Hard to believe it
today, but Disney considered 1959’s SLEEPING BEAUTY a commercial disappointment
after the triumphs of FANTASIA, DUMBO, and BAMBI. The House of Mouse put all potential “princess”
features in hibernation—like their own poisoned apple-munching maidens—for three
decades. But the film has endured,
delighting (and terrifying) new generations of tikes over the years.
Like SNOW WHITE AND THE
SEVEN DWARVES and CINDERELLA before it, SLEEPING BEAUTY became a definitive “princess”
picture. Princess Aurora is innocence
idealized in pen and ink. And if
vengeful Maleficent isn’t the Mother of All Movie Villainesses, she’s
damn near close, perhaps sharing the mantel only with The Wicked Witch of the West.
Fifty-five years on,
the story was ripe for retelling. And
who better to re-dream the dream than Disney?
An expository voiceover by a certain female protagonist informs us MALEFICENT
is less a live-action prequel to the animated classic than a complete SLEEPING
BEAUTY overhaul where reason, emotion, and morality aren’t so cut-and-dry. Most of the characters here don’t believe in
true love anymore, so it’s gonna take more than the standard sword-to-serpent’s
heart to win their Happily Ever After.
Speaking of hearts, turns
out titular dragon-lady Maleficent began life with a warm, gentle one—even if it
turns to stone later. Her
sidekick, Diablo, now goes by Diaval (Sam Riley), and has the ability to
transform into other animals, too. SLEEPING BEAUTY’s three pastel-colored pixies
still factor in, albeit with new names.
Princess Aurora is the same old precocious blonde you remember, but her dad’s a royal
A-hole.
When first we meet the “new”
Maleficent, she’s a pure-of-heart fairy with Vulcan ears, horns, and prodigious
wings. She’s lonely—an orphan—but that
doesn’t stop her from making merry with gnomes and forest creatures every
morning. When a handsome human boy
happens upon the Moors, Maleficent is taken by his kindness. The teenagers fall in love, their bond promising
unity between the fairy and human kingdoms.
Sadly, the magic doesn’t
last. Not the good magic, anyway.
The boy—Stefan (Sharlto
Copley from DISTRICT 9 and ELYSIUM)—becomes a greedy, ambitious adult (just
like most humans). Aspiring to the
throne, he ignores Maleficent (Angelina Jolie) to serve aging King Henry (Kenneth
Cranham), whose first and only attempt to conquer Faerieland is thwarted by
Maleficent and her army of tree-beasts.
Humiliated, deathbed Henry vows to name as his successor the man who
would avenge him by killing Maleficent. So
cunning Stefan rekindles his romance with the fairy queen, only to betray her
trust in the worst possible way—just short of murdering her. We can’t report how Stefan convinces Henry he’s
offed Maleficent without conceding major plot points. Suffice to say he does, and gets the crown.
Brokenhearted,
Maleficent (Latin: mal=evil, facio=make or do) crashes the christening of
Stefan’s infant daughter, Aurora, and curses her: The girl, though beautiful and beloved, will
prick her finger on the spindle of a spinning wheel and fall into a coma-like
slumber by sunset on her sixteenth birthday.
The curse is irrevocable, but Maleficent—perhaps to show she’s not being
completely unreasonable—says the only remedy for the deep sleep shall be True
Love’s Kiss.
Sound familiar? So far, so good, yeah. But this ain’t grandma’s SLEEPING BEAUTY.
Maleficent cordons off
the Moors from King Stefan’s land with a massive, impenetrable thorns and gets
down to the business of pouting incessantly (she hasn’t a proper job). The foliage darkens with her mood, and the
carefree creatures keep their distance, wary of her sorrow and rage. Unbeknownst to Maleficent, however, Stefan
orders all spinning wheels confiscated and locked away and—to guarantee Aurora’s
safety—sends his daughter off to live in anonymity until the day after her
sweet sixteenth. A trio of pixies
(Knotgrass, Thistlewit, and Flittle) spirit baby Aurora to a secluded cottage
in the woods where, disguised as peasant women, they determine to raise the
girl themselves (they don’t work for a living, either, so they’re available to
babysit).
Never mind why anybody
would leave a perfectly quaint cabin vacant in the middle of an idyllic forest;
the proprietor’s probably aligned with the Fellowship of the Rings and is off gallivanting
with Gandolf.
The accident-prone
pixies haven’t any maternal instinct. It’s
not until Maleficent—who hasn’t anything better to do but brood and spy on
others (again, too much leisure in these parts)—arrives on the scene and
surreptitiously nurtures Aurora that the baby gets the TLC she needs…to mature
into the sprightly teen Maleficent herself doomed.
Kinda twisted, right?
“I know you,” says
Aurora (Elle Fanning), goading her guardian out from hiding. “You’re my fairy godmother!”
Maleficent and pseudo-orphan
Aurora become a surrogate family, bonding so effectively that the elder even
tries undoing her curse (sorry, no take-backs!). To make matters worse, Stefan—who’s been
fuming for the last sixteen years—stiffens his resolve to take revenge on Maleficent
for the christening debacle as the designated day draws nigh. Heck, the king’s so angry that he brushes
Aurora off when she returns to the castle on her own (oops, a day early). His bone-headedness only ensures her curse
comes to pass.
The climactic face-off
between Stefan and Maleficent echoes the SLEEPING BEAUTY finale—we meet Prince
Phillip (Brenton Thwaites) and duel with a dragon by the time all’s said and
done. But don’t go thinking Maleficent’s
aversion to iron will stop her from putting up a fight.
Directed by first-timer
Robert Stromberg, MALEFICENT is a passable fantasy charged with competent acting
(particularly by Jolie and Copley) and the same otherworldly special effects
Stromberg brought to AVATAR and OZ THE GREAT AND POWERFUL. The source material—a classic Brothers Grimm tale
whose 17th Century heroes and villains (and heroines and
villainesses) were more conventionally clear-cut (and even more so in the
post-WWII Disney adaptation)—receives a timely makeover for an age when it’s often
difficult to discern “good” from “bad,” and for a guilt-ridden, self-help
culture audience who are perhaps more willing to recognize their own moral faults
and ambiguities. Younger viewers will
appreciate the inner conflict, the notion that while anger and hate are
understandable (if not primal) reactions when someone trespasses against us, we
still hold the power to do the right thing and shape our own destinies. Grudges are toxic, and we needn’t let others’
offenses spoil our good virtue.
Jolie’s already high
cheekbones and full lips are enhanced, courtesy simian cinema makeup guru Rick
Baker (KING KONG, RISE OF THE PLANET OF THE APES). With her piercing emerald eyes, angular
profile, and penchant for stoic one-liners, Maleficent is a potent mix of babe
and bitch. The wardrobe department
helps; Jolie sports earth tones and lets her hair down (and ears stick out) as
a benevolent fairy, but wears all black and secures her do in a horn-swaddling headpiece
when channeling SLEEPING BEAUTY’s iconic “Mistress of Evil.”
Meow. Not since Charlize Theron played Queen Ravenna
(in SNOW WHITE AND THE HUNTSMAN) has evil looked so good.
2 out of 4 stars
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