Faerie Tale Theatre Reviews: Puss in Boots

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“Bootmaker, I’m looking for a boot as light as air and fast as the wind. A boot that makes no sound, leaves no tracks.” “You’re in luck, I’ve got one pair left!”
– A feline acquires his defining bit of footwear

Fairytales are full of trickster mentors that aid the hero in their quest. The amount of stories where the mentor takes the form of a wily animal are beyond counting. Cats are a particularly popular choice for the role on account of folklorists making their natural stealthiness and hunting prowess shorthand for cunning and guile. And there’s no fairy tale feline more renowned for their craftiness than Puss in Boots.

Walking into this review I assumed Puss in Boots was going to be a Charles Perrault original, which is how I was introduced to it, but the story actually has Italian roots. The oldest known version is 1550’s Constantino Fortunato, or “Fortunate Constantine” by author and fairytale collector Giovanni Francesco Straparola. One of several tales included in the two-volume collection The Facetious Nights, the story is about a poor boy who marries a princess thanks to a clever cat. It’s interesting to note that this cat isn’t just a magical talking cat but a fairy in disguise; a detail that fell by the wayside in future retellings. Writer Girolamo Morlini wrote his version of Puss in Boots shortly afterwards (fair turnabout since Straparola often borrowed from Morlini), followed by Giambatta Basile in 1634. Then Charles Perrault popularized the tale in France as part of his fairy tale collection (the same that also launched the character of Mother Goose), and the feline’s fame hasn’t dwindled since. He’s even well-known in Japan, where a popular film by Toei Animation has made him the studio’s mascot.

Puss in Boots is one of those fairytales that falls into a gray area where the moral is concerned…in that there isn’t really one at all. If you go by a purely textual reading of the story, the takeaway is that lying, cheating and stealing will get you what you want without any consequences; not much of a lesson (but one that’s far too relevant if you look at the current state of the Republican Party). On the flip side, Puss uses his wits to make the most of his and his master’s lousy circumstances. He’s simply doing what he can with what little he has to improve their situation. The story takes place in a society that favors the first-born son, so it’s easy to root for the youngest son stuck with naught but a wisecracking mouse-catcher while his selfish brothers have the means to support themselves. The men and monsters Puss deceives are largely deserving of his trickery.

Tying into that is the unusual choice of clothing this cat in footwear. It’s not just for aesthetics, I assure you. Shoes were a luxury afforded only to young people of the upper-class in the Middle Ages because they were outgrown or worn through so quickly. As such, boots were a sign of wealth and status. In both the original fairytale and today’s episode, the king refuses to grant Puss an audience until he learns he wears boots. Appearances and presentation played as all-encompassing a role in society then as they do now, but the story of Puss in Boots shows that anyone with brains and the ability to pass off as refined can game the system. Make what you will of that.

Faerie Tale Theatre Reviews: Thumbelina

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“I’m always the bride, and never the bridesmaid.”
– Our heroine’s fourth wall-leaning lament

The idea of tiny people going on huge adventures is nothing new in fairy tales. Hans Christian Andersen took most of his inspiration for today’s story from the seventeenth-century English tale of Tom Thumb, but his own flourishes make Thumbelina a slightly original creation. It was published in 1835 as part of the second fairy tale collection Andersen released that year, which included The Princess and the Pea. It received the same criticisms, namely the lack of clear morals, informal chatty nature and passive characters. Discouraged, Andersen returned to novel writing for a full year before trying his hands at fairy tales again.

Now, it’s no secret that Andersen used most of his stories to vent his own insecurities and frustrations. Thumbelina is no exception, though he’s a bit subtler about it this time around. It’s been theorized that Thumbelina’s platonic relationship with the swallow was a “distant tribute” to a confidante named Henriette Wuff, though there’s little evidence to support it. There’s also the beetle who admires Thumbelina’s beauty but changes its tune when he shows her off to his fellow bugs and they deem her “ugly”; an on-the-nose critique of his fickle audience if ever there was one. What’s certain, however, is that while studying in Slagelse, Zealand, Andersen was tutored by a short, stout, balding, contemptuous classics teacher named Simon Meisling who frequently abused his pupil. “You’re a stupid boy who will never make it,” he once berated him in front of the entire class. Meisling is all but confirmed to be the inspiration for the odious Mole, which proves the adage of never pissing off the writer.

Then there’s the story’s lesson, which is…complicated. On the one hand, Thumbelina bouncing around from one miserable suitor of differing species to another until she finds someone exactly like her can come across as “stick to your own kind”, which borders on yikes. On the other, when Thumbelina finally meets her fairy prince, she’s not pressed into marrying him. She chooses to marry him. Thumbelina is really a story about a woman running away from futures she has no say in to charter her own course in life, an empowering message for women in Andersen’s time – and even today, when put in the right hands.

January Review: Pinocchio (1940)

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“When You Wish Upon A Star
Makes No Difference Who You Are
Anything Your Heart Desires
Will Come To You…”

In my last review, I compared Snow White and the Seven Dwarfs to Star Wars; a blockbuster that captivated audiences, revolutionized filmmaking, and was an all-around fun adventure with a likable cast. Well if Snow White is Disney’s Star Wars – before Disney owned Lucasfilm, I mean – then Pinocchio is undoubtedly Disney’s Empire Strikes Back: refined visuals, more complex storytelling and characters, and much, MUCH darker.

The success of Snow White marked the beginning of big things for Disney animation. The sizable influx of cash meant Walt could build a bigger studio, hire more staff, and give his projects a noticeably larger budget. The question is, where to go from here? What movie could possibly follow the fairest one of all? Investors were clamoring for a sequel and the idea was toyed with for a time, but Walt was not a one-trick pony. Then animator Norm Ferguson brought a copy of Carlo Collodi’s Le avventuri di Pinocchio to Walt’s attention. Walt and a few of his key guys had attended a performance of Yasha Frank’s successful staging of Pinocchio prior to Snow White’s release and noted the story had possibilities for adaptation – plenty of spectacle, cute comic relief critters, etc. Seeing that book sparked Walt’s memory; after reading it, he intended to make Pinocchio his third animated venture behind the upcoming Bambi. But when that movie ran into production troubles, Pinocchio was bumped up to its place. Does it measure up to Snow White, though? Let’s find out.

September Review: Zootopia (2016)

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(DISCLAIMER: This blog is not for profit. All images and footage used below are property of their respective companies unless stated otherwise. I do not claim ownership of this material.)

“Tell me if this sounds familiar – naive little kid with good grades and big ideals says ‘Hey look at me, I’m gonna move to Zootopia where predators and prey live in harmony and sing Kumbaya!’…Only to find, whoopsie! We don’t all get along.”

-Nick Wilde, stating the film’s premise in a nutshell

Sigh…

Have you ever had an idea for something, something you knew was right up your alley, that you could pull off spectacularly without having to rely on anyone else’s words or opinions or worry about stealing someone else’s punchlines, only to have someone with more experience and followers not only beat you to it but do it in such a way that YOU look like the copycat?

Because I did.

When I announced that I’d be going on hiatus until September and returning with a surprise movie of my own choosing, I already had a movie in mind – Disney’s latest animated hit Zootopia.

Then a short time later, Unshaved Mouse announced he would be going on hiatus and returning with Zootopia (or Zootropolis as it’s called in some countries). I’ve mentioned before he’s one of my influences, but it’s especially hard to review Disney movies because I’ve noticed we have similar tastes and opinions when it comes to them (Beauty and the Beast, Peter Pan and Chicken Little notwithstanding), and, I have to admit, Zootopia is just another one he wrote long before I could, and even better than me at that.

Yeah I’m a bit miffed that someone beat me to the punch, but there’s plenty of things to talk about when it comes to Zootopia that can’t be covered in one review, and that’s a GOOD thing! This movie should be talked about, not just by fans or Disney lovers or even furries, but people in general. I don’t think I’ve ever seen Disney openly address issues that are alarmingly relevant today in any of their films (Hunchback came close, but it wasn’t the central focus). In a climate where racism, homophobia, and misogyny is out in the open, even in my country which prides itself on being the land of the free and home of the brave, Zootopia is a film that needed to be made. It’d be easy to write it off as a cute talking animal movie (hell, the first few trailers made it look like something shipped out of Dreamworks), but because it uses the animal society as an allegory, it works wonders. This was a movie a long time in the making and it shows; not only is the storytelling tight but Disney’s long climb to make good CGI-animated films pays off in spades. The animation’s elastic and cartoony when it needs to be while staying true to each animal’s anatomy, and the designs combine the big-eyed softness of the 90’s with the aesthetics of movies like The Jungle Book and Robin Hood.

But don’t take my word for it…even though I’m the one writing the review so it is my word. How good is Zootopia?

The movie opens on a surprisingly dark note with scary music and a darkened jungle. A cute little rabbit hops through the undergrowth, unaware that it is being stalked by a savage predator just out of sight. The predator attacks in a frenzy of blood and gore!

Damn, this movie EARNS its PG rating!

No, it’s just a school play put on by a group of young animals, one that exposits the story of the world we’re in, Zootopia – over time, animals evolved from savage predator and meek prey to overcome their biological urges and live in harmony. As someone who’s watched and been in a lot of these kinds of pageants, they get the awkward acting and scene changes down perfectly. Also, providing the background music, we have the unsung hero of the movie.

Behold, the humble beginnings of Keyboard Cat.

The rabbit, Judy Hopps, tells the audience that in Zootopia, animals are free to be what they want to, and reveals that she wants to be the first bunny cop. After the show her parents (Bonnie Hunt and Don Lake) try to discourage her dreams in a way that’s both heartbreakingly honest and yet comically brutal. While they prattle on about the joys of complacency, Judy notices some of her friends’ fair tickets being stolen by local bully Gideon Gray, a Southern-accented fox with a big ego and violent streak who…

Hang on a second!

We’ll get to YOU later, you demented little munchkin.

Judy tries to stand up to Gideon but he mocks her because he’s a predator and the urge to kill is still in his DNA, while she’s just a dumb cowardly bunny. It gets surprisingly intense as he knocks her to the ground and scratches her face. He snarls at her to remember this moment when she thinks she can be anything other than what she is. Now when I heard that the first few minutes of the film would be scary for younger kids, I thought that there would be some kind of horrific accident or traumatizing death along the lines of, you know, the usual parental loss that spurs a number of Disney animated movies. I did not expect this one bit. I may have mentioned once or twice that I was bullied as a kid –

“I’ll go put Dr. Angela on standby.”

Will you get out of here?!

Anyway, though my experiences were more psychological and verbal than physical, they still run pretty deep when invoked, and this scene captures the intensity and fear of when you’re humiliated and put down at the hands of someone stronger than you.

Judy’s determination does not go unrewarded, however. She swiped the tickets from Gideon while he was monologuing and tells her friends that he was right about one thing  – she doesn’t know when to quit.

“Just ask my third grade teacher!”

“She never knew when to quit.”

Cut to an adult Judy (Ginnifer Goodwin) attending police academy and having more than a hard time working with a regimen fit for larger and more brutal animals. Through sheer willpower, the use of her own size and agility against her bigger opponents and one Mulan-worthy training montage, she graduates the top of her class. At the ceremony overseen by Mayor Lionheart (JK Simmons), we learn that Judy’s induction was part of a “mammal inclusion initiative”, not unlike Affirmative-Action programs we have in the states. Assistant Mayor Bellweather (Jenny Slate) gives her her badge and comments on how “it’s a great day for us little guys” before Lionheart pushes her away for a photo op.

“Bad guy! Bad guy! She’s the bad guy!”

Oh come on Cynicism, just because Disney did the whole third-act bad guy switcheroo for its past three movies doesn’t mean they’ll do it a fourth time. In a movie that’s as progressive as Zootopia,they wouldn’t be that repetitive, right?

“I don’t know, you’re the one who’s practicing screenwriting in between five-hour periods of Sort the Court. You should know how these things work by now.”

Anyway, Judy bids her family a fond farewell at the train where they act as all concerned parents do when their kids go off to the city and…give her a taser to keep foxes at bay. They remind her of the incident with Gideon when she was a kid, but Judy tells them that Gideon was a jerk who happened to be a fox, and she knows plenty of bunnies that are jerks (sound familiar?). Judy mollifies them by taking some fox pepper spray (seriously, I know there’s racism against other species – specism? – but who the hell gives the right to make products intended to cause harm to one particular animal in this kind of world?!) and she hops on the train that takes her out of the Bunny Boroughs to the heart of Zootopia. And what follows…my God.