Faerie Tale Theatre Reviews: Cinderella

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“So you’re telling me you had a good time?” “And I owe it all to you.” “Rubbish! You did it all yourself. The cake was already made, all I did was add the frosting.”
– The Fairy Godmother lays down the truth about our long-lasting fascination with the original rags-to-riches story

Did I say Snow White held the record for the fairytale with the most variations? Silly me, how could I forget Cinderella, the story that’s so known worldwide that when I tried to research every single version for this review my computer exploded? In fact, I questioned the point of recapping this episode since you don’t need me to remind you of the plot. This is a fairy tale so widely spread across thousands of years, continents and cultures, from Ancient Greece to the Tang Dynasty, that everyone knows it in some form or another.

It’s only when I stopped to compare Faerie Tale Theatre’s Cinderella to other iterations of the story that I came to this conclusion: the devil is in the details. Cinderella’s timelessness has left it open to a multitude of interpretations, analyzations, deconstructions, reconstructions, subversions and spoofs. There is no one definitive version, which is great. You can do whatever you want with the tale if you play with the beats creatively enough. Want to change the setting to high school and make the prom the ball? Sure, why not? Remove the magical elements and place it in Renaissance-era Europe for that historical fiction approach? Whatever floats your boat. Flip the perspective to the stepsisters’ side of the story? Go nuts. Have Cinderella’s servitude be a literal curse she has to break by tearing the fairy who enchanted her a new one? Boom, done.

Cinderella has also been subjected to plenty of criticism, as a good many traditional fairy tales have lately. Forgive me for beating a dead mouse-turned-horse, but those espousing the negatives of Cinderella, from All-4-One to The Cheetah Girls to Andrew Lloyd Webber, to a whole slew of bad-faith “feminist” critiques and even YA retellings I love like Kaylnn Bayron’s Cinderella is Dead and Margaret Peterson Haddix’s Just Ella, have gotten it completely wrong. Cinderella is not, and never has been, about marrying a prince. It was, and always will be, about maintaining hope in dark times and escaping poverty and abuse through kindness and determination. That’s the eternal appeal of Cinderella, that anyone can rise to the top when it seems like the whole world’s against you. It’s also what makes a straightforward rendition in a sea of postmodern adaptations so refreshing (when done right, of course).

Faerie Tale Theatre Reviews: Snow White and the Seven Dwarfs

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“For I’ll be your prince, and you’ll be my…dwarf.”
– The Prince’s tune after receiving a surprise audience

I have a confession to make: I feel like I skimped out on Thumbelina’s origins last month. Had circumstances not prevented me from doing so, I would have done a deep dive into other thumb-sized characters in folklore around the world, how they fed into her creation, and the similarities and differences between them. Well this month’s review isn’t gonna leave the history buffs high and dry, baby. I’m going the full hog with Snow White, one of the most iconic fairy tales with a rich, detailed historical background to match, so strap in!

The Fairest One of All might just hold the record for most variants of her story worldwide. In the Aarne-Thompson-Uther classification of folklore, she has a category all to herself! Richilde, Gold-tree and Silver-tree, Myrsina, The Young Slave, Bella Venezia, Bright Star of Ireland, Hajir, La petite Toute-Belle, Der zauberspiegel, Rose-Neige, Lé Roi Pan, La hermosa hijastra, and Anghjulina are but a few folktales from around the globe that retell Snow White’s adventures. Each one shares the tropes common to the story we know (a jealous queen, a magical fairness-rating artifact, multiple assassination attempts, poisoned objects, glass coffins, a prince partly responsible for waking her, etc.) though the details vary. For example, the dwarfs who take Snow White in aren’t always dwarfs, or even miners. Sometimes they’re robbers, sometimes they’re the twelve months personified, sometimes they’re purely magical characters like djinns and dragons!

The biggest revelation one can take away from these retellings, however, is that Snow White usually isn’t menaced by a wicked stepmother but her own mother. Indeed, the German oral tale recorded by the Brothers Grimm in 1812 had the evil Queen be Snow White’s birth mother, until they revised it seven years later to keep the fable more in line with their patriarchal beliefs. See, Jacob and Wilhelm envisioned motherhood as something pure and infallible. They didn’t want to rock the familial boat by suggesting mothers could be capable of spite and cruelty. So they pinned the queen’s jealousy and murderous tendencies on a figure that was already on the outs with the family unit, one seen as new, unfamiliar and untrustworthy: the stepmother. It also doesn’t help that the Queen is the most proactive character in the story, spinning the narrative that clever women with agency and authority are evil, self-serving and dangerous. Between this, Cinderella, and Hansel and Gretel, it’s not much of a stretch to say that the Grimms are the source of the evil stepmother/queen stereotype that’s plagued so many narratives and even negatively colors real women to this day.

Why no, I’m not at all bitter that everything Hilary warned us about could have been avoided if everyone listened to her instead of The Former Guy yelling about periods and emails, thanks for asking.

As for her origins, Snow White and her assorted fair counterparts have roots going all the way back to Ovid’s Metamorphoses. One story featured within, the legend of Chione (whose name translates to “Snow”, by the way) is about a woman described as the most beautiful in the land, which earns her the enmity of the goddess Diana and the lust of gods Apollo and Mercury. Apollo visits Chione disguised as an old woman and…has his way with her, as deities do (blegh). One could also draw parallels to Adam and Eve and the infamous apple, if you’re willing to dig that deep.

That’s not the half of it, though. Scholars may have found precedence that the tale of Snow White might be based on actual historical figures. According to German historian Eckhard Sander, young countess Margaretha von Waldeck fits the bill for a real life Snow White. She was renowned for her beauty, raised by her stepmother, her father owned several copper mines that employed child labor (which explains the dwarfs), she had to travel to the next kingdom “seven hills” over for a goodwill mission, and she died tragically young; the rumor circulating the court was that she was poisoned. Another theory that was initially tongue-in-cheek but turned out to have some credibility was that Snow White was inspired by Baroness Maria Sophia Margarethe Catharine of Lohr. Mirrors from Lohr were said to always speak the truth thanks to their high quality, hence the Magic Mirror. One such Lohr mirror that still exists was owned by Maria’s stepmother, Claudia Elizabeth von Reichenstein. Claudia is described as a domineering woman who favored the children from her first marriage. There’s a history of nightshade poison growing in abundance in Lohr, a mining town stood close to there, and the glass coffin may be another nod to the city’s famous glassworks. While there are sound arguments disproving these hypotheses, I find it fascinating that Snow White has taken such root into culture as a whole that historians and folklorists alike are willing to connect the dots between the story and factual occurrences.

When it comes to modern iterations, though, the Disney film is the one that obviously stands foremost in the public consciousness. It’s inspired nearly every adaptation going forward since 1937, and Faerie Tale Theatre’s is no exception…

Faerie Tale Theatre Reviews: Sleeping Beauty

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Bernadette Peters, beverly d'angelo, brothers grimm, Carol Kane, charles perrault, Christopher Reeve, fire breathing, forest of thorns, giambattista basile, giant, kay nielsen, nutcracker ballet, prince charming, princess, rene auberjonois, russia, russian art, sleep, sleeping, sleeping beauty, sleeping beauty ballet, sleeping beauty waltz, squire, Tchaikovsky, the sleeping beauty, thorns, woodcutter, woodsman

“What is that?” “What does it look like?” “An enchanted castle […] is there a princess inside?” “Of course! You can hardly have an enchanted castle without a princess inside, now can you?”
– The “Squire” and the Woodsman on the topic of today’s story

I feel the need to post a Content Warning before we begin: The opening paragraphs include mentions of rape, traumatic childbirth, and sexual harassment. If these things are a trigger or are otherwise upsetting, please skip to “Read More” (or the paragraph after the Jack Sparrow gif) where I look at today’s episode proper.

There’s a a folklorist I follow named Austin Hackney; he’s a talented and disciplined author whose passion for fabulism is evident in his Folklore Thursday videos. His introduction on the story of The Robber Bridegroom, however, gave me pause:

It’s a fine example of just how dark and scary fairy tales can be before…Disney and the like dissolved them in the saccharine solutions of their retellings.

It’s not easy to convey in text but the distaste for Disney is evident in his voice. On the one hand, I get it, gigantic corporate overlord devouring IPs while demanding worship and all that. On the other hand, it’s unfair to cover all of Disney’s fairytales under such a massive blanket statement. Most fairy stories you can recount in five minutes tops; if you’re not going to alter them when adapting to a visual medium, you’re doing the audience and the creative team involved an extreme disservice. The artists would have very little room to stretch their creativity, and audiences, well, to say their tastes and suspensions of disbelief have changed since the fifteenth century would be a gross understatement – and that’s where Sleeping Beauty comes in.

I’ve already gone on record saying how Disney’s retelling is one of the stronger entries in the canon, both visually and in the story department. The wise decision of putting the Fairies front and center transforms the simple plot into a tale of revenge, political intrigue, and espionage with a feminist twist.

Also there’s a dragon battle. Saccharine retelling, my Aunt Fanny.

The story it’s based on, however, isn’t nearly as riveting. Much of it feels like a series of “this happened then that happened”, not helped by the titular character being there to only snooze through it. Surprisingly, the element of a cursed beauty trapped in eternal slumber and in need of rescue has appeared in many stories before its current incarnation, from Egypt’s “The Doomed Prince”, to Siegfried and Brunhilde in the Volsunga saga, to the medieval courtly romance Perceforest. It’s from there that Italian author Giambatta Basile was inspired to write his version of Sleeping Beauty, otherwise known as “Sun, Moon, and Talia”. Unfortunately, in adapting Perceforst, he kept in one unsavory detail that snowballs into an avalanche of…

Well, a cursory search on Youtube will give you a plethora of clickbaity titles such as “THE DARK HORRIFYING ORIGINS OF DISNEY’S SLEEPING BEAUTY” and “THE REAL EFFED-UP STORY OF SLEEPING BEAUTY”. Loathe as I am to say it, they’re not wrong.

In Basile’s story, Talia is a wealthy lord’s daughter who is prophesized to be doomed by a flax splinter. Her father decrees that all flax, which is used for spinning, is banished from his castle. One day teenage Talia finds an old woman spinning under a tree. A flax splinter gets caught in her finger when she has a go at it and she collapses, seemingly dead. Her father can’t bear to put her in the ground, so he shuts her in an opulent tower bedroom and abandons the estate altogether. The place gets so overgrown that it becomes part of the forest. A king goes hunting and discovers the tower when his hawk flies in through the window. He makes his way in, finds Talia, and is so taken by her beauty that he “grew hot with lust” and…

He rapes her. In no uncertain terms.

While she’s unconscious.

And still underage.

Those were my reactions too while researching this story.

And it gets worse. King Epstein leaves Talia after he reaches his happy ending and completely forgets about her. Nine months later she goes into labor – while still unconscious – and wakes up, no doubt confused and horrified, when one of her babies sucks the flax from her finger. Her, for lack of a better word RAPIST, then suddenly remembers Talia and returns to the tower for another go only to discover he’s a father now. Talia is okay with the situation when he explains what he did to her, and he visits her frequently for more lovemaking…even though he’s married to someone else.

And it keeps. Getting. Worse.

The queen learns about Talia after the king shouts her name in his sleep one too many times. Rather than call out her philandering rapist husband, she lures Talia to the palace, accuses her of being a whore and orders her and her children to be executed. Talia buys herself some time by doing a slow striptease for the queen, crying and screaming as she’s forced to hand over her clothes. The king returns just as she’s down to nothing and has his first wife killed instead. And the moral of the story is, I kid you not, “Those whom fortune favors find good luck as they sleep”.

So, yeah, regarding adaptations of Sleeping Beauty, you can only go up from there. Most of them tend to be pretty rote retellings of the later Charles Perrault or Brothers Grimm versions – which, to their credit, completely omit the rape, wedlock, infidelity, just about everything that makes this tale traumatic. I am perfectly fine with dragon-slaying and True Love’s Kiss saving the day over…THAT. They also end the story with the prince and princess getting their standard happily ever right after the kiss with no first wives or cannibalistic stepmothers getting in the way*, which is a plus in my book.

Like a number of fairytales, Sleeping Beauty has come under fire from feminists as of late; while their arguments against Snow White and The Little Mermaid seem shallow at best, I understand where they’re coming from in this instance. The thing is, when you get right down to it, the Sleeping Beauty is more of a macguffin than a character. The people in her life want to claim or destroy her, and she often has little to no say in the matter. Whomever chooses to adapt her story has to make the characters surrounding her more interesting if we want to remain invested. Few versions exist where the Sleeping Beauty has a better-defined character or an active role in the plot because of what has to happen to her. Today’s episode of Faerie Tale Theater leans heavily on the former, but I admire their attempt at the latter mainly because of who they cast in the part.

February Review: Snow White and the Seven Dwarfs (1937)

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If there’s a reason why we’re able to recall the story of Snow White from memory, and why said princess is usually depicted with short hair, a cute bow and surrounded by woodland fauna, look no further than Disney. Their take on the Grimms’ fairy tale is the prime example of pop cultural osmosis. Even if you’ve never watched Disney’s Snow White, it’s easy to recognize when a piece of work is borrowing from it or spoofing it. And I can definitely see why – not only is it going eighty-plus years strong, but its influence on nearly every Disney feature to come after it is a profound one.

The real story of Disney’s Snow White begins in the early 1910’s when a young Walt Disney saw a silent film version of the Grimms’ fairytale starring Marguerite Clark. The movie stuck with him well into adulthood. One night, well after he had established himself as an animation giant the world over, Walt gathered his entire staff of animators and storymen and re-enacted the tale for them in a mesmerizing one-man show. They were enraptured, but what he told them next struck them dumb – they were going to take what he performed and turn it into a full-length film.

In Tony Goldmark’s epic(ally hilarious) retrospective of Epcot, he performs a quick sketch he summed up as “Walt Disney’s entire career in 55 seconds” where Walt presents his career-defining ideas to a myopic businessman capable of only saying “You fool, that’ll never work!”. Considering how animation is everywhere today, it’s easy to forget that an animated film was once seen as an impossible dream. The press hawked Snow White as “Disney’s Folly”, and Hollywood speculated that it would bankrupt the Mouse House. It very nearly did. Miraculously, a private showing of the half-finished feature to a banking firm impressed the investors enough to ensure its completion.

Snow White is touted as the very first animated movie – admittedly something of a lie on Disney’s behalf. Europe and Russia were experimenting with feature-length animation decades before Walt gave it a try. But consider this: most animated films predating Snow White’s conception are either sadly lost to us or barely count as such by just crossing the hour mark. With all the hard work poured into it showing in every scene, with each moment displaying a new breakthrough in the medium, Snow White might as well be the first completely animated movie after all. Hell, it’s the very first movie in the entire history of cinema that was created using STORYBOARDS. A tool used by virtually every single movie put out today. If that’s not groundbreaking enough, I don’t know what is.

But is Snow White really…but why does it…can it…

“You know what? No. I’m not doing this teasing question thing before the review starts proper. OF COURSE Snow White is a masterpiece. OF COURSE most of it holds up. Let’s skip the middleman so I can explain why.”