A Princess for Christmas

In the movie world, fairy tale movies such as Beauty and the Beast usually stand apart from Christmas movies like Home Alone. However, some movies combine elements from the two genres. 

Lionsgate's A Princess for Christmas is a prototype: it features the family drama and holiday stress typical in Christmas movies while mixing in elements from Cinderella (the ball) and Beauty and the Beast (the redemption of a grumpy castle owner). 

As with many fairy tale movies, A Princess for Christmas starts with "once upon a time." It tells the story of Jules Daly (Katie McGrath), who once dreamed of traveling to far-off places and loved antiques but grew up to raise her troublemaking teenage nephew Milo (Travis Turner) and seven-year-old niece Maddie (Leilah de Meza). After an unexpected tragedy, though, Jules gets an invitation to stay at Castlebury Hall with the Duke, the kids' grandfather, (Roger Moore) for Christmas.

One of the movie's strengths is the presentation of the inciting incident. Not only does it happen right before the ten-minute mark, but it mixes simplicity and strength; the sight of an airplane ticket brings the scene to Castlebury as Jules, Milo, and Maddie arrive at the castle. 

Much of the dialogue throughout the first half of the movie serves as exposition. For instance, the Castlebury Hall servants explained why the Duke sent the invitations; his change of heart while ill is not shown. If the film's focus is on Jules's discovery of family and uncovering of mysteries, though, the exposition-filled dialogue makes sense. 

A Princess for Christmas also succeeds in its shots. Most of the scenes are well-lit enough to understand the story just by watching it unfold. Plus, the camera zooms into facial expressions a lot, strengthening my connection with the characters (especially Jules and Prince Ashton) and the story. 

Before the ball, Prince Ashton (Sam Heughan), the children's uncle, is in love with Lady Arabella (Charlotte Salt), who serves as the movie's "twist villain." Such competition, alongside Jules's visit to a castle with a grumpy owner, makes A Princess for Christmas, in part, a female gothic tale. The change in circumstances at the ball, where there is a dress reveal, make this a Cinderella tale as well. 

If I were to make a critique, it would be that Milo and Maddie's "cultural education" add little to the storyline; they do not play electric guitars or engage in ballet at the ball. Yet, everyone involved in the cultural education ended up dancing to the same song, which could have prepared them for the ball. Besides, the kids' engagement in cultural education was enjoyable to watch; I would've loved to engage in it myself. 

A Princess for Christmas is also visually stunning. Castlebury's castle is pure European in its Tudor design and elegant rooms. The dresses, though not always modest, are also pleasant to look at; perhaps they remind me of the dresses in Bridgerton with their thin structure. 

A Princess for Christmas, being well-written and full of optimism, is perfect for those seeking to celebrate the holiday season with a fairy tale. 

Have you seen A Princess for Christmas? What do you think about it?

Wicked: Part One

Even as a mere stage musical, the origin story of the Wicked Witch of the West (of The Wizard of Oz fame) became a classic in its own right. Will the movie further ingrain the story in our popular culture?

For those not familiar with Wicked, it follows Glinda as she tells the munchkins about how the Wicked Witch (named Elphaba) came to be. Her birth with green skin, her messed-up childhood, and her entry into Shiz University and growing friendship with (and feelings against) Glinda all get explained. 

While Wicked: Part One presents Elphaba as misunderstood, her backstory does not redeem her actions (something Disney's live-action Cinderella also does well and Maleficent can learn from). Instead, she finds freedom from oppression when engaging in sorcery. Even better, the film does nothing to change the story of the Wicked Witch in The Wizard of Oz; it only gives some backstory. 

Another area in which Wicked: Part One succeeds is the music. The songs have an upbeat tone (including "Defying Gravity" towards the end) and contain pure Broadway style with well-acted choreography to match. Yet, "Popular," takes inspiration from a popular song (which is not surprising with Ariana Grande as Glinda). Regardless, the music makes the almost three-hour film feel much shorter. Only hints of the music show up in the trailer, but the success of Wicked can, hopefully, improve upcoming trailers for musicals. 

The performances also stand out in Wicked: Part One. Ariana Grande may be an A-list actor, but she does not distract from her role as Glinda. The blond hair and pink outfits help her stand out. Cynthia Erivo also nails her performance as Elphaba with the help of her contrasting black outfits and green skin. 

As with many modern live-action films, the use of CGI is present, particularly in the talking animals. I questioned the presence of talking bears alongside the humans at Elphaba's birth. However, I also appreciated how the talking animals all look real and have believable expressions and personalities. Wicked: Part One even gives sympathy to the struggling animal professors at Shiz. 

One problem I have with Wicked: Part One, though, is that some scenes were too dark for me, especially those in which Elphaba and Glinda visit the wizard. The dark green color inside the walls of his building evoked, in me, a sense of boredom or gloom. 

Not surprising for a nearly three-hour movie, the story also drags in some areas. It especially applies to the middle of the "Dancing Through Life" number; if Elphaba and Glinda were just friends, the multiple close-up shots of their expressions are unnecessary. 

Otherwise, the storyline is engaging. Alongside the music, as previously described, there are multiple moments of tension regarding Elphaba's struggle of belonging and her relationships with Glinda and other students. There is additionally tension, as previously mentioned, surrounding the animal professors. Several action scenes, including Glinda catching up with Elphaba on the train, also enhance the plot. 

On a final note, unlike most modern live-action films, Wicked: Part One is well-shot; it is almost always easy to see the characters and action in dim settings. Plus, while the sorcery may offend Christian viewers, there is little to no foul language, making it more watchable. It is the rare modern film deserving of its PG rating. 

Fans of musicals, especially, need to check out Wicked: Part One. It may be long, but it feels like a breeze. 

Have you seen Wicked: Part One? What do you think about it?

The Untold Story of Mary Poppins

Many consider Mary Poppins to be among the Walt Disney Company's greatest live-action films of all time; it has become so ingrained in our culture that a film about its production (Saving Mr. Banks) came out in 2013. Eleven years later, in honor of the film's 60th anniversary, came an actual documentary.

Not only does The Untold Story of Mary Poppins describe the production of the film, but it also gives some background on its source material. For instance, it explains the rise of British children's literature, including Mary Poppins, in the United States during the 1930s. There is also information about the life and personality of P. L. Travers, who long opposed Walt Disney turning her books into a movie. 

As with any documentary, The Untold Story of Mary Poppins mixes video clips, pictures, voiceovers, and interview clips. Alongside those of P. L. Travers, the pictures and clips of Julie Andrews performing as and reflecting on her iconic role as Mary Poppins are especially interesting. 

The documentary, overall, emphasizes the significance of Mary Poppins in Walt Disney's career (it was his greatest hit since Snow White and the Seven Dwarves), film history, and general pop culture. Before watching, I already knew about the film's significance. Now I also know how Walt Disney did not feel as if his work was being taken seriously enough before Mary Poppins, making me appreciate it more.

Towards the end of the documentary is, suitably, information about the film's legacy, including a Broadway premiere and the release of Mary Poppins Returns in 2018. Clips of fans singing the songs from Mary Poppins appear as well. 

For Disney fans, especially those of Mary Poppins, The Untold Story of Mary Poppins is a must-watch. 

Have you seen The Untold Story of Mary Poppins?

The Untold Story of Mary Poppins can be streamed on Disney+.

Buffalo Girl

Image citation: Amazon. (n.d.). [Buffalo Girl]. Retrieved December 10, 2024, from https://www.amazon.com/Buffalo-Girl-Jessica-Q-Stark-ebook/dp/B0BXFPD149/ref=sr_1_8?crid=JA7L18E22KQ0&dib=eyJ2IjoiMSJ9.ujTyA31bIrosHeI34v6tlILGPJCwaA6kbZahRcyATg_XdywsqOkt-u0VZ0F_hP1VtmmqiGuj2lb5Q7E2uKXXQuMa49VTveGLCi5kjPS-Y53dlnYrqzI97StPoLzkmMBVXdjVHYIbuZgn93chUqSDfGFyZfnQ_PZzsMjQAo5RM6YsR364Kz6G8ypLe8d7TAkQA98bpqdjK7gFReBhagTrEfjk9NuXGtfE7ub-bDpXAQM.e8G5mIKc5QgpOGqHyL--Pi9JuBqdnne_vAtoIV2przk&dib_tag=se&keywords=Buffalo+Girl+book&qid=1733878991&sprefix=buffalo+girl+book%2Caps%2C112&sr=8-8. 

There are several contemporary poetry collections critiquing fairy tales; one even focuses on a specific fairy tale throughout.

Jessica Q. Stark frequently references Little Red Riding Hood and similar stories throughout her collection to address common feminist issues. Four of her poems are even called "Little Red Riding Hood," while another is called "Little Red Cap," and even more mention "Red" somewhere in the title. 

Accompanying several of Stark's poems are illustrations, mostly pictures from her life but some illustrations of Little Red Riding Hood. One such illustration accompanies "Phylogenetics" at the beginning of the collection (despite the title). Another accompanies "Little Red Hat: An Intermission" and one more accompanying "Little Red Cap." All pictures have cutouts or pastings as well. 

Even though Stark splits her collection into three sections, the themes remain similar: describing the fear girls and women face (whether or not it relates to Little Red Riding Hood). Stark uses the tale to illustrate how girls and women face restrictions because of the danger; she writes in the first line of the third stanza in "Phylogenetics," "Why not a hard-edge (for once) let the girl wander where she pleases." 

In several poems, Stark uses the wolf as an allegory for an abusive man. One poem in which she does so is "A Wolf Promises Happiness, or Still Life as a Fruit Basket." In a poem, a man with cigarette-smelling breath named Linh asks Red to stay, only to see him beside a paved road at sunset. 

Stark's poems are not always easy to contextualize within the greater theme, especially those that don't specifically mention problems. For instance, "Little Red Cap" merely summarized the story after mentioning the grandmother "did not know what to give the child." Yet, how is a red hood antifeminist?

Stark employed free-form poems throughout her collection; some have linear stanzas, others appear in disarray with indents and extra spaces, and others look more like paragraphs. The variety of poetic structure helps to engage readers, especially those who tend to grow weary of the same thing over again. It can also inspire readers to write a variety of poems themselves.  

Regardless, for a real-world look at the Little Red Riding Hood story and the danger girls and women face, Buffalo Girl serves as an interesting read. A bonus is an appendix at the end describing various versions of the "Little Red Riding Hood" story.

Have you read Buffalo Girl?

Castle in the Sky

Image source: https://wallpapers.com/wallpapers/laputa-castle-in-the-sky-1920-x-1080-wallpaper-zy1zpop5xgehpef7.html. 

Before Disney started its animation Renaissance in the late 1980s, Hayao Miyazaki at Studio Ghibli was already producing his own animated classics; Castle in the Sky was one of them.

Because the word "castle" is in its title, some might confuse Castle in the Sky with Howl's Moving Castle (which came out much later and has a different story). Besides, unlike Howl's Moving Castle, Castle in the Sky has protagonists who appear to be in their late childhood or early adolescence.

The film follows Lucita "Sheeta," a young girl who floats from an airship into the arms of apprentice Pazu. The two become friends as they embark on a quest to find Laputa, a legendary castle floating in the sky (which references the title). Throughout their journey, Sheeta and Pazu make several friends, especially Uncle Pom, who helps them, as well as facing several enemies, including a team of greedy air pirates. 

There are several high-stakes moments throughout the film. For instance, Pazu and Sheeta hang onto a torn railroad while escaping the pirates. Pazu also appears to be at risk of falling when climbing up a crumbling structure during the climax. The enemies, including the air pirates and Laputa's ruler Muska, who attempts to force Sheeta into royalty, add to the film's stakes.

The plotline was adventurous, but it was rather complex for my taste; when all seems to go well, more and more gets added on. Hence, Castle in the Sky is not one for those not wanting to sit through long movies. There are also a lot of gunshots throughout the movie, making it earn its PG rating.

Plot aside, the characters are quite appealing, especially Sheeta with her headband and braids. She has a tragic backstory of living alone on a farm prior to her capture by pirates, which got me more interested in her character. It is also interesting how her magic crystal allows her (and Pazu) to float while falling. Her growing friendship with Pazu (and the pirates) is also endearing. 

The visuals and animation also deserve praise; the backgrounds are well-designed and the colors pleasant to look at (especially the grass). Other highlights include the characters' exaggerated facial expriessions and mannerisms (particularly when the pirates eat Sheeta's food).

As with many Studio Ghibli movies, there is some paganism in Castle in the Sky, especially Sheeta's spells from her grandmother. She uses one during the climax, so Christian viewers need discernment. 

Overall, Castle in the Sky is a decent adventure. I enjoyed it less than My Neighbor Totoro, but I definitely recommend it for fans of anime and/or fantasy quests. 

Have you seen Castle in the Sky? What do you think about it?

The Wise Little Hen

Before Walt Disney made his first animated feature, he created a bunch of animated shorts with music called "Silly Symphonies." As with his feature-length films, some of these shorts are fairy tales or folktales in their own right; The Wise Little Hen is one of them.

The Wise Little Hen follows a mother hen who works in the fields to feed her chicks. Along the way, she requests help from two friends: Peter Pig and Donald Duck (he makes his debut here). Both refuse with the same excuse: "I've got a bellyache" (but do they really? Or is it just an excuse?) The Hen delivered medicine to both of them in a surprising way.

It is ironic Donald Duck went on to become a Disney icon while Peter Pig did not (neither did the Hen or any of her chicks). Maybe it's because a duck is more appealing than a pig. Regardless, The Wise Little Hen is hardly talked about in conversations about Disney stories. 

One problem with The Wise Little Hen involves this question: was the Hen really wise? She properly fed her chicks, but she did not know how to serve Peter Pig and Donald Duck. 

Otherwise, the short is well done. The colors are pleasant to look at and the music is enjoyable. And, of course, The Wise Little Hen makes use of animation in ways that modern Disney films rarely do (suspending disbelief when watching a hen, pig, and duck with human qualities). 

For Disney fans who do not have enough time to watch a full movie, shorts such as The Wise Little Hen are worth checking out. 

Have you seen The Wise Little Hen? What do you think about it?

The Wise Little Hen can be streamed on Disney Plus.

Women Writing Wonder

Image citation: Amazon. (n.d.). [Women Writing Wonder: An Anthology of Subversive Nineteenth-Century British, French, and German Fairy Tales (The Donald Haase Series in Fairy-Tale Studies)]. Retrieved December 2, 2024, from https://www.amazon.com/Women-Writing-Wonder-Subversive-Nineteenth-Century/dp/0814345018/ref=sr_1_1?crid=TITGLBEWS462&dib=eyJ2IjoiMSJ9.4ZOYMTQFVbfD4qUomykhgLlePuR753gmET41oPUny06TfBm3a4ThSTVs7PLGn-wLvfEWBNP4IuUM9Xv6Lw_AZ5bdwm9pMRjhzj_tRhp8k5Mfurx3ApSQLRVInkfZa0zfA1U9SaSKMZvJ-IfX8oEfwQlbke-GRIFVCkwtKLTSiqxmW-GRZnIJ4-pyW6nTwXSPvLuKOHmq1TbrsFn3WXPtvDYSPrEEg7sKzW6Er0_vQLg.QMl4zNrUHNcVvvW8wE8ywYPNgK5qG_smj5LDeGV-d9I&dib_tag=se&keywords=WOmen+Writing+Wonder&qid=1733184899&sprefix=women+writing+wonder%2Caps%2C104&sr=8-1. 

Many historical fairy tales from female writers have been long forgotten, especially those from nineteenth-century Europe. Thankfully, at least four scholars have put together an anthology to change that.

Women Writing Wonder compiles nineteenth-century tales from women writers in three sections: tales from France (translated by Anne E. Duggan and Adrion Dula), tales from Germany (translated by Julie L. J. Koehler and Corrina Peet), and tales from England (explained by Shandi Lynne Wagner). 

Of these sections, the tales from France engaged me the most. The first of these stories, "Pamrose; or, The Palace and the Cottage" was quite cute, with Pamrose's attachment to her father, cousins, and country life. I also enjoyed "The Story of Little Clotilde" with the titular character meeting fairies on the Island of Happy Children (which is somewhat similar to Pleasure Island in "Pinocchio"). "The Rose Cloud" also interested me, but it was harder to understand because of the complex cloud-knitting motif.

The German and English tales challenged me more, but I have a few favorites. "Princess Elmira," for instance, enchanted me with the short story of a girl who reunites with her mother. From the English section, "Seeds of Love" serves as a cautionary tale for wanting the love of a prince. Plus, "The Virgin Soil" retold "Little Red Riding Hood" in a forced abusive marriage context (making it my favorite).

Not only does Women Writing Wonder compile fairy tales, but it also gives historical and ideological context behind them. Many of the women writing (or contributing) these tales held feminist perspectives despite their patriarchal societies. 

Women Writing Wonder, alongside giving me new stories to adapt, taught me about feminism in nineteenth century France, Germany, and England. For instance, France, unlike liberal Germany and England, had a patriarchal society under the rule of Napoleon. 

Not all the tales were the most engaging, but some were. Either way, Women Writing Wonder is a must-read for fans of feminist fairy tales. 

Have you read Women Writing Wonder? What do you think about it?