NEW RELEASE FILM REVIEW || Seen at UGC Ciné Cité Les Halles, Paris, Sunday 6 July 2014 || My Rating likeable
Disney’s output of late has focused on the way that bonds of family and friendship can be stronger and more meaningful than those between lovers, which is just as well for the Sleeping Beauty myth because it has always relied so heavily on non-consensual kissing that nowadays it sort of seems a bit creepy really (that scene is still here, but it’s played quite reasonably all things considered). Frozen dealt with Elsa and her sister the ice princess, while Maleficent instead focuses on Princess Aurora (our Beauty) and her relationship to the malevolent (or magnificent?) fairy of the film’s title, the one who curses her to eternal sleep on her 16th birthday at the outset.
In the way of such characters, Anjelina Jolie’s conflicted Maleficent runs away with the film; the blandly beaming Aurora (Elle Fanning) never stands a chance. The film’s turn, too, away from its twinkling, twee fairy-world vision of the start cannot come too soon — there’s only so much pastel-coloured paradisiacal nonsense that any viewer (well, this one, anyway) can take. As with Frozen, though, it’s just a pity that our eventual heroine, saviour of all our hearts, to whom all must pay obeisance, is so startlingly, blindlingly Aryan; there’s no questioning of beauty standards here, as even such silly frippery as Shrek managed years ago (a film series that very quickly outstayed its welcome, incidentally).
The central conflict in the film, expressed at the level of this relationship, is the division between the human and fairy worlds. (I might propose that, as the bearded bad guys are all Scottish while the elven fairies are English, this film is in fact a coded allegory about the dangers of a partition between Scotland and England, but then again maybe I’m just reading too much into it.) Certainly this central conflict between the autocratic humans and the ungoverned fairies isn’t really fully worked-through and seems to find benign aristocracy an acceptable compromise (perhaps the Scots just need to put more faith in the royal family?). It’s perplexing ideologically, and it’s perplexing tonally, but there’s enough here that’s enjoyable, particularly in Jolie’s star turn.
CREDITS || Director Robert Stromberg | Writer Linda Woolverton (based on the Disney film Sleeping Beauty) | Cinematographer Dean Semler | Starring Angelina Jolie, Elle Fanning, Sam Riley, Sharlto Copley, Imelda Staunton | Length 97 minutes