![]() ![]() Roberts and Singh add a new layer of humanity, making the Queen not just a didactic shill for the perils of vanity, but a simply a devilishly selfish person who makes her own choices. She possesses the power and confidence that the Queen herself struggles to maintain." This portal into her inner life adds even more dimension to the character, showing that somewhere deep down she does indeed possess a moral compass, but chooses to ignore it because it's just more fun to tax the townspeople to pay for lavish parties and cast love spells on a young hunk. As Roberts puts it, "The Mirror Queen is calmer and more collected. The face in the magic mirror is her own, rather than the menacing disembodied mask of Disney's telling. Mirror mirror cast movie#This is my fight."īelieving in yourself is nice, but personality is even better, which is why the movie still belongs to Roberts. When Snow must face the Queen in the dark woods for their ultimate battle sequence, she says to Prince Alcott, a handsome nothing played by Armie Hammer (a Romney son would have worked just as well), "I've read so many stories where the prince saves the princess. The dwarfs are still creepy-they lavish a little too much attention on Snow White's first kiss-but teach the princess to believe in herself in a Rocky-esque training montage of swordplay and thuggery. They live in exile on the edge of town and earn their living as highway robbers because, as one of the little guys says, "Years ago when the Queen expelled all the undesirables, no one stood up for us," echoing the bullying epidemic from nightly news headlines. Mirror mirror cast Pc#Snow White stumbles upon a Dickensian street scene where the villagers are starving because the Queen is taxing them (an appeal to the Tea Party?) to protect them against a shadowy enemy called "The Beast" that lurks in the forest (terrorism?).Īs a part of a eugenics campaign in the kingdom, the Queen banished all the "uglies" from the town proper, including the seven dwarfs (although they are never referred to as such, nor are they called "little people" or "vertically challenged," or any other PC term). In addition to delivering a self-esteem massaging message, Singh taps into our convoluted political zeitgeist. Her victimization and isolation still reflects the bedroom angst of teenage girls. She still is under the thumb of the stepmother, who keeps her sequestered as a servant for 18 years until one day she decides to leave. As to be expected (and applauded), Snow in Mirror Mirror gets a self-conscious, you-go-girl makeover. ![]() ![]() Of course, filmmakers today couldn't get away with that old vision of the passive princess. The Queen's struggle to maintain influence over the kingdom-whether through vanity or violence-is far more compelling than the plight of a waif who cooks and cleans and waits for her prince to come. I immediately feel in love with the wicked queen." You can understand why. Director Tarsem Singh ( Immortals, The Cell) immediately recognized her appeal, telling the press that he "saw the Queen as someone who is wicked, dark, and malicious but also irresistibly charming." As Woody Allen kvetched in Annie Hall, "When my mother took me to see Snow White, everyone fell in love with Snow White. As children, the Queen is our first introduction to the power of the Bad Girl. ![]()
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