next time you watch the movie, pay attention to the transition from the end of this song to the "Beauty and the Beast" ballroom scene. It’s a seamless handoff. The "Something There" sequence ends with the household objects (Lumiere, Cogsworth, Mrs. Potts) singing about hope. They are the audience's proxy. We want it to work because they want it to work.
Honestly, the movie should probably be titled "The Thaw." But I guess Beauty and the Beast sells more lunchboxes.
To really appreciate the craft, go back and listen to the demo tracks if you can find them. Howard Ashman’s vocal demos are legendary. He performed every part—including Belle’s—with such specific emotional intent that the actors basically just had to follow his lead. He knew that this song was the heartbeat of the film. Without it, the Beast is just a guy in a suit, and Belle is just a girl who stayed too long. With it, they’re a classic.
Check out the original 1991 soundtrack on high-quality headphones. Listen for the harpsichord and the light woodwinds. They disappear later in the film when things get more dramatic and operatic. It’s a fleeting, beautiful moment of peace before the tragedy of the third act hits.
If you want to dive deeper into the history of Disney's Renaissance, look up the documentary Waking Sleeping Beauty. It covers the tension and the brilliance of this era, and you'll see exactly where "Something There" fits into the desperate timeline of a studio trying to save itself from irrelevance. Spoiler: it worked.