Hinds' Feet on High Places

Image citation: Amazon. (2017). [Hinds' Feet on High Places: An Engaging Visual Journey (Visual Journey Series)]. Retrieved 24 February, 2025, from https://www.amazon.com/Hinds-Feet-High-Places-Engaging/dp/1496424670/ref=sr_1_2?s=books&sr=1-2.

There is an endless number of allegories out there, but few are strictly Christian. Hannah Hurnard's Hinds' Feet on High Places is an exception.

Hinds' Feet on High Places is an allegory for the Christian life. The Valley of Humiliation represents the fallen world and the High Places symbolize a mature relationship with Jesus Christ. Challenges are marked by deserts, cliffs, and storms, while valleys and meadows represent peaceful rest. 

The characters do not have typical human names; instead, their names are literal implications of their statuses. For example, the main character is Much-Afraid (her physical disability instills fear) and one of her cousins is Craven Fear (sounds like "craving fear"), who attempts to force her into marriage. She also has cousins with names such as Pride, Bitterness, and Resentment, as well as companions Sorrow and Suffering (which often propel Christian growth).

At first, I thought Much-Afraid and the other Valley of Humiliation residents were sheep. As I continued reading beyond the first chapter, though, their descriptions suggest humans. If the characters had humanlike names (i.e. a name meaning "afraid" rather than literal "Much-Afraid"), though, they would feel more like people and less like sheep. 

Hinds' Feet on High Places, as a Christian allegory, is full of relatable experiences and lessons. For instance, Much-Afraid struggles to trust the Shepherd (representing Jesus) when the journey becomes more challenging than she expects. Along the way, she learns about joy despite circumstances (she comes upon a flower named "Acceptance-with-Joy") and enduring trials (another flower is "Bearing-the-Cost").

The watercolor illustrations of the landscapes and non-human creatures are stunning. I especially appreciate the simple design of the singing blue birds (several songs are mentioned throughout the story). 

Hinds' Feet in High Places inspired me to abandon myself for the Lord, but this does not mean I have no criticisms. I zoned out several times because of the excessively detailed descriptions. This view is biased because I struggle to pay attention to minor details; it might not be problematic for someone else. 

Reading through the several pages about Hurnard's lessons from the slopes at the end was also difficult because of the tiny font size. However, as with Much-Afraid's journey, the lessons inspire me to spend more time with God and understand the language of His creation. 

Hannah Hurnard's Hinds' Feet in High Places may be a slow read at first, but as you continue reading, your interest might grow. The same applies to following Jesus, after all. 

SCORE: Great (9/10)

AGE RATING: 12+

Have you read Hinds' Feet on High Places? What do you think about it?

The Little Mermaid Live!

Image citation: IMDb. (2019). [Shaggy, Dorien Davies, and Auli'i Cravalho in The Little Mermaid Live! (2019)]. Retrieved February 8, 2025, from https://www.imdb.com/title/tt6897772/mediaviewer/rm1028820481/?ref_=ext_shr_lnk.

Thirty years after the release of the original animated film, the Wonderful World of Disney aired a television special mixing animated clips from The Little Mermaid with live musical performances.

Besides the animated clips and live performances, there is not much to offer in The Little Mermaid Live!. The only speech occurs at the beginning of the special while the Beauty and the Beast: A 30th Celebration featured speeches and presentations throughout. There are also bloopers from the actors between sections of the television special. 

Besides all the songs from the animated film, the actors perform a few songs that come solely from the Broadway musical. This makes The Little Mermaid Live! a great introductory pick for those who have yet to see a professional staged performance. 

Another selling point in The Little Mermaid Live! is Auli'i Cravalho (the voice of Moana) as Ariel. She exceeds in her acting and vocal performances, making her character believable. The other actors, especially Graham Phillips as Prince Eric and Queen Latifah as Ursula, also master their performances.

The sets and props are also pleasant to look at. I especially enjoyed watching Ariel on the swing during "Under the Sea" and the singing frog puppets during "Kiss the Girl." 

The live performances gave me a new appreciation for the songs from the film, too. For instance, I appreciated the classical melody in "Sisters of Triton" as well as the choreography for "Under the Sea" and "Les Poissons." Even the animated segments gave me new appreciation for specific moments in the film, such as comfort from Ariel's first time sleeping in a bed. 

The Little Mermaid Live! is not necessarily a must-watch, but it is an entertaining choice for those who want to rekindle their appreciation for The Little Mermaid. 

SCORE: Alright (7.5/10)

AGE RATING: 5+

STREAMING SERVICES: Disney+

Have you seen The Little Mermaid Live!? What do you think about it?

The Grimm Brothers' "Cinderella" is Underrated

When one thinks of "Cinderella," they think of a fairy godmother, pumpkin carriage, and glass slipper. However, these elements mainly come from Charles Perrault's 1697 version, which inspired Disney's 1950 version. Instead, the Grimm Brothers' "Cinderella" ("Aschenputtel" in German) involves a magic tree and a gold, rather than glass, slipper. 

Spiritual Elements

The Grimm Brothers' version, first published in 1812, is often dismissed as being "violent" or "gory" (this is, perhaps, why Walt Disney went with Charles Perrault's version). There is definitely some violence: the stepmother cuts off the stepsisters' toes to fit them into the shoe and birds peck out their eyes. However, there is spiritual significance to these events. 

The blood in the stepsisters' shoes is the reason the birds send them back home before Cinderella, finally, tries it on herself. The birds here represent guardian angels sent by God to protect the innocent. Plus, the blinding of the stepsisters serves as a punishment for their wickedness, which represents what will happen to nonrepentant sinners during the Final Judgment. Cinderella's marriage to the prince, in contrast, represents her entry into Heaven. 

There is more spiritual significance in the Grimm Brothers' "Cinderella." Before her mother dies at the beginning of the story, she commends Cinderella to God; she tells her to "be pious and good, and then the good God will always protect you." Her mother also tells her she will "look down upon you from Heaven" (Grimm 86). That, alongside Cinderella planting the tree on her mother's grave, might imply the white birds represent her mother. This seems pagan, but the birds could also have been sent from God. 

The Deal with Perrault's/Disney's Versions

Charles Perrault's (and Disney's) "Cinderella" also has spiritual elements; she endures the abuse in her household until her fairy godmother (implacably an angel from God) rewards her. It is unfortunate, though, that Perrault's Cinderella is more passive than other versions of the character: putting up with abuse. Disney's version makes it worse; while Perrault's version actually involves two balls and then a few days before marriage, Disney's Cinderella dances with the prince at one ball before marrying him. 

I agree that Perrault and Disney's Cinderella serves as an outstanding model for optimistic faith. However, I do not believe faith alone will make dreams come true. The book of James in the English Standard Version of the Holy Bible makes it clear: "So as faith by itself, if it does not have works, is dead" (James 2:17). This being said, while having faith is important, it is also important to turn it into action. 

Of course, fans of Disney's Cinderella have other reasons for defense; they might say it is not known whether she waited a few days or married the prince shortly after trying on the glass slipper. An older child, teenager, or adult might assume that, but children under six (a lot of whom watch such movies on repeat) do not understand that other actions have taken place during a transition between scenes. The animated film does not even mention how much time passed between Cinderella trying on the slipper and her marriage to the prince. Hence, a young child sees Cinderella marry a man she just met. 

For this reason, I believe fairy tales are better introduced in literary form; while moving visuals can confuse them, the spoken words allow young children to imagine the story. There is more room for content discussion (if an adult reads it) and less for overstimulation. 

The Grimm Brothers' "Cinderella" makes a great read-aloud choice; it has a lot of positive aspects, besides the spiritual aspects mentioned above, that parents can point out.

Cinderella's Agency

The main reason I prefer the Grimm Brothers' "Cinderella" over Charles Perrault's or Disney's is the agency they gave to Cinderella. 

First, when Cinderella's father offers to bring gifts for his daughters, he includes Cinderella in the discussion. She requests the first branch that knocks against his hat. Cinderella gets what she asked for, and the tree paves the way for more agency. 

A white bird regularly visits the tree; if Cinderella asks for something, she gets it. The bird represents God answering her prayers; Jesus says in Matthew 6:27, "Ask, and it will be given to you; seek, and you will find; knock, and it will be opened to you" (Holy Bible, English Standard Version). Because she asks the bird, Cinderella receives dresses for all three balls. 

Not only does Cinderella ask for dresses, but she also gets to and from the ball on her own; she has no need for a pumpkin carriage. There is not even a midnight curfew; Cinderella leaves each ball whenever she feels like it (an emergence of adult freedom). 

Even before the first ball, Cinderella actively calls on the birds to help her sort out the lentils. It might seem as if she's worshipping the birds, but, as stated, they also represent God's angels. As with even the mice in Disney's version, the birds' service also sends a message about the importance of friendship. Cinderella's relationships with the birds also implies harmony between humankind and nature. 

Cinderella's agency stops there, but she has much more of it than her Perrault and Disney counterparts. Female agency appeals to secular and religious readers alike. 

Conclusion

People may commonly associate the "Cinderella" story with a passive princess, but reading the Grimm Brothers' version might change their perspective. I have only seen a few picture books based on the Grimm Brothers' tale in children's libraries, and want to see more in the future. With more parents seeking positive role models for their young girls, there is hope for the tale's increasing popularity. 

However, you do not need a picture book to check out the underrated version. If you are interested, you can read the story here. If you are interested in a film adaptation, a few are free to watch on YouTube, including the 2010 German film. 

Works Cited:

Grimm, Jacob and Grimm, Wilhelm. "Cinderella." Grimm's Fairy Tales, edited by Elizabeth Dalton, Barnes and Noble Classics, 2003, pp. 86-93. 

Holy Bible. English Standard Version, Crossway, 2016.

Three Hazelnuts for Cinderella

Image source: IMDb. (n.d.). [Libuse Safrankova and Pavel Travnicek in Three Wishes for Cinderella (1973)]. Retrieved February 1, 2025, from https://www.imdb.com/title/tt0070832/mediaviewer/rm4223040256/?ref_=ext_shr_lnk.

Disney's 1950 animated classic may be the most iconic "Cinderella" film in the United States, but it is not so in some European nations, including the Czech Republic. There, a version featuring a more active Cinderella is more famous.

Three Hazelnuts for Cinderella, released in 1973 and also called Three Wishes for Cinderella, needs to appear in must-watch movie books. While most films adaptations take inspiration from Perrault's version, this film draws gradual inspiration from Marie-Catherine d'Aulnoy's "Cunning Cinders," in which Cinderella receives her ballgown as a treasure. The film also contains elements from the Grimm Brothers' tale: Cinderella's request for the first thing that falls and relying on birds to sort out lentils. 

The Czech Cinderella (Libuse Safrankova) may be a servant to her stepmother (Carola Braunbock) and stepsister Dora (Dana Hlavacova), but she still has agency; she goes out on adventures whenever she can. Plus, as the title suggests, she receives her outfits by dropping three nuts instead of passively being dressed by a fairy godmother. 

Not only is Cinderella an active character (compared to Disney animation's counterpart), but she is also enjoyable to watch. It is especially sweet watching her interact with doves. Plus, her outfits, including her brown servant dress and ballgown, are charming; even her hunting gear is kind of cute. 

Cinderella putting on her hunting gear may be objectionable to sensitive viewers, particularly Christians, but it is less so than in the 2021 Norwegian version; she puts on no mustache. 

It is also refreshing how Cinderella is part of a servant team rather than being the only one. That, alone, gives her more agency as she does not have to do all of the work alone. A similar twist is seen in 1998's Ever After and even the Norwegian Three Wishes for Cinderella.

The evil stepmother succeeded in her harshness towards Cinderella. Her motives for mistreating her are unknown (other than her detest of Cinderella's love for hunting), but she remains enjoyable to watch. I cannot say much about Dora other than her outfits being less ugly than in the Norwegian version.

At first, the prince (Pavel Travnicek) seems rowdy in his pursuit of hunting, especially when going out with friends. However, Cinderella runs out alongside them a few times before the ball and changes his mind about marriage. Unlike the Norwegian film, the prince does not mention a desire to marry a woman based on her beauty. 

It is impressive how, as in the Norwegian version, Cinderella gives the prince a memory test to explain her identity ("hunting gear but no hunter, ballgown but no princess"). Of course, the prince manages to figure out the riddle by the end of the film. 

Despite its updates, there is not much depth in Three Hazelnuts for Cinderella. Besides the stepmother's lack of motives, there is not much backstory for Cinderella's love for hunting. The stepmother once mentioned her father taking her, but it is never shown or explained. Unlike the Norwegian version, the film is old enough that I can easily forgive it. 

The best parts of Three Hazelnuts for Cinderella include the stunning snowscapes and trees, the festive score, and Cinderella's owl friend Rosie (whom she talks to in a secret place a few times). 

Three Hazelnuts for Cinderella is a well-made alternative for those wanting to go beyond Disney's animated classic and is especially enjoyable viewing during the winter and holiday season. 

SCORE: Great (9/10)

AGE RATING: 7+

Have you seen Three Hazelnuts for Cinderella? What do you think about it?