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Home / The Listener / Opinion

Hemma Vara: Why are people upset over Snow White remake when life is no fairytale?

New Zealand Listener
4 Sep, 2023 05:00 PM4 mins to read

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Snow White is played by Rachel Zegler, who is of Columbian and Polish heritage, which has provoked the ire of racists who say she’s a poor casting choice because she’s not the “fairest in the land”. Photos / Getty Images

Snow White is played by Rachel Zegler, who is of Columbian and Polish heritage, which has provoked the ire of racists who say she’s a poor casting choice because she’s not the “fairest in the land”. Photos / Getty Images

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Modern times require modern storytelling, so it’s no wonder that Disney has adapted the plots of age-old fairytales time and time again, transforming them into more family-friendly narratives.

From adding singing sea creatures for a magical element to granting an evil antagonist a less gory fate, we millennials have come to love Disney for its dose of childhood nostalgia and its key story elements: a princess, a budding romance, and a happy-ever-after finale where good triumphs evil.

Disney’s live-action remakes of our beloved childhood animated films have stirred up considerable online controversy recently due to their departures from the original plots and characters. The casting of African American actor Halle Bailey as Ariel in this year’s Little Mermaid remake sparked a racist backlash. The contemporary rendition of Snow White set for release in March next year has suffered the same fate. The lead is played by Rachel Zegler, who is of Columbian and Polish heritage, which has provoked the ire of racists who say she’s a poor casting choice because she’s not the “fairest in the land”.

Others are irked by Zegler’s comments about the movie – she’s not a fan of the original plot, leading them to question her “commitment” to the role. In an interview with Extra TV at the 2022 D23 Expo, Zegler said the remake would see a departure from Disney’s original 1937 love story because the prince is a “stalker”; instead, the film focuses on Snow White’s inner journey towards self-discovery.

Naysayers argue that the prince was not a stalker in the original tale, and there’s no harm in elevating a love story. They’re labelling Zegler’s comments as “pseudo-feminism”, claiming that denouncing women whose main aspirations centre around finding love or homemaking rather than pursuing other goals like a career is undermining a woman’s autonomy to determine her own path.

Let’s consider Snow White’s predicament: her parents are dead, and her malevolent stepmother is intent on her demise. If this were reality, a prince’s intervention might solve some, but not all, of her problems. Snow White could also benefit from some intensive therapy. We should also know better than to believe that entering a romantic relationship will magically transform our self-perception or how we handle challenging circumstances. Romance is rarely a straightforward journey, and fairytale endings aren’t guaranteed.

This is not to say we don’t deserve to be loved or have a happy-ever-after. But you have to give it to Zegler because the idea of a stranger, even a prince, kissing you on the lips while you’re comatose is undeniably creepy. And as the new Snow White script is co-written by Greta Gerwig of Barbie, which is the highest-grossing movie to date of 2023 that’s also been dubbed a feminist epic, we will surely be entertained by compelling dialogue and nuanced themes.

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Disney’s decision to rebrand the seven dwarfs as “magical creatures” in the Snow White remake has also drawn criticism, with some fearing its sensitivity around not wanting to depict little people is causing more harm. Opinions within the little people community are split: some feel that casting them only in roles such as elves and leprechauns perpetuates stereotypes, while others believe it erases their identity in the acting industry further because they’re not being considered for roles typically played by non-disabled actors.

The internet debate around the Snow White remake is multifaceted, touching on issues of representation, narrative choices and the cultural impact of remaking classic films. As the movie’s release date approaches, it’s clear that these conversations are far from over, and as more details emerge, they’ll allow for further reflection on our current social climate.

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One thing is certain: amid a deluge of blissful love stories, there’s something refreshing about a narrative that is more grounded in reality, acknowledging life’s inherent unfairness and the necessity of inner work. I might be a cynic, but the alternative – losing ourselves in an unattainable, delusional fairytale where a handsome Prince Charming saves the day, is far more detrimental.

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