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Fairy Tales on the Big and Small Screen

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Fairy Tales on the Big and Small Screen 9 Fairy Tales on the Big and Fairy tale movies have appeal because they Small Screen provide a point of familiarity for a developing teen audience; the plot lines of by Pia Dewar modern remakes like The Brothers’ Grimm The realm of fairy tales and storytelling has (2005), or Red Riding Hood (2011) are been with us for hundreds of years. Fairy familiar to what we remember from tales have evolved over time, but have not children’s stories even though the visual lost their appeal (especially to children, and presentation and the tone can be very young adults). Fairy tales in particular have different (Kroll, 2011, p. 1). This alteration proven adaptive in the ever-growing variety to presentation has been popular, given the of media and modern movie remakes. Kroll string of popular remake movies in recent comments in his article, “studios are years as Wood notes, “modern fantasy film endlessly searching for familiar properties audiences frequently come to them first as with name recognition and spinoff children and keep returning to them potential” and with several remakes throughout adolescence and adulthood, and released in the last few years (all of which this blurs the child/adult distinctions,” are listed at the end of this article as (2006, p. 287). Beginning with the Twilight pertinent examples) this certainly seems to franchise that “put a modern twist on overly be true (2011, p. 4). Fairy tales are so familiar characters,” this shows how we are malleable, that they allow movie producers attracted to novelty with a touch of the to make motion picture remakes that are familiar (Kroll, 2011, p. 4). This creates versatile in terms of content, context, and something for us to navigate by while it still plot twists, which is what keeps fairy tales ‘feels’ new because of the darker side to the relevant to a modern day audience; in this stories. Teens can find a point to navigate way, moviemakers can provide the flavor of by from memory that becomes “a symbol nostalgia, combined with novelty, as fairy for the boundary between childhood and tale movies explore darker, and more adulthood” (Wood, 2006, p. 282). mature themes. Fairy tale movies also create the Since those fairy tale remakes often opportunity for teens to relate to fictive originate from stories that teens grew up situations, but from a safely detached hearing and reading, there is bound to be distance. Red Riding Hood (2011), Stardust something that teens will like by virtue of (2007), and Jack the Giant Slayer (2013), are familiarity. The darker versions of fairy examples of “Turning overly familiar fairy tales that have been released recently are tales into angsty youth-targeted more evidence of “the genre’s creative entertainment,” because the portrayal of elasticity, potential for exquisite and troubled youth provides a point of self- disturbing imagery and appeal to our identity for teens (Kroll, 2011, p. 4-5). audience for transformation” (Harris, 2011, Despite the darker turn that the modern fairy tale films remakes often take, the p. 1). This article will examine how and why elements of realism, and the appeal of motion picture fairy tale remakes have likable characters provides much- needed become darker, seeming to move away relatability. Monk presents the relevant from the safer popularity base of children, example of the 2006 film, Penelope, starring and yet are more popular than ever. Christina Ricci (2008, p. 1). Penelope is not a No. 100 Fairy Tales 10 physically violent fairy tale, but it does deal “illusions of social relations of exploitation with the more personal issues of being based on power,” and this is a concept that ostracized, and victimized through no fault teens are just beginning to become familiar of your own. A modern teen can root for the with in their interactions (Zipes, 2009, p. young, modern, likable girl who is 90). Fairy tales are a success when they disfigured by a curse. Penelope exemplifies speak to the child and the adult in someone how a modern movie aimed at a teen at the same time. Consequently, teens are a audience marries the modern day virtues of perfect audience for darker fairy tale individuality, inner beauty, and spirit, with remakes because teens are caught a traditional fairy tale plot line and thus, somewhere between childhood and “creates social acceptance combined with a adulthood. quest for novelty” (Monk, 2008, p. 1). Fairy tale movies help “take our minds off Navigating by the point of relatability, a reality, to enjoy a moment of calm young adult audience can then move estrangement or titillation, to appreciate forward and safely explore the darker the extraordinary in the ordinary, to themes and imaginative qualities that fairy reassess our values and alternatives to tale movie remakes often have. When determine social forces,” (Zipes, 2009, p. considering the content of fairy tales, it is 79), especially when they are combined really important to bear in mind that “these with new special effects, graphics, sound tales were never intended for young effects, and original costumes. They create ears…’beginning in the 18th century, the impression of familiarity and novelty all publishers began….changing and sanitizing at once, which appeals to a very large fan them and getting rid of the sex or horror, or base of moviegoers. We also have ““the making them more religious … to make ability to see films repeatedly, either on them appropriate for what they considered video and DVD or on cable/digital/satellite to be the innocent souls of children’” as television, [which] allows the experience of Zipes reminds us (Harris, 2011, p. 1). watching to be repeated… as such, this Harris’ assessment also seems quite represents the power of the audience to accurate when she says that movie remakes utilize traditional material and to shape are “bringing the classic yarns back to popular culture in more active ways” and a their dark, twisted and sexually young adult audience gets more provocative roots” (2011, p. 1) because entertainment value out of what they watch teens have developed a taste for the more (Wood, 2006, p. 281). The movies that have dramatic and sensational. Pan’s Labyrinth been listed below are all prime examples of (2006), and Hansel and Gretel: Witch Hunter classical fairy tales as movies and television (2013), are examples of the darker side of series that would appeal to a teen audience maturity in bloodier stories. Similarly, The by virtue of the darker twists in classic fairy tale Jack and the Beanstalk presentation and content. became Jack the Giant Killer in the recent Movie/ TV Show Choices 2013 remake; all that changed was the title and it instantly became more interesting, The Brother’s Grimm more mature, and more desirable to a Bobker, D., & Roven, C. (Producer), & young adult audience. Zipes explains that Gilliam, T. (Director). (2005). The Brother’s the function of such dark fairy tales is that it Grimm [Motion Picture]. USA: Miramax allows an audience to safely explore Films & Dimension Films. No. 100 Fairy Tales 11 Ever After Penelope Soria, Mireille, & Tracey Trench Russell, D., Simpson, J., Steindorff, S., & (Producers), & Andy Tennant (Director). Witherspoon, R. (Producers), & Palansky, (1998). Ever After [Motion Picture]. USA: M. (Director). (2006). Penelope [Motion 20th Century Fox. Picture]. USA: Summit Entertainment. The Princess Bride Reiner, R., & Scheinman, A., (Producers), & Reiner, R. (Director). (1987). The Princess Bride [Motion Picture]. USA: 20th Century Fox. Red Riding Hood Killoran, J.D., DiCaprio, L., & Yorn, J. (Producer), & Hardwick, C. (Director). (2011). Red Riding Hood [Motion Picture]. USA: Warner Bros. Grimm (Series) Barba, N., Greenwalt, D., Hayes, S., & Milliner, T. (Executive Producers). (2011). Grimm (Television Series). USA: NBC Universal Television. Hansel and Gretel: Witch Hunters Bale, P., D.M. Latt, & D. Rimawi. (Producer), & Wirkola, T. (Director). (2013). Hansel and Gretel: Witch Hunters [Motion Picture]. USA: The Asylum. Jack the Giant Slayer Dobkin, D., O. Marmur, P. McCormick, N. Moritz, & B. Singer (Producer), & Singer, B. (Director). (2013). Jack the Giant Slayer [Motion Picture]. USA: Warner Bros. Snow White and the Huntsman Mercer, S., P. Patel, & J. Roth (Producer), & Once Upon A Time (Series) Sanders, R. (Director). (2012). Snow White Horrowitz, A., & Kitsis, E., Pearlman, S. and the Huntsman [Motion Picture]. USA: (Executive Producers). (2011). Once Upon A Universal Pictures. Time [Television Series]. Canada: ABC Studios. StarDust Bonaventura, L., Dreyer, M., Gaiman, N., & Pan’s Labyrinth Vaughn, M. (Producer), & Vaughn, M. Augustin, A., Cuaron, A., Guillermo, T., (Director). (2007). StarDust [Motion Navarro, B., &, Torresblanco, F. (Producers), Picture] USA: Paramount Pictures. & del Toro, G. (Director). (2006). Pan’s Labyrinth [Motion Picture]. Mexico: Picturehouse (USA Release). No. 100 Fairy Tales 12 References a Harris, M. (2011). Creepily Ever After? New a movies take fairy tales back to their a a Grimm and gory roots. Postmedia a News. Retrieved from a search.proquest.com/docview/8556 a 54118/fulltext?accontid=10406 a a Kroll, J. (2011). Fairy tales getting grimmer. a Film and Television Literature Index, a 421, 10. 4-6. a a Monk, K. (2008). This little piggy gets the a a prince; modern fairy tale celebrates a inner beauty and true love [Movie a Review]. CanWest News. 1-3 a a Wood, J. (2006). Filming Fairies: Popular aa Film, Audience Response and a Meaning in Contemporary Fairy a Lore. Folklore, 117, 3. 279-296. a a Zipes, J. (2009). Why Fantasy Matters Too Much. Journal of Aesthetic Education, 43, 2. 77-91. No. 100 Fairy Tales .
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