Girlboss ‘Snow White’ Worms Its Way Into Our Hearts

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This isn’t your grandfather’s “Snow White.”

Wise individuals recognize that venturing into Disney’s live-action remake of its 1937 animated film is a choice they make. Evaluated independently, the latest “Snow White” offers experiences that many live-action movies typically fail to provide.

It can stand on its own, boasts strong performances and doesn’t bludgeon you with woke.

Indeed, Rachel Zegler’s character embodies a contemporary empowerment, and the creative team at Disney has made adjustments to ensure the narrative is less problematic. However, her performance retains a connection to our traditional storytelling roots.

That matters. So does this “Snow White.”

Zegler‘s Snow White, similar to the original movie, carries a melancholic past. She was raised by a benevolent Queen and King, and the order in which they are mentioned isn’t coincidental on-screen. Tragedy struck when she was still young as her mother passed away, and years later, her father vanished after he wed a woman with questionable motives.

Yes, that’s Gal Gadot as the Evil Queen. The King, apparently, isn’t a great judge of women.

Snow White spends her childhood under the stern gaze of the Queen, accepting a life filled with sorrow. However, this changes when the Queen’s magical mirror, not found anywhere on Amazon, informs her that she is no longer the most beautiful in the land.

The credit for this achievement belongs to the grown-up Snow White, who pushes the Evil Queen to near insanity. She expels Snow White from the castle, initiating an adventure involving a valiant knight, seven computer-generated dwarves, and a woodland teeming with charming creatures.

The individual referred to here is Jonathan, portrayed by Andrew Burnap. Contrary to any assumptions, he’s not a prince, but more like a character reminiscent of Robin Hood, engaging in battles against the wicked Queen.

In the movie, there seems to be a sense of ambiguity regarding their romantic bond, as it struggles to reconcile a desire for feminist independence (finding men distasteful) with loyalty to the original tale. However crucial Jonathan’s character is to the narrative, Snow White persistently marginalizes him.

This is her tale, without a doubt, and nothing will deter her – not even a cisgender male character. The climactic scene of his daring escape is subtly altered to diminish its impact.

The interpretation of this movie as offensive or updated may differ from person to person. However, it’s crucial to note that the film “Snow White” has been skillfully constructed, maintaining a level of interest throughout and managing to steer clear of excessive storyline complications for the most part.

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The screenplay has been attributed to Erin Cressida Wilson, yet it seems she may have had some assistance. While the dialogue isn’t exceptionally sharp, there are moments that feel strikingly modern, akin to contemporary conversation. However, when called for, it manages to be endearing and never crosses the line into offensive.

That’s a rave given the sorry state of screenwriting at the blockbuster level.

Director Mark Webb (“The Amazing Spider-Man” series) had plenty of Disney money at his disposal to construct a world that keeps our senses entertained. The movie is filled with CGI grandeur, but it’s seldom excessive. Notably, the woodland creatures, who frequently assist our heroine, are delicately introduced rather than overwhelmingly presented.

Real-life stories often immerse viewers in a sea of binary codes. However, Webb skillfully manages this in “Snow White,” making it more enjoyable for us.

The movie closely follows the initial storyline until the final act, which introduces what I’ll call the “Zegler Factor.” A shift in dynamics occurs, with elements of empowerment emerging, but they feel authentic within the context of the plot till then.

In a more straightforward and conversational tone: “P purists might be upset, but it’s true that ‘Snow White’ doesn’t have the heavy-handed social commentary found in some modern films. You won’t find any discussions about a woman’s role in society or explicit references to fourth-wave feminism. Instead, Snow White is simply following her path as she knows best.

Let’s not overlook the fact that “Snow White” is a musical, featuring catchy dwarf songs such as “Heigh-Ho,” along with new melodies like “Waiting on a Wish.” Zegler’s voice is exceptional, and her focus on detail is commendable. She delivers an impressive performance without seeming to exert effort.

Despite facing challenges prior to its release, such as the inclusion of CGI dwarves, “Snow White” doesn’t falter in its presentation. While the digital dwarves are well-executed, a more fitting choice might have been a lively group of actual little people, considering the live-action context of the tale.

In the final version of the film, as promised in the initial promotional materials, the “mythical beings” are indeed present. However, they seem to be more peripheral to the main narrative rather than playing significant roles. At times, they contribute minimally, and on occasion, they even hinder the progression of the story. It’s interesting to note that one of these “creatures” is portrayed by a little person actor, despite Disney previously deciding against hiring other little people to play the dwarves.

Weird!

The tale of “Snow White” contains scenes that could potentially frighten younger audiences, however, its ethically virtuous protagonist continues to captivate readers of all ages.

That’s what family-friendly audiences still crave in the modern marketplace.

“A Hit, Not a Miss”: Stepping into the theater for “Snow White”, I was delighted to find a fresh take on a timeless tale that resonates powerfully today. The film cleverly weaves in feminist themes while maintaining a strong narrative structure. And let me tell you, Rachel Zegler’s captivating performance leaves us spellbound and eager for more!

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2025-03-20 00:03