Film: "In the Mirror" Retells Snow White In An Age of Selfies and Social Media

The most frustrating thing about In The Mirror is that we have no idea when we'll be able to see this intriguing retelling of the fairy tale. In this time of a pandemic, with social-distancing and lockdowns, when we are forced to experience much of life outside our homes through a lens, it's very timely to see a fairy tale being retold with this focus. (The film is, however, Latvia's official Academy Awards selection for the coming year, so fingers crossed it will be available for the general public to see somewhere online soon.)

The award-winning, Latvian film director, Laila Pakalnina, who also wrote and produced the film, had the idea of retelling Snow White through the lens - literally - of the selfie, after spending a lot of time getting messages from her distanced daughter and realizing its potential as a very different form for creating a feature film. Pakalnina also realized that using the communication form of social media - while generally thought of as a film and photography medium - is actually very different from film in general and provides a very unique set of technical challenges to create film quality selfie-stylizations, as well as making for a very interesting reflection of current societal values - a theme that dovetails perfectly with Snow White. 

From an interview with Cineuropa:

Cineuropa: How did you start developing In the Mirror?
Laila Pakalniņa: At first, I had the idea of exploring selfies as a form. Somehow, my daughter started communicating with me through selfies – she wasn't sending me still portraits, but short video messages. Then I understood there was something to dig into there. But working with mobiles wouldn't have been interesting enough for me. For sure, I knew I needed professional cameras, horizontal framing and, most probably, anamorphic lenses because I like to work on the mise-en-scène, not just on someone's close-up. I realised it was a very interesting form that could be used to communicate and show people the world through a self-portrait. The next idea that came to me was a fairy tale, Snow White. I somehow realised that what this stepmother was talking to was a mirror, so it was already a selfie! I wanted to offer that tool to all of my characters

Using selfie-culture for a narrative is just as much about what the screens capture in the images as it is about what's actually being said in any dialogue, perhaps even more so, and it requires a completely different mindset and approach from regular filmmaking. It's a bold experimental film, playful and contemporary, which requires the audience to give up their usual way of watching movies and to see the story unfold largely via "selfie shots" (think stills/photos as well as short Tik-Tok-length videos) with the actors talking directly to the camera, but even more intimately than one would see in a documentary. In this film, the actors were required to be in contact with the camera (and the Director of Photography), almost hugging it as they delivered their lines or hit their marks, or, for example in the case of running, having the camera attached to them.

It effectively uses the stark contrast (and fairy tale appropriate) colors of black and white, all while the actors deliver their dialogue as directly to the audience as anything ever done before. There's no doubt the audience is being made to feel uncomfortable on purpose, with the high stylization, but it underscores the story it's telling so very well.

From the Cineuropa interview, again, essentially commenting on how black and white is a great shorthand for retelling a fairy tale in film:

What about the choice of filming it in black and white?
Usually, when you film in black and white, it's easier to organise framing, as it's not that chaotic. We weren't looking for an easy way to do things, though. But this is a fairy tale, and black and white leaves the viewers some room for fantasy. I believe that when you watch something shot in black and white, perhaps you see it as it is for the first few minutes, but then you can unleash your imagination and see the colours.

Take a look at the trailer - and remember: there will be selfies! (it takes a bit of an adjustment on first viewing):

Pakalnina also chose to set her contemporary take in a gym, of all places, which, at first, sounds absurd, until you begin to realize all the implications of fitness, body image, youth-obsessed culture, and our continual preoccupation with self-image now that smartphones and social media are central to much of society. The cast she chose is full of athletes, dancers, body-builders, extreme sports players, and other non-professionals, all making for a "carnivalesque" atmosphere. Snow White herself is played by Elza Leimane, a renowned prima-ballerina in Latvia, something Pakalina says (in her Q&A for the film festival) was invaluable in having to take her challenging and very unusual direction for this approach to filming.

In The Mirror is billed as a darkly comic fable, which has shown to make for lively screenings at festivals. Here are some notes from reviewer Stephen Dalton at The Hollywood Reporter, who attended the Black Nights Festival in Tallinn, a.k.a. PÖFF24 (which we assume was social distanced, considering all the interviews and presentations were done via zoom and similar tech - something Pakalina commented on as being oddly appropriate and on theme when being interviewed!):

Smartly using a 200-year-old folklore story to satirize the narcissism and body fascism of our social media-saturated age, it consistently breaks the fourth wall in witty and inventive ways.

... this Latvian-Lithuanian film (Ed. - created with English subtitles) is mostly shot on agile hand-held cameras and clothed in lustrous monochrome visuals. Even if the storytelling is disjointed at times, In the Mirror never looks less than ravishing, while kinetic editing and a pulsing techno score help to keep energy levels at a maximum.

This foray into fairy tales is not the first for filmmaker Pakalnina. The summary on the PÖFF24 festival film site explains a little more of her approach to combining tales with social commentary:

Fairy-tales are stories which we are told as children and which we recognise in all sorts of characters around us as adults.

With her creative works which determinedly experiment with the language of film and the narrative, director and screenwriter Laila Pakalniņa has become renowned both at film festivals far away and right here at PÖFF last year with her documentary "The Spoon". Her film "The Shoe" intertwined fairy-tales with social criticism at Cannes as early as in 1998. After "Cinderella", she this time takes on "Snow White" We can all remember the evil stepmother whose sinister nature manifested in boundless self-admiration as she demanded daily praise from her reflection? Today, people talk to their reflection regularly multiple times more than the evil stepmother ever did throughout the entire fairy-tale.

...In this story, everyone talks to their reflection, which playfully comes from the perspective of the viewer. What does a person who only looks at himself see and what goes unnoticed on the background of all that? "In the Mirror" proposes answers at a high artistic level, while also daring to use the piquancy of absurd humour.

 And expanding a little on how the filmmaking style reflects the tale, in the review from THR:

Pakalnina and her cinematographer Gints Berzins consistently conjure up arrestingly surreal images: a team of strongmen lugging a burning car through a blizzard, a man asleep under a giant rock, the underside of a squirrel perched on a glass roof. Even when they make scant narrative sense, these quirky tableaux serve as dreamlike symbols in the spirit of Fellini, David Lynch or Sally Potter. Berzins also makes dynamic use of depth of field, shifting dramatic emphasis by switching from crisp to blurry focus. But most of the film's striking close-ups were actually shot by the actors themselves using digital cameras mounted on a custom “selfie stick,” a bold new kind of collective collaboration. 

The film reportedly follows the fairy tale narrative fairly closely but it's more how it's told that surprises and makes it fresh, rather than how the plot is modernized. Here's an example of how the tale is told via Cineuropa:

Overall, the piece works on two levels. On the one hand, it arouses the viewer’s curiosity to find out how certain aspects of the original fairy tale will be staged (and manipulated) within the bizarre characters’ world; on the other, it prompts an obvious reflection on the pervasive role of smartphones in our life, ready to document every single moment (even a successful round of burpees), to ramp up our levels of narcissism and to make our emotions appear more spectacular. In this respect, one of the initial scenes – the one set at the funeral following Snow White’s mother’s passing – is a good example of said dichotomy, as we see the father filming his own despair with the coffin in the background, followed by a number of relatives and acquaintances approaching him one after another and almost glad to be in the frame.

The Q&A with the filmmaker (spoken in English for PÖFF) is definitely worth a watch. Pakalnina explains her inspiration and challenges in creating a film this way, which is unusual at least, and possibly groundbreaking, and provides much food for thought. It certainly makes us want to hunt down her previous reworking of a fairy tale in The Shoe*. Scroll to the bottom of the Festival page and hit the play button under the Q&A with the filmmaker (right above the social media icon links). 

(For extra-interested fairy tale film-buffs and filmmakers among our readers, click HERE for a brief, but informative, behind-the-scenes peek at the filmmaking on Instagram. We also recommend reading the rest of the Cineuropa interview for specific filmmaking techniques used for the "selfie-aesthetics".)

Good news for US audiences: Los Angeles-based Oration Films signed up world sales rights ahead of the film's Tallinn premiere. We'll be keeping an eye out for this one!

* DVD with English subtitles available for purchase in the US! Summary of the film HERE along with an interesting interview with Writer-Director Laila Pakalnina, and her very different Cinderella.

Matteo Garrone's "Pinocchio" May Be The Movie Collodi Fans Have Been Waiting For

 

Matteo Garrone (Tale of Tales, Gomorrah, Dogman) has long said he wished to bring Pinocchio to the screen.

“’Pinocchio’ is a dream of mine that goes back to when I was a child,” says Garrone. “On my desk I still have my own personal ‘Pinocchio’ story-board that I drew and colored in when I was a kid, and which is one of my most cherished mementos.”  (Variety)

That storyboard reportedly accompanied Garrone to many of his development and production meetings during the creation of his movie to help remind him of the boyhood vision and heart he was trying to put on screen, and many reviews indicate he may have achieved exactly that. Not only has Garrone intended to make this film for most of his life but his intent was always to make it very faithful to the book - or more correctly, the serially-released stories which were essentially strung together (pun intended) and eventually collected into a book (in 1883). Having captured his own imagination as a child we suspected Garrone's Pinocchio, would be a family film, which it is, unlike his other works, though perhaps caution should be taken if the family has little children. It is likely to be rated PG in the US when it's released here, as it has been in other countries.

Take a look at the trailer (in English): 

The Lure & Challenge of Pinocchio To Filmmakers

Many filmmakers - more than one might think, confess to an obsession with Pinocchio and it's not unusual to see those themes running through seemingly unrelated movies. Steven Spielberg, Tim Burton, and many others have been fairly overt about their love of the story and created deliberate homages in their films, (A.I., Frankenweenie, Edward Scissorhands, and many more), even if the story hasn't quite been the same. At the time of writing Disney is crafting a new live-action version (based on their own classic, not Collodi's book, with director Robert Zemeckis. Being a Disney recycling, it's likely to have even less relation to the Collodi classic than the 1940 version did, but, unless Zemeckis good terribly in his judgment, it's likely to still find a wide audience. Fan-favorite director and master of the fantasy-horror genre, Guillermo del Toro is working on a completely different (and highly anticipated) stop-motion version, in collaboration with Jim Henson's Muppet Workshop veteran artists, due to be released next year. It's set in fascist Italy and has a stellar cast of voices including Tilda Swinton as the Fairy with the Turquoise Hair, Ewan McGregor as the Talking Cricket, and Ron Pearlman as the fearsome puppet master, Mangiafuoco (literally "Fire-Eater"). 

 

If searching for film incarnations worldwide, it becomes apparent that a LOT of directors have tried to bring their vision of Pinocchio to the screen. It also becomes apparent that more often than not, these attempts, despite a love for the source material and access to talented cast and crew, have failed - both with audiences and critics.

Pinocchio is quite a challenge to take on - one that many directors have known and been determined to take on, but success has been largely elusive, especially when trying to keep the same spirit as the classic. Only Disney's animated version (1940) was, and remains loved and has become a new family touchstone, but the truth is, Disney's version bears little resemblance to The Adventures of Pinocchio and the character Collodi created. To put it bluntly, Collodi's Pinocchio is less likely to wish on a star as he is to moon it (pun intended), and "Jimminy Cricket" (the cricket's name given by Disney), is killed almost immediately on appearing and can only follow along in the story as a ghost. While that may sound dark and dastardly to many Western audiences, the book remains a classic and is still read fondly both in Europe and in the UK and the US; there is something about Collodi's classic Disney's version did not capture, which still attracts people today.

 

Concept art (Garrone)

Why Is Pinocchio Still A Story People Want to Tell (And See?)

Pinocchio is not only Euro-centric in its humor and storytelling approach (something which folks in the US and UK sometimes find too dark, too irreverent, randomly nonsensical and too non-linear*) but, being originally released serially, the flow of the overall story tends to be episodic, erratic and doesn't always appear to know where it's going. In some ways, this organic approach actually works better than a lot of large-work storytelling because of the subject of "becoming real" (often summarized as "growing up", though that is actually a limited parallel when looking at Collodi's work here). As a result, people have found it relates very well to the awkward spurts during childhood and adolescence as people try to discover who they are, complicated by discovering the combined beauty and harshness of the world at large at the same time as they, themselves, are changing. 

*NOTE: We mention randomly nonsensical and non-linear as having traditionally been a problem for UK and US audiences but we have noticed a rising increase in acceptance of the bizarre and ridiculous this last year in particular. The crazier real life gets, the more those "fevered dream"-type animations and films of Soviet and European origin seem to, not only make a strange sort of sense, expressing the nonsensical is almost cathartic. In this sense, perhaps grownups are beginning to understand why these sorts of bizarre episodic-type storytelling vignettes are so impressionable and beloved by children (see the paragraph below which touches on this). It also shows just how much we - as humans - need art to express our discomfort and process our world when things are topsy-turvy. Art is our way to finding our feet, our purpose, and our return to hope again. But back to the film.

But there's another aspect to Pinocchio too - one that warns children about the darkness of the world, in a metaphor even kids tend to intuitively understand, and it's not just about trying to find who you are in the world either. It looks at the imbalances in morality and justice and explores them very frankly in a way kids "get".

 

Garrone spoke a little bit about this to inew.co.uk:

Why, though, does a fable almost a century-and-a-half old feel so contemporary?

“It’s always talking about us, about our fear,” Garrone answers. “It’s also giving a warning to kids – how life can be violent and dangerous. Don’t make wrong decisions! I think this is the lesson Collodi gives. I think there is some dark – it’s necessary for the kids to grow up, to learn – but by the end there’s the light.”

Set in a head-spinning rustic 19th-century world where animals take human form, Garrone’s Pinocchio points to the more “anarchic” qualities of Collodi’s book, and its musings on justice, when the gorilla judge sends Pinocchio, and not the scheming Cat and Fox, to jail.

“The meaning, it’s very modern,” says Garrone, “where, in many countries, the innocent go to prison and the guilty, especially the rich and powerful, are out.”

 

So What Are People Really Saying About Garrone's Pinocchio?

Pinocchio remains resonant and loved, but capturing its soul on film has been largely elusive, especially with regard to remaining true to the tone of Collodi's book, but reviews seem to indicate that Garrone has done just that, or if not, he's come the closest of any filmmaker yet.

From IndieWire:

“Pinocchio” gets better as it gets weirder, and taking cues from its Homeric origins, it gets very weird.

 

...Once the movie enters its loony collage-like trajectory, the hits keep coming. Pinocchio endures a range of imaginative horrors, from that terrifying whale to the eventual donkey transformation that in this version includes a hat-tip to Robert Bresson’s “Au Hasard Balthazar.” Of course, no “Pinocchio” is complete without a few white lies and a growing schnozzle, though this one seems like a pretty blatant metaphor for puberty (if it wasn’t already baked into the material from the start). Garrone’s penchant for juggling eerie soul-searching with ebullient storybook visuals matches Terry Gilliam in his prime, and the whole thing has been laced together by Dario Marianelli’s inspired cosmic score.

Above all, “Pinocchio” imbues its circumstances with a surprising degree of naturalism, thanks to the filmmaker’s careful handling of practical effects that suit the unusual tone. Unlike recent effects travesties of the “Cats” variety, “Pinocchio” understands the inherent disturbing quality of human faces melded to non-human bodies — from gastropods to a very funny tuna fish — and exploits that disconnect at every turn.

Concept art (Garrone)

...This story can only end one way, and when it does, “Pinocchio” tops off the silly-strange rhythm with a poignant finish. By the time it gets there, however, the movie has accrued many layers. Garrone doesn’t dig deep into the material as much as he revels in its surfaces, though the director of zany sociopolitical dramas like “Reality” and “Dogman” can’t help but inject a few contemporary zingers. Sitting in front of an ape judge, Pinocchio proclaims his innocence. “In this country, the innocent go to prison!” he’s told.

Such is the nature of Pinocchio’s plight, and no matter its otherworldly nature, Garrone’s version shows how the premise has grown more relatable with time. Pinocchio’s an innocent creature at the mercy of ever-changing surroundings who learns to take charge, which is enough to make him a walking zeitgeist. More than that, however, he embodies the endless frustrations of a cruel world, as well as the emotional charge that comes from learning to roll with its merciless twists and hope for a happy ending.

Regarding the approach to effects (and avoiding the "Cats curse") there is a shortish article and video overview showing the steps taken for the effects work in Garrone's Pinocchio HERE. It turns out that the boy Pinocchio is not a CG creation but instead largely prosthetics (at least until his nose grows) and these are what make him look wooden yet still manage to convey the acting nuances of ten-year-old (Federico Ielapi) playing the character. For folks interested in the creative visualization process, and the effect of blending live-action with puppets, prosthetics, and more, especially in fantasy films, this is a recommended side trip.

From The Guardian, who titles their review "Garrone Crafts a Satisfyingly Bizarre Remake":

Drawing on the original children’s story for his new live-action version, the Gomorrah director combines sentimentality and the grotesque in a unique way

There is something rich and strange and generous in Matteo Garrone’s new live-action version of the Pinocchio story, for which the director and his co-screenwriter Massimo Ceccherini have gone right back to the original 1883 children’s tale by Carlo Collodi. They have given us a story that combines sentimentality and grotesqueness in a really startling way. 

 

...There is so much that Garrone’s Pinocchio appears to resemble: there’s a bit of Tod Browning’s Freaks (and a bit of Frankenstein), echoes of Alice’s Adventures in Wonderland, and the Old and New Testament. The moment when Pinocchio’s nose grows because he is lying is still fascinating. It’s a parable that has taught generations of little Disney fans never to fib. Audiences for this film, however, will notice that Pinocchio’s nose does not grow when he lies to the gorilla judge. The point is that the normalisation of lying is part of the humanising process. Pinocchio’s wooden face really is very strange. It does not look like that of any sort of boy, but rather a man or woman or cyborg in early middle age. There’s more than a touch of R2D2 about him, or even a lost figure from George Franju’s Eyes Without a Face. 

...In the end, Pinocchio is a parable of parenthood: when we have a child, there is something uncanny and strange about him or her, like a doll brought to life. In our hearts, perhaps, we can’t quite believe that this is a human being like us, who will come to have thoughts and feelings independently of us – become “real”, in fact.

Whatever is to come in the anticipated versions from Zemeckis and Del Toro (and the many filmmakers after who can't resist it), Garrone has set a new bar for filmmakers to achieve and that is a good thing. It's already a hit in Italy - a much bigger hit than Benigni's ever was, and critic reviews there and elsewhere in the world it has been released, are averaging four stars out of five - a vast improvement in critical rating as well.

Matteo Garrone's Pinocchio is only the second live-action movie version of this classic book to actually be made in Italy (as far as we can find), the same country the story was born in. While Roberto Benigni directed the first one (2002) and captured the Italian flavor in many ways he, unfortunately, not only had himself star as Pinocchio (a 49-year-old man at the time), he also attempted to bring a touch of Fellini to the movie, (you can read about the Benigni-Fellini-Pinocchio connection HERE), moves which didn't sit well with audiences anywhere, and essentially killed the rest of the interesting approach to the story. Garrone appears to have successfully hurdled this issue and the resulting audience skittishness about a live-action Pinocchio from an Italian director, even while embracing Benigni in this legacy in the much-more suited role of Gepetto. We are looking forward to seeing it when it becomes available to see safely!

Where Can I See It?

This is a tricky question to answer, entirely complicated by the pandemic.

Garrone's Pinocchio was released in Europe in December 2019 but coronavirus (COVID-19) has complicated the sales and theater release deals and contracts all over the world since, disrupting the usual roll-out of films intended to eventually reach English speaking audiences. Even in France, the release went directly to French Amazon Prime, rather than having the planned theatrical release. 

The film was released in theaters in the UK and Ireland from mid-August 2020 but other theatrical releases have been canceled due to lockdowns and theaters closing. 

In the US, Netflix has bought streaming rights (and currently has a blank placeholder page) but the streaming launch date is still undetermined, though likely to be in 2021.  Otherwise, it would appear that the film is still seeking a US release partner for any possibility of ever achieving theatrical release here, including for DVD and Blu-ray. 

We hope this is resolved in the near future!

"The Wound and The Gift" - A Film Screening @Home MAY 16, 2020 w/Illustrations by Victo Ngai

HAPPENING TODAY!!

A special film suitable for all ages, about an animal rescue program inspired by an ancient Japanese fable of a wounded crane.

From artist and illustrator Victo Ngai (all images in this post are by her):

Verified

I created artwork for a very special project back in 2014 called “The Wound and The gift” - a documentary exploring the relationship between animals and humans directed by Linda Hoaglund and narrated by Vanessa Redgrave. 

The narrative spine of the film is an animated ancient Japanese Fable about a wounded crane, saved by a couple of peasants, and attempts to express her gratitude with a gift. Scenes from the folklore are woven into real-life footage of rescued animals. As the fable and the film unfold, the question begs to be asked is - “who is saving who?” 

The @nikkeimuseum in Vancouver is hosting an online screen of the film throughout this week with a Zoom Q&A session this Sat (May 16). 

The link to the tickets ($5 suggested donation) is (below), 100% of the sales will benefit the museum’s activities. Please spread the word!

LINK:

Film screening @Home - The Wound and The Gift

by Nikkei National Museum & Cultural Centre

Here is the lovely trailer with sneak peeks of how the folktale and illustrations are woven in:

The Wound and the Gift - Trailer from Linda Hoaglund on Vimeo.

It's suitable for ALL ages (no worrisome footage to be concerned about!) and has lovely reviews regarding the cinematography, animation and the weaving together of stories. Here's one review, to give you an idea of the tone and how the project and folktale are woven together:

Saw this... at the Vancouver Film Festival, and it is spectacular. The cinematography is what drew me in from the trailer and I was not disappointed, and the stories unfold within the animated story of the Crane perfectly. And I really appreciated that it wasn't cluttered with information and stats. The film breathes slowly and elegantly. Highly recommended. (review by Saints Rescue)

About this Event

Film: Available for viewing at your leisure online May 9-17, 2020

Meet the director Linda Hoaglund online presentation of stunning still images from filming in beautiful Hokkaido, and a moderated Q&A session.

Saturday, May 16, 2pm PST | 5pm EST

The Wound and The Gift is a film about the animal rescue inspired by ancient Japanese fable about a wounded crane, saved by peasants, that attempts to express her gratitude with a gift - 鶴の恩返し. The fable is illustrated by Victo Ngai. The film is suitable for viewers of all ages. (83 minutes).

The film will be available on Vimeo, and the talk will be hosted on Zoom. 

Official Website: http://www.thewoundandthegift.com/

Director: Linda Hoaglund

Narrator: Vanessa Redgrave

Ceinematographer: Kirsten Johnson

Animation Artist: Victo Ngai

Editor: William Lehman

Music: Satoshi Takeishi & Shoko Nagai

Animation: Joe Wu

Producer: Hashimoto Yoshiko & Maryanne Culpepper

Assistant Director: Takaaki Okada

See HERE for full illustrations, some storyboards & an animated scene preview.

Iconic "Pricked Finger" Appears At 'Maleficent II' Premiere // Is This Movie Disney's 'Game Of Thrones'?? (+ Surprisingly Positive Reviews Have Our Attention!)

Blood & Magic On The Red Carpet
Fashion has long had a fascination with capturing the essence of fairy tale in a garment or outfit but Gucci not only captured the modern idea of princess and fantasy magic in this particular outfit, but managed to draw attention to the spellbinding side of the story too, drawing onlookers under their enchantment.

At the Hollywood premiere of Maleficent II, Elle Fanning's custom Gucci dress personified her character of Aurora and the Sleeping Beauty fairy tale revisited. Fanning, not only dressed as a princess but one recently put under enchantment, and the effect was stunning.


Fanning wore a pale-olive trailing green dress (a color most can't quite pull off), with gathered layers of chiffon echoing the romantic 'natural' wood-nymph style seen in mythic paintings (cue serious Persephone vibes), princess-tiered off-the-shoulder sleeves, jeweled straps and waistband, luxurious layers and mauve velvet ribbons, all freely woven together with dusky flowers, in both dress and hair. There are even subtle nods to all three of the colors of the bumbling fairies who raised her (see the layers, including ribbons, and the rings on her left hand).

The most mesmerizing aspect of the outfit, however, which sets it apart from other ensembles on the red carpet, were the sheer tulle gloves with the blood-red crystal droplets that began at Fanning's right 'pricked' index fingertip, trailed the back of her hand, then dripped down the right side of her dress.

Symbols, Spells & Statements
Just by holding up a "pricked" finger for the cameras, Fanning, as Aurora, was making an iconic statement. Not just: "I am Sleeping Beauty", but also, "Yes, I'm bleeding, but I'm finally awake!"

(Side Note: Angelina Jolie's Hollywood premiere outfit was so striking it almost overshadowed the Aurora dress! It had a prominent diamond-encrusted scorpion pinned the hip of her black, sequin-chainmail dress, which might have corresponded to Fanning's pricked finger, but perhaps not. Whatever the case, it was definitely intentional so feel free to speculate on what it might symbolize... See our bonus content at the end of the post for a little on the folklore of insect/arachnid pins, a.k.a. brooches, and how Lady Hale's symbolic use of pins started the #girlyswot movement, something Jolie would likely be happy to be included in. But back to Aurora's outfit and motifs!)

The concept, according to one of the stylists (Samantha MacMillen) was to have “Sleeping Beauty waking up in a field of flowers and walking to the red carpet”, and the effect was that not only the appealing magic of the fairy tale is present, but also the darker side of enchantment, and of fairy tales in general. (The design team did an amazing job.) Not only was the effect a fashion statement, but it took a step away from basic cosplay and costume, and continued to bring a fresh way to look at the fairy tale to the public, and keep the story of Sleeping Beauty alive. We also love the shots of Elle Fanning, dressed in this outfit, walking on the thorny black and white background, created for the premiere. That image makes a statement by itself.


As Kailey Flyte/@mermaidensblog said on Twitter (we have combined her tweets):

I am IN AWE! The DETAILS! The gorgeous woodland nymph feeling, but then the tying in to the darker side of the tale with the blood !!! THE LAYERS!! The fact that they made such a stunning, woodland nymph type of dress but still referencing the inherently macabre nature of fairytales.

We agree. We love magic and wonder, of course, but we also like our fairy tales to have teeth.

Finding the balance between creating a costume to represent an instantly recognizable fairy tale character (which can come off as kitsch), and a high-fashion style that appeals artistically (but can be lost on the public), is a tall order but Gucci - and the styling team - did exactly that.

Respect!

It's truly wonderful to see storytelling  - and the revision of a fairy tale - be taken to different dimensions beyond film and print.

Consistently Positive Reviews Are Accumulating for Maleficent: Mistress of Evil (Surprise!)

To be honest, we're not sure folks are quite ready for another Maleficent movie right now, even a good one. Focus is elsewhere and Frozen II is stealing everyone's thunder. The marketing seemed to begin in one focus then headed in another direction entirely after the reveals of Maleficent's kinsmen, but ultimately, it's being marketed as a classic castle-fantasy movie with some epic creatures - something that should guarantee an audience - but the attention of social media is currently on Frozen II, Star Wars, HBO's His Dark Materials and the real-life issues of diversity, representation, insane politics. Apart from foks who are already fans there hasn't been a lot of buzz. But people are finally starting to pay attention. The lavish premieres, the fashion tie ins, the music videos and promises that it may have more relevant storylines than are immediately apparent - why? Because Maleficent II is getting consistently GREAT reviews from critics! 

The most repeated sentiment we've read is that this could be one of Disney's best live-action movies. Ever. (And that, as groundbreaking and blockbusting as the first one was, warts and all, this one is much better.) That's... a very bold statement for one reviewer or critic to make, but to see it echoed repeatedly has made us sit up and take notice.

It's clearly an unexpected response for critics (who were, admittedly, quite prepared to roast it) and we wonder whether part of this is to do with (perhaps) having low expectations of the film to start with. Though the trailers haven't done a great job of convincing us so far, reviews are surprisingly consistent in reporting that this is one of Disney's best live-action films to date (!). Generally, it seems to be agreed that this movie is much better written and crafted than the first, and is ultimately a satisfying revision and doesn't retread Disney's tired ground as a typical sequel or reboot. Nor is it a try-hard apologetic "correction" for the original property, which is a relief because, let's be honest, we are more than a tad tired of being preached to via the latest live-action batches, even if we agree with the basic sentiments.


Here are two excerpts from a review by Scott Mendelson for Forbes, which do a great job of summing up the many reviews we've read to date:

Maleficent: Mistress of Evil is a breath of fresh air from Walt Disney’s sub-genre of live-action fairy tale adaptations. It is noticeably better than the previous Maleficent (which was allegedly stitched together via an assist from John E. Hancock) and the very best of these Disney fairy tales since the one-two-three punch of Cinderella (excellent), The Jungle Book (damn good) and Pete’s Dragon (spectacular). Okay, we’ll ignore Alice Through the Looking Glass for a moment, but you get the idea. The plot is almost as threadbare as the first one, but it makes A-to-B-to-C logic and exists as an excuse for a fantastical spectacle, some dynamite action and not a little camp melodrama. At its best, it’s a go-for-broke adventure that that avoids the mistakes that tripped up the last handful of Disney fairy tales.  

...More so than any of these films since Pete’s Dragon, Maleficent: Mistress of Evil feels like Disney using the safety of a viable IP, or at least the protection of knowing that they will survive if this movie bombs, to just throw caution and fidelity to the wind. There’s a bare minimum of (to paraphrase Lindsey Ellis) “girl boss faux feminism,” attempts to “correct” the politically incorrect attitudes/ideologies of the original material or obsessive recreation of what came before to “appease the fans.” It’s a self-correction that brings (false?) hope to the next batch of presumably less slavishly faithful Disney adaptations coming down the pike. Maleficent: Mistress of Evil is the Disney remake/fairy tale as kid-friendly heavy metal madness. It may not be a masterpiece of music, but it rocks and rocks hard.

And although it's not a retelling/revisioning of Disney's Sleeping Beauty, the film does continue on from the tale and, does appear to be solidly in the realm of 'fairy tale film' instead of just a fantasy. As we are currently attempting to avoid major plot spoilers, it is difficult to gauge how much of a 'fairy tale' this film may really be. For reviewers so far, at least, the words 'original fairy tale' (though based on characters and in a world we know) seems to be the consensus but we are not convinced. Earlier trailers hinted at more mythic themes (even alluding to Faust, Dante and possibly Icarus) while later trailers seemed more rooted in fairy tale tradition, (editing can be very misleading!) so we shall just have to wait and see. We can always hope that writer Linda Woolverton (who also wrote Maleficent, and has a long history of writing for Disney) decided to dig a little further into her intial inspiration and references of Spenser's Faerie Queene. Perhaps we will have a little of everything.

This Friday is the start of "opening weekend", and the public will have the chance to go see it (giving up their hard-earned cash to do so). Box office numbers say a lot, so we shall see if there's been enough buzz to consider this a hit or not. Will people flock to the theaters? We would be surprised if they did, but that doesn't mean the audience won't grow as word gets around. From all we're hearing of the movie, we hope this "risky" approach to filmmaking pays off. We could really use a bold approach to the upcoming swath of Disney's live-action reboots coming our way; fresh and fearless storytelling with unapologetic truths is something we really - really - need right now.

Is Maleficent II Disney's "Family Friendly Game Of Thrones"?

Although there is no gore, the body count for the final clash is reportedly the highest of any Disney movie yet (easily earning it's PG rating), but that is also where the intrigue and the payoff for the rest of the movie apparently comes together; in the "third act". But that's only where the parallels to HBO's Game Of Thrones begin. GOT had the stunning and lush visuals (and creatures) that attracted people of all ages, yet the subject matter and violence made it very clear this was not something you should be sharing with your kids! 

Maleficent II appears to have many of those things everyone loved about GOT (kids included, since they also could not escape the marketing and images while it ran): fantastic creatures, epic battles (though, in Maleficent, shown carefully and without gore), magic that's very real, impossibly beautiful things, transformations and classically epic scenes. It also includes that lavish fantasy look, that's so inviting such as lavish banquets, romantic-medieval architecture, glorious set design, lovingly detailed costumes, flying creatures of all kinds and a world that has both color and beauty and dreamy magic scenes, to dark and detailed ones. While this is dangerous in GOT as it's an entry point for so many who were not ready to experience where the show went visually and thematically, there is no concern here of exposing your kid to a "Red Wedding" or other very adult scenes that came to be a staple of GOT. 

GOT explored a lot of political dynamics in its run but ultimately it became clear it had a very uneasy relationship, in particular, to women in power. (It's one of the main criticisms of the HBO show.) In Maleficent: Mistress of Evil, relationships  - and the mother-daughter dynamic in particular - is explored in tandem with politics and reportedly does a great job of keeping the heart of the film (the relationships) central throughout. The fact that Disney is exploring aspects of power and politics through a cast of strong female leads, while including hot-topic themes (see paragraph below with hidden spoilers for details) is bold, brave and has potential for serious substance. 

A possibly-slightly-spoilery report (on the themes, not plot details per se) from Maleficent Brasil (account is in Portuguese) might be of interest as well. If you are interested, highlight the white space below to read it, auto-translated to English:

MILD-SPOILERS IN WHITE SPACE BELOW

The film is also being considered as one of the most political of the year, addressing and allegorizing current issues such as the oppression of minorities and the destruction of forests. Queen Ingrith is being described as a Donald Trump-style ruler.

MILD SPOILERS ENDED

As a reminder, here are some of the trailers which, although they don't show all the teasers, give a decent intro to the premise.

We actually prefer the second below to this one but are including the EXTENDED COMPILATION TRAILER first, in case you have missed some of the more recent promos. Although there is some repeat footage (and it's not cut together very well) it hits all the important notes and includes some international promos too:

We like this one below much better as it gives a lot of insight into the driving forces behind the movie. (We wish more of these scenes had been used in earlier promotion). It's a compilation trailer too, with some non-spoilery behind the scenes views which are wonderful. Enjoy!

Maleficent: Mistress of Evil releases in US theaters this Friday, October 18, 2019.

**************

Folklore Meets Fairy Tale Bonus of the Day:

Pins, Brooches & Accessories As Symbols, Statements & Messages

The women in Maleficent II are the prominent characters and run the politics in the various lands and territories of the movie (one of the reasons it's getting noticed) but even with women facing women, there are still so many assumptions made. Women in politics have a daunting job. Not just because it's difficult but because there is so much discrimination - still - just due to their gender. So it's no surprise that women in politics will sometimes use creative and unusual ways to help make their statements clear and unwavering. Fashion and the use of accessories is one of those tools (something Angelina Jolie is obviously aware of, hence speculation about her prominent scorpion to the premiere - but we'll come back to that).

In the UK, Lady Hale's announcement in September (2019) that "the prorogation of parliament was unlawful", was backed by the strong visual of her black outfit, with a large, jeweled spider brooch pinned below her collarbone. That visual statement was so strong it had people speculating on what messages Hale's spider was sending, and set off a wave of support and solidarity in the form of a movement called "Girly Swot", which used, as their symbol, the spider for t-shirts and other merchandise (most of the proceeds of which went to charity). One of the reasons it took off like it did was that Lady Hale is known to wear brooches specifically to make statements. And she's not the only powerful political woman who does. Madeleine Albright has her own stories with associated brooches, and even released a book called "Read My Pins: Stories From A Diplomat's Jewel Box".

So, considering the themes of the film, what message might Angelina Jolie's scorpion have been sending as she took the red carpet? Let's just say we were not surprised (though still delighted) to see what the most likely 'messages' might be. traditionally and folklorically speaking, that is. Looking at a variety of sources, we found the following symbology for scorpions in common. They are symbols of passion, dominance, defense, transformation, and rebirth. People who see the scorpion as representative of themselves tend to be self-reliant (sometimes to a fault), defensive and highly sensitive, yet also very resilient (like the animal). When these people love, "they do it to the fullest" and when they hate "it is with their whole being". In Egyptian mythology, scorpion amulets were made to protect people from evil, while in Africa shamans used scorpion venom to heal and venerated them as a medical source. 

That certainly sounds like the Maleficent of the first film and certainly suits what we've heard of the second. The words "transformation" and "rebirth" are part of the marketing campaign and feature over Maleficent finding others like herself and recovering from, what appears was meant to be, a killing blow.

The most common and current use for the scorpion as a symbol, however, is via the tale of The Scorpion and the Frog, a fable which has come back into social popularity with a force the past few years. In case you are unfamiliar with it, here is a quick retelling:

"A scorpion asks a frog to carry him over a river. The frog is afraid of being stung, but the scorpion argues that if it did so, both would sink and the scorpion would drown. The frog then agrees, but midway across the river the scorpion does indeed sting the frog, dooming them both. When asked why, the scorpion points out that this is its nature." --Fable of the Scorpion and the Frog (via Forbes)

"The moral of the story is that, like the scorpion, vicious people often cannot help hurting others even when it is against their interests." (summarized by Wikipedia). It's a tale that is often referenced with regard to politics, leaders, and corporations and, worn by Jolie (as a statement on either her character, the message of the film or a political one she is sending herself), it makes for an interesting context, especially as we know the specific design  - including made to be very visible and noticed - was not only conceived by Jolie, it was chosen for the premiere night with a specific purpose. (And yes, Lady Hale's spider is referenced in the linked article too! Turns out we weren't the only one thinking Jolie may have taken her cue from another politically powerful woman.)

There is one additional layer to this scorpion, though, and that is, that Jolie (and her children) ate them (yes, they ate scorpions - spiders too). When visiting Cambodia for the premiere of her film "First They Killed My Father", about the genocide under Pol Phot's Khmer Rouge, Jolie was very focused on sharing with her children the humanitarian aspect of her work. It was a film about survival and Jolie was making a point of showing to her kids how people were able to survive:

'I think it's always been a part of the diet, the bugs,' (Jolie) explained. 'But I think there is a truth to the survival during the war of course.'She continued with a history lesson: 'When people were being starved they were able to survive on things like this and they did.'She was then asked when she first had the bugs and replied she first had then when she first visited the country. (2002 when adopting her eldest son Maddox - via Dailymail.co.uk that includes lots of pictures of spider cuisine being enjoyed by Jolie and her kids)

So for Jolie scorpions are associated with extreme survival and tenacity in the face of devastation. That fits with her role in the movie (as we understand it) too and is a common theme in all her chosen work these days, whether it's while working in film, or as an activist. Whatever the case, she's made sure we're paying attention!

Elle Fanning & Angelina Jolie at the European Premiere, dressed to reflect their mother & daughter roles

Note: We also wish to acknowledge the collaborative effort and artistry Fanning's Aurora look took, so here are the appropriate credits (and personal thanks) from stylist Samantha McMillen, as posted on her Instagram:

Details: Elle/Aurora in custom Gucci. Thank you @Gucci and @alessandro_michele for this incredible creation. You gave us everything we asked for and more! @justjenda and @erinayanianmonroe completed the vision with incredible hair and make up. Thank you @ellefanning for inspiring all of us. The creativity coming from this team brings me so much life and so much joy! #ellefanning #sleepingbeauty #aurora #gucci #alessandromichele