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BY NEIL GENZLINGER
Ditties for an Ayn Rand
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BY ANDY WEBSTER
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porary audience, one that has, over the years,
complained with good reason about the company’s representations, particularly of female
characters. For decades, Disney has responded
with an array of plucky girls and women whose
desires extend beyond romantic longing. Usually, they have adventures, and not just dreams,
to go with their wasp waists and froufrou.
Sometimes they save the day and their true
love, which is better and more fun than waiting to be saved. Yet Disney heroines, whether
princesses or not, have almost always ended up
as reliably paired off as if they were boarding
Noah’s ark. A notable exception is Queen Elsa
in “Frozen,” a very different kind of heroine.
That Elsa remains single in “Frozen” has
inspired some widely, wildly divergent readings of that movie, with some commentators
claiming her as a L.G.B.T. representation, and
others denouncing her for the same reason.
It’s entirely possible that “Maleficent,” partly
because it’s narratively weak and Ms. Jolie
is a powerful screen presence, will inspire its
share of warring interpretations (and dismissals). The movie, directed by Robert Stromberg from Linda Woolverton’s script, draws
on Disney’s “Sleeping Beauty” and Charles
Perrault’s version of the tale. Despite this, the
narrative linchpin isn’t Aurora: It’s Maleficent,
who doesn’t fit the fairy tale template largely
because of her relationships. Stefan angers her,
but she so gets over him and soon shifts her attention elsewhere.
Mr. Stromberg, a production designer
making his feature directing debut, does best
when he scales down, as in the lovely shots
of Maleficent walking next to a floating, unconscious Aurora, an image that telegraphs
more about their relationship than any line of
dialogue. The action scenes, by contrast, are
visually uninteresting, borderline generic and
unnecessary. There are also far too many long
shots when the digital renderings (especially
those with human figures) pull you out of the
story instead of keeping you immersed. But
there’s so much to look at in the movie — from
the wittily designed creatures to the shocks
of bilious green and purple — that the battles
quickly fade. (The colors are, as is a galloping
race to the rescue, among the many nods to
the 1959 “Sleeping Beauty.”)
Ms. Jolie is, unsurprisingly, a visual marvel.
Her face has been smoothed into an alabaster
Cubist mask, and prostheses elongate her already sharp cheekbones; from some angles, it
looks as if she had a second set of vestigial wings
riding under her skin. The exquisite attention to
detail in both the makeup and costume is routine
in major productions like this one, of course, but
the mixture of Old Hollywood glamour and contemporary fetishwear doesn’t just turn Maleficent into a pleasurable spectacle, it also serves
a character who embodies both the past and
the future. Ms. Jolie’s performance is similarly
bifurcated, with a controlled physicality that, just
when it seems to be edging into catwalk blankness, springs to weird life with grotesque facial
contortions and spidery movements.
Bruno Bettelheim, that great reader of fairy
tales, saw “The Sleeping Beauty” as a story of
sexual awakening. She wakes only when physically and emotionally mature enough, when
she is ready for love and its familiar handmaidens: sex and marriage. It’s at that point, Bettelheim writes in “The Uses of Enchantment,”
“the wall of thorns suddenly turns into a wall
of big, beautiful flowers, which opens to let the
prince enter.” That’s quite the metaphor, but
for women, it has sometimes also been a curse,
including in movies, where they have traditionally had to wait for a man to get them to their
happily ever after. There’s no denying the attractions of that narrative for some of us: Even
Lena Dunham got swept off her feet.
But, come on! There’s more to life and certainly more to women, which is something that,
however imperfectly, “Maleficent” grapples
with. I’m still not sure if the movie’s smackdown between patriarchy and matriarchy is
the way to go, but at least nobody here is warbling about what she wants before hitting the
road to self-actualization.
Consciously or not, coherently or not,
“Maleficent” tells a new kind of story about
how we live now, not once upon another time.
And it does so by suggesting, among other
things, that budding girls and older women are
not natural foes, even if that’s what fairy tales,
Hollywood and the world like to tell us. And
while that may sound drippy, it’s exactly the
kind of hokey that, movie by movie, may finally
n
make a real difference.