I Don’t Know Why, But Snow White Is Totally About Lefty Infighting

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I find it challenging to evaluate these live-action Disney remakes objectively since the expectations are so low, and they seem to cater to a different set of standards compared to typical films. For instance, “Snow White” is not particularly bad but also falls short of being good. Compared to 2019’s “Aladdin,” which was terrible yet still made a billion dollars, it’s relatively better. However, the film is visually unattractive and filled with new songs by Pasek and Paul that are as bland and unexciting as pebbles. Whether these elements matter to its intended audience, who might base their viewing decision on social media backlash, remains uncertain. Nevertheless, there’s a certain charm in finally seeing the film after all the cultural debates leading up to its release, which resemble a stormy red carpet, and finding that it revolves around left-wing disputes.

The issues with the recent adaptation of “Snow White,” helmed by Marc Webb, who previously directed “The Amazing Spider-Man,” and written by Erin Cressida Wilson, author of “The Girl on the Train,” are not primarily Rachel Zegler’s fault. Despite the studio’s attempts to position her as a damsel in distress, she delivers a compelling performance as Snow White, interacting convincingly with CGI creatures and powerfully singing the new “I Wish” song, which is prominently featured throughout the film due to its title, “Waiting on a Wish.”

However, Zegler’s portrayal of the classic fairy tale character feels somewhat at odds with the context of the movie. In this version, Snow White is more of a hesitant liberal, struggling to find a way to resist the fascist takeover of her kingdom by her stepmother, the Evil Queen, played by Gal Gadot in an ostentatious wimple and delivering a performance so stiff it borders on being intentionally over-the-top.

The king, Snow White’s father, is absent, his fate unknown, and she spends much of her time inside the castle, worrying about the suffering of her subjects outside. Snow White seems to yearn for the idealized era of Obama’s/her father’s rule, when they would bake apple pies so that the common folk could taste a bit of luxury, and cannot imagine how to fight against the Queen, who may be glamorous but also gained power through traditional means (marriage and sorcery). In essence, Snow White is depicted as an institutionalist, which is perhaps fitting for a princess, unable to envision a way to challenge the status quo.

In a fresh reimagining of the classic tale, I, as a movie critic, find myself drawn into the world of Snow White, a character who surprisingly shuns violence and displays an unusual concern for property considering her future actions. Here, my beloved Jonathan (Andrew Burnap) is not a prince but a rebellious leader of forest bandits, reminiscent of Robin Hood’s Merry Men. The plot shift results in the omission of the original animated version’s iconic tune “Someday My Prince Will Come,” replaced by a new number where Jonathan playfully teases Snow White about her “princess problems.”
This updated story presents a familiar narrative: a sheltered Ivy League girl encounters a roguish, anti-establishment figure, who resides with an eclectic group of roommates. Through this relationship, Snow White is challenged and eventually radicalized by his criticisms of her privilege. As the story unfolds, she endeavors to forge alliances among an unconventional group that includes her seven hosts, whom I choose not to delve into as a larger political allegory due to their being somewhat… let’s just say they resemble garden gnomes brought to life but still maintaining their shiny, shellacked appearance. In this tale, Snow White appeals to her quarrelsome potential allies as the malevolent Queen seeks to sow discord among them while she lounges in her throne room, indulging in caviar and undoubtedly receiving cosmetic enhancements from her in-castle aesthetician off-screen.

In 1937, Disney’s release of “Snow White and the Seven Dwarfs” was groundbreaking, marking the debut of the first U.S. feature animation. This film not only attracted audiences but sparked a love for full-length animated movies that has since become a staple of Disney entertainment, encompassing rides, merchandise, and Broadway productions. Today, 88 years later, Disney continues to explore this genre, often revisiting its own previous works rather than original stories.

Originating from the early animation era, “Snow White” drew inspiration from both the humor-centric shorts of the time and the Brothers Grimm fairy tales. As a creation of Disney, which for decades has been striving to embody the spirit of the times albeit with the grace of an aging titan, the film is a blend of excellence and flaws. The recent removal of a trans storyline from a Pixar series serves as a reminder that this company can sometimes trip over its progressive aspirations.

The humor in “Snow White” arises from its anachronistic choices, which seem remarkably contemporary, though whether this was intentional or not is debatable. The film’s plastic sets and garish costumes give it a theme park feel, making adaptations unnecessary.

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2025-03-19 23:54