Tag Archives: fairy tale movies

This and That and Bears

Mornin’, all. Steve’s been reminding me that it’s been a while since you all had an update on how he’s doing, so I figured I’d better humour him.

His big news is that he just had a labelectomy. What’s that, you ask? Oh, it’s this thing that happens in Stuffed-Animal-Land, when you have your manufacturer’s labels cut off your rear end. Steve didn’t mind them so much, but they did make him self-conscious about his back view:

amovitam: Steve with labels

So we finally took the plunge and gave him the snip. He’s hanging in there.

amovitam: Steve hanging in there

In other news, he’s pleased about this year’s choice of NaNoWriMo project: an adaptation of “Snow White and Rose Red”, a fairy tale that prominently features a bear. Originally I was going to work on Septimus Book 5, but then a friend suggested that we both do an adaptation of a fairy tale – the same fairy tale – so how could I resist? I think my friend is doing a SciFi; mine is going to be a contemporary mystery/romance (I hope). Needless to say, my Snow White and Rose Red are not going to be a set of fraternal twins, one blonde and one brunette, who are so sickeningly sweet and good and domestic they should have the Diabetes Association called on them.

amovitam: NaNoWriMo notes

Oh, if you want to join us in doing a “Snow White and Rose Red” for NaNoWriMo, please do! We could have a whole SWRR club.

Otherwise, in honour of #Socktober I finally got back to the socks I had on the knitting needles for the last year or so, and even finished the first one of the pair:

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I was watching “Snow White and Rose Red” movies while I was knitting, so it counts as research. Youtube has quite a few Sonntagsmärchen – Sunday Fairy Tales – to watch. Did I mention the blonde-and-brunette convention? Urr, yeah – and in the 1955 version, the prince is called Prinz Goldhaar (Prince Golden Hair) to boot, and looks exactly how you’d expect him to with that name. Bring on the insulin. Good thing he spends most of the story in a bear suit! It’s still a fun movie, though. The 2012 version isn’t bad, either; in that one Rose Red swings a freshly-sharpened axe (which the actress apparently has never done in real life, judging by her completely inefficient grip on the thing), and doesn’t want to get married but travel the world and have adventures.

One of things that’s fun about fairy tale movies is that barring the changing definitions of “handsome” (coughPrinceGoldhairCough), they’re timeless. Which is exactly what a fairy tale ought to be – what a fairy tale is. “Once upon a time” is now, is never, is a long time ago or just last week, or maybe tomorrow. Somewhere in the woods, there is a cottage with a mother and two sisters, and during a winter’s storm there comes a knock on the door, and in stumbles a big black bear…

Steve says I better make the bear the hero of the piece, that’s what it’s all about. I’ll have to have a talk with him; he has a one-track mind on these matters. But that’s bears for you.

Life, the Universe, Bears and Socks and Labelectomies. And fairy tales, too.

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Beauty and the Beast: the Movie

Every self-respecting blogger who ever uses “fairy tales” as a tag has to have a post about the new “Beauty and the Beast” movie, don’t they? Uh, actually, no. There is no law in fairy land about liking or even watching Disney movies. You’re free to despise and/or shun them as much as you like, and I might even agree with you on many of your reasons.

However, with this movie – well, I did something I’ve never done before: I watched it twice in as many days. That’s right – that’s how much I loved it. I’d been looking forward to this movie ever since they first announced it, and the excitement was building with every fresh piece of news about the casting, with every new image and trailer. I don’t think I’ve ever been as keen on seeing a film as I have this one (which, admittedly, isn’t saying much, as I grew up more or less movie-and-TV-less; up until age 20 or so, I could literally count on one hand the number of films I’d seen in a theatre. But I’ve kind of been making up for it since).

And, I’m happy to say, the movie didn’t disappoint. One of the things about writing a review for this is that I don’t have to tread carefully to avoid giving spoilers – Disney filmed a giant spoiler for this twenty-six years ago; if you’ve seen the cartoon, you’ll know the movie. It is a live-action remake of the 1991 cartoon, and it is just that – a remake. The dialogue, the songs, even much of the setting, are identical to the older film. (This is in contrast to the 2015 live-action Cinderella, which, while referring to the 1950 cartoon in many ways, was a whole new movie in its own right.)

But it’s not entirely identical. With the dialogue, for example, while much of the cartoon’s spoken lines are present in the new movie, there are whole new sections or additions, and more than once, iconic lines have been given to different characters or are moved to different scenes.

Others are left out altogether, and the effect is emblematic of some of the differences between the films. For example, one piece of dialogue, or rather scene, that is missing is one of my favourites from the cartoon: the Beast is leaning on the balcony railing, watching Belle with her horse. “I’ve never felt like this about anyone,” he says. “I want to do something for her. But what?” “Well,” replies Cogsworth the Clock, “there’s the usual: flowers, chocolates, promises you don’t intend to keep…” (We love quoting that around our house when it comes to making suggestions for presents on a special occasion.)

As funny as that line is, it wouldn’t fit the new version of the Beast – or of Belle, for that matter. Interestingly enough, in the new movie it’s Belle who watches the Beast from the window of the castle, as he walks in the snowy courtyard with Philippe, her horse (and, if you watch carefully, the Beast is gesticulating, obviously having a quite intense discussion with the horse). The Beast is not as much of an ineptly bumbling boy who just has a bad temper and needs to be parented and coached on relationships by his faithful household retainers. Yes, there is a little of that still, but for the most part this is a much more grown-up version of the Beast – a man who has a dark side to his character that he needs to overcome.

But, at the same time, Belle isn’t just a sweet bookworm who is all goodness and light. The cartoon Belle is pure heroine – she has hardly any character arc, does not change from the beginning of the film to the end; the Beast is the one who does all the changing. In this film, Belle changes significantly. She starts the story as a farm girl (her own words), looking after her father, feeling a vague sense of dissatisfaction at her life in this “poor provincial town”; then she sacrifices herself for her father (literally pushing him out of the prison cell against his will), but makes several attempts to get away from the castle; she does not passively submit to her imprisonment. But then she learns that there might be more to the Beast and to the situation of the castle than she initially thought. As in the original story, her agency is what brings about the change in the Beast – but in herself, as well.

The relationship between her and the Beast grows slowly, as both of them discover they have more in common than they suspected. As in the cartoon, a major turning point is the Beast “giving her” his massive library – but here, he is not an illiterate boor who has never cracked the cover of one of his many volumes, but a nobleman with “an expensive education” who knows to quote Shakespeare, and leads her into his library to score a point (namely that there are so many better books to read than Belle’s favourite, Romeo and Juliet).

Belle grows up in this film. Here, she truly finds a partner who fulfils her wish “to have someone understand”. One particularly poignant scene is when the two talk about being the odd one out whose appearance in a room makes the laughter of the common people fall silent, and they begin to realise that in each other perhaps for the first time in their lives they have found a friend. The dance scene in the ballroom is as gorgeous as expected – but one additional piece of dialogue I particularly appreciated comes right afterwards: “Do you think you could be happy here?” asks the Beast (note: “could be“, not “are“), and her response: “Can anyone be happy if they aren’t free?” Beast, of course, being now a changed Beast, gets the message – it was the last tiny nudge he needed. (Take that, “Stockholm Syndrome” naysayers!) Belle goes from Hermione-in-a-dirndl to a woman who is a true equal to a changed prince, with all that implies.

But the greater depth and rounding of characters does not mean there is not plenty of laughter in the film. Here, much of the humour comes from the characters and visual humour. As in the cartoon, one exhilarating and utterly hilarious scene is the battle between the household objects and the villagers (look out for Chip the Teacup’s frisbee shooting of his stack of saucers, counting off his hits as he fires). The laugh-out-loud moments come thick and fast during much of the movie, all the way to the end.

There is much more to be said on this, but for now, just one more thing: the visuals are out-of-this-world mind-boggling. Utterly astonishing. The CG graphics are as real as they can possibly be; Lumiere, for one, is a genuine, live, walking and talking metal candelabra – how can he not be real? And the mise en scène is fantastic. The setting places the story firmly in 18th-century France: the prince (Beast) at the beginning is a ludicrously powdered and patched macaroni, and the interior of Belle’s castle bedroom, with its pale blue and silver gilt walls, looks just like the Amalienburg in Munich:

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Incidentally, there is one tiny little verbal Easter egg that you have to be a hardcore fairy tale nerd to appreciate: Belle’s village is called Villeneuve (Newtown), which just happens to be the name of the author of the first version of the “Beauty and the Beast” story. Cute, eh?

I’ll leave it there for now. As I said, this movie was worth the months of anticipation – if you haven’t seen it yet, do. I’ll come along; after all, I’ve only seen it twice in the four days it’s been out…

Life, the Universe, and Beauty and the Beast. A Tale As Old As Time…

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Cinderella, the Movie

If anyone doubts that the “Cinderella” story is a perennial favourite, they have obviously not been attending a movie theatre in the last week since the release of the live-action film. We went on Tuesday evening, the first cheap Tuesday after the movie came out, and the theatre was packed – the show must have been nearly sold out.

One of the things I loved about it was the demographic of the audience. Sure, there were lots of families with young children. But the middle of the front row was occupied by a group of half a dozen seniors, and they were by no means the only grey heads unaccompanied by grandchildren there. We originally sat at the end of a row beside two more empty seats; we gave up our spots and moved to a different row so a foursome of young adults – again, no children in sight – could sit together. The full age range of viewers was represented in that theatre. There was noise, bustling, rustling, chattering – and then the film started to roll, and it got quiet. A little voice somewhere in the front of the theatre piped up “It’s Cinderella!”

And so it was. This movie is a beautifully quintessential rendition of the Cinderella story, a straight-up, classic fairy tale version. No attempts here to modernise, to give tragic backstories to the villains to make them into non-villains, to make Cinderella into a 21st-century feminist icon, to subvert the base story into a lesson in, umm, the moral-du-jour. I found that aspect of the film quite refreshing – it’s a fairy tale. The characters are as flat as they are in the printed versions. Cinderella is sweet, beautiful and picked-on; the stepmother and -sisters are mean bullies; the prince is charming; the fairy godmother is magical. That flatness, what the folklorist Max Lüthi calls depthlessness, is one of the key characteristics of folktales, and Sir Kenneth Branagh did a fantastic job making a film that retains this one-dimensionality while harnessing the full empowering force of this tale.

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Yes. I wore this to the movie.

But you probably just want me to get down to it and tell you what I thought. Well, here it is: I loved it. This is hands-down my favourite “Cinderella” movie yet. The visuals and special effects are stunning. The way the film plays with colour is especially striking – in fact, I wonder if they cast Richard Madden as the Prince purely for the way his brilliantly blue eyes match Cinderella’s gown. Every pretty girl ought to have a prince with matching eyes to accessorize with. (To which my daughter commented: “Good thing Cinderella doesn’t have a penchant for wearing red.”) The visuals, the acting, the storytelling, the sheer fairy-tale-ism of it all – it’s a wonderful movie.

Speaking of acting, one pleasant surprise was Sir Derek Jacobi in the role of the Prince’s father (or, I should say, one of the pleasures of the movie; it wasn’t really a surprise, this being a Branagh film). Now, this is a Disney movie, and as such, gives more than a nod to the 1950 animated version (more on that in a minute). But the King, whom the older movie portrays as nothing more than an old-fashioned buffoon obsessed with getting grandchildren, is a changed character here. Oh, Derek Jacobi would be more than capable of bringing a comic role like that to the screen. But the King he plays in this film is a very different character, and in fact (SPOILER ALERT!), the scene of him lying in his great big bed dying, with his grown son curled up against his chest begging him not to go, is one of the most touching parts of the movie.

Dying parents do feature rather prominently in this version of the story. Having Cinderella’s mother die is, of course, a prerequisite to the whole plot. But like in almost all other film versions (and as opposed to the written tales), her father is killed off as well (today’s society can’t deal with the idea that he might still be around but perhaps doesn’t actually care that his second wife abuses his daughter); and then here we have the new twist of a deep, loving relationship between the Prince and the King, only to give the latter a death scene, too. All of those scenes are played very sensitively and deeply emotional, with beautiful acting on everyone’s part. However, because of this I’d be cautious about taking really sensitive young children to see the movie – I know I would have found those aspects of the story quite disturbing when I was little (yes, I hated Bambi, too). (Note: if your kid is okay with watching The Lion King, they can probably handle this. If not, I’d wait for it to come out on DVD so you can fast-forward.)

However, this is “Cinderella”, and we all know how this story goes. The Ball!! The Fairy Godmother!! The Gown!! The Prince!! The Slipper!! Oh, yes, this movie delivers on that – does it ever! It’s every fairy tale fantasy brought to life on the big screen in glorious oversized colour. The slipper alone is a dazzling piece of facetted crystal, and in spite of appearances, as the Fairy Godmother says, “You’ll find it’s really comfortable!”

Said Fairy Godmother is wonderful, as was fully to be expected – she is played by Helena Bonham Carter. The transformation scenes of pumpkin and mice and lizards to coach and horses and footmen are the most hilarious parts of the whole movie. Fairy Godmother isn’t the brightest – the pumpkin in question is inside a greenhouse, and she decides that that’s a perfectly adequate location for casting the spell to change it into a coach. Let’s just say that, contrary to expectations, getting the finished product out the door actually isn’t a problem.

I enjoyed this movie on so many levels, not the least of which is that it makes quite a few references to the various versions of the “Cinderella” story. The main source text, as I mentioned before, is (of course) the 1950 Disney cartoon, which in turn is based on the Perrault version of the written tale. However, there is also a reference to the Grimm’s tale (Cinderella asks her father to bring her back a branch from a tree), to the Czech/German cult classic film Drei Haselnüsse für Aschenbrödel, to Gail Carson Levine’s book Ella Enchanted… Perhaps I’m reading those references into the film and they are actually unintentional, but as a bona fide fairy tale nerd who just wrote a Master’s Thesis on this very thing I enjoyed spotting them.

I could go on and on about this – I haven’t even mentioned some of the other fabulous characters, such as Cate Blanchett’s deliciously wicked stepmother, or the gorgeous score (it’s by Patrick Doyle. Patrick Doyle, people! Branagh’s Henry V and Much Ado About Nothing! The Emma Thompson Sense and Sensibility!). But I think it’s time to stop gushing – I think you get the picture. The motion picture, no less. If you want to immerse yourself in one wonderful fairy tale experience, get thee to a cinema.

Life, the Universe, and Cinderella. Now I want to go watch it again.

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