I can’t begin to talk about the last horrible week, with the bombings, loss of life, manhunt, and all the bad behavior along the way. The fact that this took place during a hard week of the semester — and that I teach young 19-yr-olds like Dzhokhar all the time — makes it harder.
Instead, I turn to fable and film magic. I need escape; perhaps you do, too.
Everyone is going to compare this enchanting film to The Artist (2011) — because it, too, is a neo-silent that gets part of its magic by borrowing from films of the 1920s and shot in the same 1.33 : 1 aspect ratio as films of yesteryear. Fair enough. Our heroine even has a plucky pet — not a dog but an intrepid rooster named Pepe, who blows Uggie out of the water. (And I loved Uggie.)
Rather, this film should be compared to Rupert Sanders’ Snow White and the Huntsman (2012), because both films sought to reinvent the Snow White story as told by Los Hermanos Grimm. Thankfully, this one gets it right.
The director Pablo Berger seems to have been paying attention to the problems posed by current-day updates of fairy tales — and has found a way around them. Blancanieves isn’t the Snow White; rather, she’s a Snow White — she really only gets that moniker after she suffers amnesia (amnesia! I love amnesia stories!) and gets adopted by a troupe of bullfighting dwarfs.
Did you fully absorb all the information in that sentence? Amnesia! Bullfighting dwarfs!
I could tell you more about the story, but there’s no point, is there? We know there are going to be some key plot points: an evil stepmother, an apple, some sleeping. Berger hits those points while also unfolding Carmencita’s story in ways that take a sidelong look at the Sleeping Beauty fable, and which make it surprising and sort of delightful.
This Snow White doesn’t live in a woodsy neverland, but rather in a very particular time and place: Andalusia during the 1910s and ’20s, where bullfighting and flamenco help to define the regional culture. (In fact, you find yourself marveling that the dance and the “sport” have a very lot in common.) Watching the hundreds of spectators gather in an early scene at a stadium to watch the great bullfighter — the as-yet unborn Carmencita’s magnificent father — is to gain access to one of those things you hunger for as a filmgoer: a ghostly shot from up high, showing the spectators as tiny figures moving toward the stadium, a shot that seems both awe-inspiring and historical at once.
When little Carmencita is born to tragedy and her new stepmother, Encarna, installs herself in the household, all seems lost. And Encarna is, indeed, very evil. Played with gusto by Maribel Verdú (well-known in the U.S. for Y tu mamá también ), she narrows her eyes, laughs demonically, and struts before mirrors and cameras like the best of the worst female vamps of old. She’s wonderful to look at: her mouth can twist with just the right kind of cinematic cruelty. She may be the least subtle thing about this film, but she makes a perfect and vivid villainess.
And as Carmencita grows up into a young woman (Macarena García) in a lovely series of shots, we know she won’t last long on Encarna’s estate. How she takes up with the dwarfs — and ultimately becomes the nation’s newest sensation in bullfighting — is a longer and more twisted tale, but continues to vacillate between the classic elements of the Snow White fable and the more specific Andalusian story that Berger has created.
I saw Blancanieves three weeks ago and have been turning it around in my mind like one sucks on an Everlasting Gobstopper. Last night we happened to catch a preview for it at our theater, and I was struck all over again by its visuals, its creativity, its memorable score, and that glowing black and white — so much so, in fact, that I whispered, “Let’s see it again!”
Having just survived a very bad week, friends, let’s do something for our souls. Let’s turn away from the worst parts of the internet, from the bad news and the fearmongering. Let’s watch, instead, a film that feeds our souls. I’m not saying that Blancanieves is a perfect film; in fact, contact me or comment here when you see it and tell me what you think of its ending. But I would watch it again this minute if I didn’t have so much work to do.
On second thought, maybe I will go see it again — just to see Carmencita’s hopeful, upturned face, Pepe running through Encarna’s terrifying estate, and the dwarfs’ caravan lit with fairy lights. I could use some mercy now. Couldn’t we all?