"No, Snow! Don't Mess with Traditional Story-Telling! It's Been Focus-Grouped, and It Works!!"
I approached Mirror Mirror with some trepidation. It's the sort of movie that curdles my gray matter—taking a traditional fairy-tale and updating it for modern audiences, with anachronisms, modern slang and catch-phrases, a fractured fairy-tale denying its origins and playing "hip." Also, it's a Julia Roberts vehicle and I don't "buy" Roberts in anything but comedic roles (which this one is).
But the other choice was to see Wrath of the Titans, for which I had no desire (Really? They're trying to make a franchise out of that one?) and so it was the "Snow White" knock-off, even though the prospect seemed rather Grimm.
Brett Ratner, it was being directed by an inspired choice—Tarsem, who vaulted from R.E.M. music videos toThe Cell,* then rebounded with a fine film no one bothered to see,The Fall. I'd passed on his Immortals last year (though I plan to watch it on video sometime soon, now that it's out), but, as Tarsem can do some visionary work, he just might be able to pull it off.
not only for sets and costumes, but also how to frame them for maximum effect is combined with a breezy comedy style that is never idle, and never hangs for a laugh, so that not only is the frame full, but the soundtrack as well, with one overhanging punch-line that crowds through before each cut.
Moulin Rouge!-ish goofy slap-dashery in which nothing is sacred except the movie's own internal rules of play, stopping just short of the Python-line of anarchy. There is no single accent in place to latch onto geographically, except for some Anglo-Saxonisms—indeed, Arnie Hammer's Prince Alcott of Valencia, is pure American, but does it with such Ivy-League bravado that you accept he's a prince.
Ms. White (an Audrey Hepburn-esque Lily Collins—Phil's kid) is the daughter of The King (Sean Bean**), who is murdered (unbeknownst to all) by his new step-wife The Queen (Roberts), who then rules the Kingdom into the ground, while White awaits taking the throne on her 18th birthday (that is, if the Queen ever permits it). Instead, she spends it going out to see what's become of her Father's legacy and is distressed to learn there's no singing and dancing in the streets (as she remembers) but begging and poverty instead. This causes a political debate in the family, leading to Snow being banished by The Queen to be dispatched by her lackey Brighton (played with Costello-ish consternation by Nathan Lane).
The Social Network, and decidedly better than being cocooned in make-up for J. Edgar, one thinks though that he is doomed to play scions), who is accosted by highwaymen...who just happen to be The Seven politically incorrect Dwarves (Napoleon, Half-pint, Grub, Grimm, Wolf, Butcher, and...Chuck, played with gruff zeal distinctively, by Jordan Prentice,Mark Povinelli, Joe Gnoffo, Danny Woodburn, Sebastian Saraceno, Martin Klebba,and...Ronald Lee Clark, all threatening to steal the show, as well—"beats workin' in a mine," as one of them says). Before long, everybody's path is crossed once or twice, along with swords and stars in lovers' eyes.
in its cartoonish way, it works in live-action, as well as when Disney goes sassy these days with classic tales, and, given the edge by Tarsem's crack sense of timing and way of knowing no bounds in design and camera moves (and Alan Menken's Mickey-Mousing*** score doesn't hurt in that regard, either) the effect is somewhat the same.
The music video in the End Credits, which shows how Tarsem throws things
in from left field, as in this "Bollywood" style sequence.
Another example of Tarsem's work—a cheeky gladiator themed Pepsi commercial,
featuring Enrique Eglesias, Beyonce, Britney Spears and Pink, with the music of Queen.
** Is there something in Sean Bean's contracts that stipulates that any character he plays not make it to the last reel? The last movie I saw where one of his characters survived was The Martian.
*** © Disney Corporation. I use this in the musical definition of the term (not in its "common, inferior" usage) where the music follows the action on-screen precisely, as in notes that follow foot-steps, say. And now this joke is a bit ironic as, this year, Mr. Mouse is in the public domain. So, now, I can make that animated cartoon of "Maus" starring Mickey.