I
In today’s cinematic landscape, where remakes often elicit scornful looks and accusations that individuals have simply become too indifferent to create original content,
Disney’s reconstructions of its own creations
are consistently a prime target. It shouldn’t shock anyone that a massive media corporation would attempt to generate substantial profits.
recycling past hits
. Barry Jenkins’
Mufasa: The Lion King,
envisaged as a prequel and sequel to the 2019 live-action adaptation of
The Lion King
,
Itself a reinterpretation of the 1994 animated movie, might serve as the prime illustration of the self-reflective quality inherent in this style of production. Given that Disney continues with various remake projects at an unrelenting pace, we can expect more of these in the future.
Mulan
to
Pinocchio
to
The Little Mermaid
,
The urge to be cynical about them is extremely strong.
Yet a surprising number of the
Disney-remaking-itself projects
has been delightful, or at the very least, has discovered creative methods to expand upon the charm of their original content without merely replicating it. Kenneth Branagh’s energetic and astute
Cinderella
(2015), Bill Condon’s exuberant, zany
Beauty and the Beast
In 2017, Rob Marshall’s nearly flawless production
Mary Poppins Returns
(2018): All of these films confidently build upon their predecessors instead of attempting to outshine them. Similar to some of the Disney revivals from 2018,
Christopher Robin,
Marc Forster’s almost-melancholy meditation on how easy it is to be crushed by the pressures of adulthood, are deeper than you might expect them to be—though even then, there’s always a Pooh Bear or a Piglet padding through the landscape to remind us what really matters.
Now Marc Webb’s
Snow White,
a live-action reimagining of Walt Disney’s enchanting 1937 animated feature,
Snow White and the Seven Dwarfs,
joins the ranks of the surprisingly pleasurable Disney remakes, thanks largely to the no-nonsense charms of its star, Rachel Zegler, whose Snow White dreams less of finding the right princely guy than of building a better world for everyone.
Read more:
All Disney Live-Action Reboots, Ranked
The core of the tale is familiar: Snow White, a princess without parents, is made to serve her narcissistic evil stepmother, portrayed as sleekly icy.
Gal Gadot
Webb, who directed movies such as
The Amazing Spider-Man
and
500 Days of Summer,
Based on a screenplay by Erin Cressida Wilson, the story starts with the history of the realm governed by Snow White’s parents—a community where joyful villagers sing and dance, cherishing both their labor and equitable distribution of resources. After Snow White’s mother passes away, her father marries again, bringing Gadot’s malevolent sorceress into power as the new queen. Subsequently, Snow White’s father departs on an expedition, leaving his daughter behind permanently. Seizing this chance, the wicked queen transforms the once-prosperous kingdom into one marked by suffering and dread. She also turns Snow White into a servant-prisoners Zegler portrays her during this period as a solitary young lady consumed by a yearning for something undefined.
Envious of Snow White’s allure, the wicked queen commands her assassination. However, the soldier tasked with this deed cannot muster the heart to carry through and lets her flee into an eerie woodland—a foreboding area filled with twisted dark trees reaching out towards her as she attempts to escape. This chilling scene mirrors faithfully what was originally depicted—ultimately leading her to seek refuge in the cozy abode of seven industrious little men.
The dwarves might be the greatest flaw of this
Snow White:
Instead of being portrayed by actual actors, these characters are computer-generated animations. Despite having endearing traits—the character Grumpy remains appropriately cranky, and Doc is depicted as talkative and intelligent—there’s still something unsettling about how close they come to appearing lifelike without quite achieving realism. However, revamping an older tale presents fresh chances to adjust elements that might have been problematic before. In the Brothers Grimm rendition many of us know well, Snow White wins over the dwarfs by cleaning their abode; she happily prepares their simple country beds and sweeps up after meals. It makes sense why they cherish her so much: everyone loves a housekeeper willing to work gratis. In the animated adaptation, woodland creatures, enchanted by Snow White’s kindness and generosity, cheerfully lend a hand—an incremental enhancement. This time around, however, Snow White assigns tasks to the dwarfs, making each responsible for specific jobs and essentially taking on the role of overseer. The year is 2025.
Snow White
Has ample tasks at hand, reclaiming her kingdom. As for the dwarves, they can certainly make their own bloody beds.
Read more:
Why Disney’s
Snow White
Remake Is Creating Controversy
Here lies the genuine worth of a remake. Complaints often arise regarding alterations made to timeless works, yet these updates can bring something fresh without necessarily detracting from the original classic.
Snow White
That discredits the previous Disney adaptation. If anything, it makes us appreciate it even more. This applies to Condon’s work as well.
Beauty and the Beast
,
Too: Its vibrant live-action reinterpretation of the “Be Our Guest” scene—with its exuberant Maurice Chevalier-style singing chandelier, along with an ensemble of charmingly animated dishes and utensils—displays a wild, daring abandon. It goes beyond the limits into sheer lunacy, yet what better way exists to match the brilliance of animation, where nearly every conceivable visual can be brought to life? Condon leaves nothing untouched; it’s the sole sensible decision.
These Disney revivals stand out significantly from many contemporary high-budget film endeavors. A great deal of modern filmmaking seems hurried and low-quality, as though the studios assume most viewers will simply be lounging on their sofas watching at home, so why invest extra resources? However, the Disney adaptations do not adhere to this approach.
Snow White
Among them, make sure not to overlook the luxurious details.
Snow White
opens with a familiar kind of movie frontispiece: the opening of a story book, this one a leather-bound beauty guarded by a chubby hedgehog. (The new
Snow White
features a delightful assemblage of computer-generated animals—squirrels, bunnies, swerving, tootling birds—that are much more appealing than the dwarves.) This is how we’re introduced to the story of Snow White’s parents, two kind, generous rulers who long for a child and are thrilled by their daughter’s arrival. The page margins of this storybook introduction are decorated with vivid medieval-style illuminations that appear to come to life before us. They’re just one of those little touches that show evidence of human thought and care.
That’s true of the costumes as well, designed by the great
Sandy Powell
who also crafted a series of opulent and Cinderella-inspired outfits for
Cinderella,
as well as a beautiful collection of appropriately rustic-looking handmade knits from the World War II era for the children
Mary Poppins Returns
.
Powell excels at highlighting key costume details:
Snow White,
She provides the wicked queen with an entire collection of sparkling, blaring gems that indicate her penchant for grandiose opulence. Among these, one necklace—a crown adorned with roughly hewn stones—evokes the lavish essence of late 60s/early 70s Yves Saint Laurent fashion. I would put it on without hesitation. Am I wicked as well then?
Many praise Disney movies for their virtuous themes, despite these usually being the least captivating aspect of the films. By this point, Disney’s continuous stream of contemporary self-assured princesses has turned into a trope itself. The issue with joyously and insistently telling young girls they can achieve anything is that it fails to occur to certain young girls that they might also need guidance or limitations.
can’t:
Only when an adult goes out of their way to support them do they start to doubt their own abilities and self-assurance. Interestingly, this fresh approach reveals
Snow White
steps back somewhat from the empowered-princess theme. For instance, Zegler’s so-called prince charming isn’t really a prince at all; he’s an ordinary bandit primarily advocating for human rights. (Andrew Burnap plays this role.)
Initially resistant to her “prince,” Snow White eventually succumbs when he charmingly mocks her “princess problems” through song. Despite her remarkable nature, she cannot escape the allure of human connection. Her primary aspirations revolve around improving society, particularly since her deceased parents’ kingdom has fallen into disarray. She envisions a brighter tomorrow and cautions others against adapting too readily to the evil queen’s oppressive regime. “Remember,” she implores, “how life was before—where individuals treated each other kindly and justly.” Traditionally, Disney films have steered clear of politics, aiming for an uncontroversial approach akin to having no bite whatsoever. Yet, this does not follow that trajectory.
Snow White,
Emerging during an age of state-endorsed brutality, this appears to be crystal clear about its message, despite opting to communicate solely through a subtle murmur. This approach feels appropriately measured.
Snow White
At this point, similar to the animated predecessor released during what felt like an endless depression for those experiencing it, the narrative seeks a joyful resolution. Or perhaps just confirmation that even a foreboding, seemingly infinite dark forest will eventually come to an end.
