‘Snow White’ Review: Rachel Zegler Shines and Gal Gadot Glowers in Disney’s Mostly Captivating Live-Action Update

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Among Disney’s classic animated films converted into live-action adaptations, none are as cherished as the 1937 release, “Snow White and the Seven Dwarfs.” This groundbreaking film paved the way for numerous fairy tales to be brought to life, spawning an extensive collection of iconic stories that cemented Disney’s position as a pioneer in animation. The enduring popularity of “Snow White” is not affected by the noise surrounding it online; this contemporary reimagining still offers delightful experiences for viewers. Even those who are critical of the film may find it hard to argue that it’s anything but a refreshing take on the original tale, far from being a poisoned apple.

Over the years, Disney has become known for its unique approach to brand extension and utilizing intellectual property extensively, which has led to a surge in live-action remakes. This trend, which started modestly, has grown exponentially over the past decade and has resulted in both praiseworthy and questionable adaptations. Some of these movies are so heavily reliant on digital effects that calling them “live-action” seems misleading; others lack the charm of stories from less jaded eras; some fail to capture the enchantment only top-tier animation can create.

Snow White doesn’t quite reach the highest echelon, but it stands shoulder to shoulder with films such as Cinderella, Pete’s Dragon and the 1994 version of The Jungle Book. It finds itself in the upper tier, alongside movies like Mulan, Beauty and the Beast and Cruella. This places it far above lackluster productions like Dumbo, Pinocchio, either of the recent Alice in Wonderland films, or The Lion King. In other words, it’s a world apart from those soulless efforts.

Controversy about the film began due to the casting of Rachel Zegler, deemed by some as not fitting the “white” stereotype for the leading role. This controversy escalated with the actress’s controversial remarks about the 1937 original, her negative response to Trump’s re-election (which she later apologized for), and her support for Palestine. When Israeli co-star Gal Gadot, a former military service member, expressed her stance against antisemitism and advocated for the release of Israeli hostages in Gaza, many perceived this as fueling a feud between the two actresses.

However, the backstory isn’t crucial in Marc Webb’s lively reinterpretation, as Erin Cressida Wilson pens a shrewd script that transforms the story of a princess longing for her knight into one about her courage to become a leader, ready to follow in her father’s noble footsteps. The strongest expression of this ambition can be found in “Waiting On a Wish,” one of the exceptional new songs penned by Benj Pasek and Justin Paul.

If you find that the storyline seems to follow a typical pattern of female empowerment, often seen in modern reimaginings of fairy tales, then you’re correct. However, Zegler brings authenticity and sincerity to her portrayal, making it compelling. And while it may be a familiar theme, promoting values such as kindness and justice over tyranny is certainly not an unwelcome message, especially in family films at this time.

One aspect that slightly disrupts the enjoyment of watching Snow White is the dilemma over how to portray the “seven dwarfs” in a time when representation norms have significantly changed. It’s clear that filmmakers strive to stay faithful to a significant aspect of the 1812 Brothers Grimm tale while avoiding causing offense to the dwarfism community. The characters are given humor and unique personalities by the skilled voice actors, but their computer-generated appearances, unfortunately, come across as somewhat eerie and less realistic than some of the adorable woodland creatures that accompany Snow White.

Nevertheless, this doubtful decision doesn’t take away from the movie’s merits; the charming camaraderie between Snow White and the dwarfs, along with Martin Klebba’s Grumpy gradually showing warmth and devotion, quickly causes any visual distraction to fade away.

Wilson quickly skims over the background details. Snow White, a princess born in a kingdom nestled near a thriving forest, was raised under the loving rule of King Hadley Fraser and Queen Lorena Andrea. After the queen’s passing, the king remarries, but his new wife, played by Gadot, eliminates him under suspicious circumstances. This wicked stepmother then seizes control, instilling fear in the kingdom.

In a twist, the wicked stepmother relegates Snow White to serving as a maid. Yet, when her enchanted mirror reveals that Snow White is still “the most beautiful” in the land, the self-absorbed villainess instructs her Huntsman (Ansu Kabia) to lead Snow White into the forest, kill her, and retrieve her heart. The voice from within the talking mirror (resounding with Patrick Page’s tones) is one of several nods to the original animated version.

Wilson’s script preserves enough elements of the conventional plot to pay tribute to its origins, yet it introduces enough changes to establish “Snow White” as a unique piece. One of the major departures is transforming the prince character into Jonathan (played by Andrew Burnap), a commoner who heads a band of woodland outlaws.

Nowadays, family-friendly romances, unlike in 1937, frequently begin with a playful adversarial dynamic. For instance, in this modern tale, Jonathan sarcastically sings about Snow White’s “Princess Problems” while he and his band struggle to stay alive. However, when the wicked queen learns that Snow White is still alive, she orders her guards to retrieve her from the woods. Consequently, Jonathan and his companions find themselves defending Snow White instead.

In the end, Snow White concludes that she needs to confront the Wicked Queen personally and bring back the kingdom’s purity. Her kind heart becomes her greatest weapon in this battle. Although I didn’t see the thrilling chase scene from the 1937 movie where the dwarfs chased the disguised Wicked Queen, who had just given Snow White the poisoned apple, through the woods and cornered her at the edge of a cliff, it was there that a bolt of lightning ended her reign. The filmmakers found a fitting end for her, reflecting her destructive pride.

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Finally, Snow White decides to take on the Wicked Queen directly in order to restore the kingdom’s goodness. Her pure heart turns out to be her strongest ally. Sadly, I didn’t witness the climactic chase from the 1937 film, where the dwarfs pursued the disguised Wicked Queen (after administering the fatal apple) through the forest, trapping her at the cliff’s edge where a lightning strike brought about her downfall. However, the movie creators devise an appropriate ending for her that suits her arrogant nature.)

Leveraging her tall stature effectively, Gadot indeed fits the bill for the antagonist role, exuding an aura of menace in Sandy Powell’s stunning costumes – a series of lengthy gowns adorned with sequins in hues ranging from black to deep blues, greens, and purples, complete with intricate neckpieces, and even a dazzling, iridescent train that appears to stretch over half a mile long.

Perhaps you’d prefer a touch more flamboyant camp in her performance, something like Angelina Jolie in Maleficent. However, Gadot exudes an authoritative presence with her collection of heavy power accessories. There’s a delightful hint that she enjoys playing the malevolent character in the Evil Queen’s song “All Is Fair (When You Wear the Crown)”.

I find Burnap to be an intriguing choice as a rugged, charming love interest for Snow White. He’s got this mischievous wit that keeps you guessing, but in the end, he always proves himself to be honorable.

Zegler exudes radiance and charm in Powell’s enchanting reimagination of the classic blue and yellow dress, a garment that countless 5-year-old girls in the Western world have played in despite getting it dirty. Yet, she portrays the princess’ resilient spirit not through over-the-top bravery but with a subtle yet strong sense of her character and her destiny. Her voice, crystalline in quality, creates captivating melodies from Pasek and Paul’s songs, even when they border on common show tune themes. The romantic duet between Zegler and Burnap as Jonathan, titled “A Hand Meets a Hand,” is particularly enchanting. Furthermore, Zegler skillfully directs the dwarfs in a charming repeat from the original film, “Whistle While You Work.

Another popular old tune showcased is “Heigh-Ho,” which the dwarfs cheerfully sing as they journey to and from their work in the mines, a vast underground space adorned with shimmering ribbons of gemstones. The train that transports them beneath the earth resembles a thrilling amusement park ride.

Filmmaker Mandy Walker, along with production designer Kave Quinn, skillfully construct a captivating fairy tale setting for the movie. They masterfully combine physical sets from soundstages and natural woodland locations with computer-generated environments. The film is filled with vibrant hues in serene forest clearings and cozy dwarfs’ homes, while it shrouds the palace and Snow White’s initial encounters with the woods in ominous shadows.

Editors Mark Sanger and Sarah Broshar maintain a swift tempo, while Jeff Morrow’s rich orchestral soundtrack enhances either lightness or intensity as needed. Webb skillfully navigates romantic segments, action sequences, and musical numbers, particularly the lively closing number, “Good Things Grow,” where the cast, elegantly dressed by Powell in radiant white, shine. Admittedly, the somewhat awkward CGI characters may take some adjustment, but this is classic Disney-style entertainment – heartwarming and inspiring.

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2025-03-19 22:25