Movies

Why the New Snow White Proves Some Remakes Are Worth It

BBG News

In an era where remakes often face criticism for being unoriginal and laziness in creativity, Disney’s remakes of their own productions are frequently under the spotlight. Given their immense media presence, it’s no wonder they aim to earn substantial profits by rehashing past successes. Barry Jenkins’ upcoming film, Mufasa: The Lion King, conceived as both a prequel and sequel to the 2019 live-action adaptation of The Lion King, which was itself a modern take on the 1994 animated movie, might be the clearest demonstration of this interconnected web of filmmaking. With Disney remakes appearing consistently, from Mulan to Pinocchio to The Little Mermaid, it’s hard not to feel a strong inclination towards cynicism.

A significant number of Disney’s self-reinvention projects have been impressive or, at least, they’ve managed to enhance the charm of their original content without simply replicating it. For instance, Kenneth Branagh’s enchanting and intelligent take on Cinderella (2015), Bill Condon’s vibrant and eccentric Beauty and the Beast (2017), Rob Marshall’s near-perfect Mary Poppins Returns (2018) – these films have built upon their ancestors’ foundations rather than attempting to surpass them. Some of these Disney reinterpretations, such as the 2018 Christopher Robin, directed by Marc Forster, are more profound than one might anticipate – though even in such depth, there’s always a Pooh Bear or a Piglet wandering through to remind us of what truly matters.

In simple terms, “Marc Webb’s Snow White, a modern retelling of Walt Disney’s classic 1937 animated film Snow White and the Seven Dwarfs, has now been added to the list of unexpectedly enjoyable Disney remakes. This is largely due to the practical appeal and charm of its lead actress, Rachel Zegler, who portrays Snow White in a unique way by aspiring not just for the perfect prince but for creating a better world for all.

As a movie critic, I’d rephrase it like this:

In my perspective, the gist of the tale is familiar: Snow White, a princess orphaned under unfortunate circumstances, finds herself in servitude at the hands of her wickedly beautiful stepmother, portrayed by the captivating Gal Gadot. Directed by Webb, known for films such as ‘The Amazing Spider-Man’ and ‘500 Days of Summer’, this retelling starts with a glimpse into the kingdom ruled by Snow White’s parents, a place where peasants not only tend their land but also share its bounty equally among themselves. The harmony is reflected in their joyous singing and dancing. Sadly, Snow White’s mother breathes her last, her father remarries, and the stage is set for Gadot’s malevolent queen to rule. Tragically, Snow White’s father departs on a journey from which he never returns. The new queen seizes this opportunity to transform their once harmonious land into a realm of struggle and fear, and to keep Snow White as her servant-prisoner. At this stage, Rachel Zegler portrays Snow White as a solitary young woman yearning for something she can’t quite put her finger on.

As a movie critic, I find myself ensnared by the twisted ambitions of the malevolent queen, who, consumed by envy for Snow White’s ethereal beauty, issues a chilling decree for her demise. The soldier tasked with this heinous act wrestles internally, ultimately unable to carry out his wretched duty. With a sigh of relief, Snow White flees into the ominous forest, a place teeming with twisted black boughs that seem to stretch out and grasp her as she darts through the undergrowth. Reminiscent of the original tale, this haunted woodland serves as a sinister backdrop to her desperate flight. Eventually, our fugitive finds solace in the humble abode of a diligent band of dwarves, offering a respite from the queen’s relentless pursuit.

In the modern adaptation of “Snow White,” it’s been pointed out that using computer-animated dwarves instead of live actors might be a misstep due to their uncanny yet not entirely lifelike appearance. However, these digital characters are given endearing traits: Grumpy is grumpy as expected, and Doc is intelligent and talkative. Yet, the unsettling quality of their almost-alive but not quite realistic nature can’t be ignored.

On the other hand, reinterpreting a classic tale opens doors for adjusting elements that may have been problematic in the past. In the traditional Brothers Grimm story, Snow White wins over the dwarves by cleaning their home and making their tiny beds without pay. It’s easy to understand why they like her so much! In this updated version, the forest creatures, enchanted by Snow White’s kindness, assist her instead. This is a slight enhancement.

In this new take on the story, Snow White delegates tasks to the dwarves, acting as their supervisor. With a kingdom to reclaim in 2025, Snow White has enough responsibilities of her own and doesn’t need to bother with making the dwarves’ beds!

The true worth of a remake shines here. It’s tempting to complain about adaptations that alter the originals, but the modern take on “Snow White” doesn’t disrespect the classic Disney version. In fact, it brings back the reasons we adored it. The same goes for Condon’s “Beauty and the Beast”: its vibrant reimagining of the “Be Our Guest” scene, complete with singing candelabra reminiscent of Maurice Chevalier and a lively chorus line of dancing cutlery, showcases an outrageous, unapologetic spirit. It’s almost absurdly excessive, but what other way is there to challenge the artistry of animation that can bring any imaginable image to life? Condon leaves no stone unturned; it’s the only sensible approach.

There’s something unique about the Disney remakes compared to many other big-budget films currently being produced. Modern filmmaking often seems hurried and cost-cutting, as if studios assume audiences will mainly watch these movies at home, so why spend extra? However, the Disney remakes, including Snow White, do not skimp on details. For instance, Snow White opens with a detailed introduction that resembles the opening of a storybook, complete with intricate medieval-style illustrations that seem to move before our eyes. These subtle touches indicate thoughtfulness and care in their creation.

Many people praise Disney movies for their positive themes, but often these messages are less captivating than the stories themselves. Over time, Disney’s procession of contemporary empowered princesses has become quite predictable, bordering on cliché. The issue with continually emphasizing to young girls that they can achieve anything is that it doesn’t occur to some girls that they might not be able to; it’s only when an adult goes out of their way to boost their confidence that these girls start doubting their own abilities. Interestingly, this new adaptation of Snow White deviates slightly from the empowered-princess mold. For instance, the prince charming character, portrayed by Andrew Burnap, is not a prince at all but rather a common bandit who advocates for human rights.

In a playful twist, Snow White initially resists her prince’s advances, but he charms her with a witty song about her ‘princess predicaments’. Yet, she’s not invincible; she craves human connection. Despite this, her main objectives are to restore the kingdom of her deceased parents, longing for a brighter future while reminding others of the kindness and fairness that once were. In a time marked by oppressive government, this Snow White seems to deliver a subtle yet powerful message, even if it chooses to speak softly. This version of Snow White is particularly relevant now. Much like its predecessor, released amidst the Great Depression, it’s a tale yearning for a joyful conclusion or at least a promise that there will be an end to the despair and darkness.

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2025-03-21 19:06

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