Despite the chaos in the real world, you’d expect less controversy surrounding movies like “Snow White” than the pre-release debates that have arisen. However, I must admit that this live-action adaptation of a Disney animated film is among the better ones, even for someone who generally dislikes them. Yes, I’ve appreciated a few (“Cinderella,” “The Lion King”). In essence, I still struggle to understand the concept of Disney reworking their animated intellectual property – not because I find anything particularly appealing about turning beautiful fairy-tale animations into less enchanting real-life counterparts. The remakes are mainly selling the theme park excitement of transformation: “See what an animated classic looks like with sets and actors!
Despite common expectations, the lively, romantic-yet-appropriate “Snow White,” directed by Marc Webber (“The Amazing Spider-Man,” “500 Days of Summer”), and written by Erin Cressida Wilson (“The Girl on the Train”), stands out as a departure from traditional Disney live-action remakes. Unlike heavier, plodding films such as “Alice in Wonderland,” “Beauty and the Beast,” “Dumbo” or “Mulan,” this production is more playful, less weighted down. Rachel Zegler portrays Snow White with an alluring charm, while Gal Gadot, playing the Evil Queen, exudes a divine wrath in her dark purple costume (stained-glass crown, sharp-as-nails appearance, matching black lips and eyes), reminiscent of the angriest dominatrix. Although I would have preferred a more operatic vocal performance from Gadot, she still delivers a stylishly intense villainous character.
In this discussion, we’ll tackle the debated issues, which surprisingly ignite from contrasting ideologies across the cultural-political landscape. The choice of Rachel Zegler, an actress with Latin roots, to portray Snow White, a character traditionally named for her pale complexion, has been questioned. However, even asking this question suggests a thought that is not only racist but also preposterous. To put it simply, no, there’s no problem with it. (In the upcoming film, our heroine’s name is derived from the snowstorm that occurred on the night of her birth.)
As a devoted cinema enthusiast, I can’t help but ponder over the intriguing twist in the classic tale of Snow White: instead of stumbling upon seven grumpy dwarfs, she finds herself protected by a group of 249-year-old, bearded men of short stature living in less than ideal conditions. Now, I understand Peter Dinklage’s concern about this portrayal being stereotypical and outdated, as it might seem to perpetuate certain stereotypes. Yet, if we were to apply the same critique consistently, then “The Wizard of Oz” could be considered a transgression against humanity. In the modern retelling of Snow White, however, the term “dwarf” is avoided, and the CGI characters appear no more questionable or realistic than hobbits.
Instead of focusing on Zegler’s critique of Disney’s 1937 “Snow White,” which is often considered the most enchanting and beautiful of Disney’s animated features, Zegler expressed concern about the emphasis in the original film on Snow White’s romantic relationship with a character who can be perceived as stalking her. This suggests that the upcoming version of “Snow White” might omit or redefine this aspect of the story, potentially also altering the classic fairy-tale’s matte work. However, one may question whether “Snow White,” being primarily a love story, could be truly understood without it.
Indeed, the romantic tale in this retelling remains quite intact, albeit with an unexpected twist. The traditional prince figure has been replaced by a ruggedly charming rogue named Jonathan (Andrew Burnap). It’s Snow White who first crosses paths with him as he attempts to pilfer potatoes from the castle kitchen. Their flirtation bears a striking resemblance to the romantic dynamics in Disney’s “Frozen,” where love grapples with the allure of personal growth. I must admit, it was intriguing to see the absence of the classic song “Someday My Prince Will Come” from this modern adaptation. While it makes sense given the prince’s non-existence in the story, losing such a timeless tune is certainly felt. The original version’s enchanting melody and magical atmosphere are notably absent in the new take on Snow White.
However, our protagonist’s emotional odyssey continues to pulse with life, just as the tale maintains its captivating blend of wide-eyed charm and ominous undertones. For instance, the intricate bond between the Evil Queen and her Magic Mirror serves as a reflection of her malevolent narcissism, while our heroine, after her loving mother, the Good Queen (Lorena Andrea), passes away and her father, the Good King (Hadley Fraser), is called to war from which he never returns, finds herself in servitude much like Cinderella. Yet, it’s amidst her seven lively woodland companions that she uncovers her true identity.
Featuring lively characters with amusing, textured clay-like visages, these CGI gnomes breathe life into the film, be it the pedantic yet whimsical Doc (Jeremy Swift’s voice), the contemplative Grumpy (Martin Klebba), or the unexpectedly young, mute, and big-eared Dopey (Andrew Barth Feldman), reminiscent of Tom Holland in a biopic of Mad magazine’s Alfred E. Newman. Additionally, fresh tunes by Pasek and Paul are incorporated, ranging from the clever “Princess Problems” to the vaguely captivating “Waiting on a Wish,” which lie somewhere between memorable and easily forgettable.
Gadot’s portrayal of the Evil Queen in this film doesn’t just suppress Snow White; she’s a tyrant who brings a sense of frost to the realm, exploiting its resources and degrading the dignity of its inhabitants. Is it possible that she serves as an allegory for our current system? One might argue that we’ve encountered similar rulers in fairy tales before. However, films have a unique ability to make connections that are not immediately apparent. Who would have thought that a live-action Disney remake could be this overtly political? Ultimately, the most poignant emotion “Snow White” leaves you with might be: I hope my oppressive ruler will one day fall from grace.
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2025-03-19 22:17