Rapunzel, Rapunzel, or rather, did not have to be born, the mother was too ill (Regina) during labor. Fortunately, however, the soldiers let loose from his father (the King) in the kingdom had found healing powers from the flower bloom from a drop of sun fall on Earth, and the infusion made with it cured her. Thus was born a girl with thick hair who inherited the powers of the plant that had helped her to be born. What the ruling did not know was that the flower was until then used by a wicked woman, who for centuries used it to return youth to any sign of aging. Just her, she resigned herself to grow old without the power of the flower closes and kidnaps Rapunzel in a tower hidden in the woods, a place known only to you, where you can summon and undisturbed for every need and the rejuvenating power of the child's hair. On his eighteenth birthday but Rapunzel decide it's time to stop following the advice that he believes to be his mother and leave the tower to go and see the world in the company of a thief accidentally happened in her gilded cage. whole heart Rapunzel - The plot of the tower (very bad adaptation of the original title evocative Tangled or "twisted") may be symbolically in an early scene where we see the step-mother of the protagonist in the present tower. Dressed in dark colors is reflected in the step-daughter as noting its proximity to always take the good (but we have seen is really old and ugly), while in the basket that brought the apple holds. The reference is clear, we are in the universe of the classic fables yet things are not as remembered.
Far from the original story by the Brothers Grimm fairy tales and very close to the modern tradition inaugurated by Disney himself (and adaptation was different from the original expert), Rapunzel presents all the themes and key figures of its kind, with a query classic so blatant that it can not be willed. The lost princess, the residence hidden in the woods, the choral musical numbers comedians, romantic scenes in the lake lit by small lights, fireworks, behind the comic, light-hearted heroism and so forth are the link with tradition but The real innovation is the way in which these elements are interrelated and the relationship between them.
Rapunzel waits for the man, but why not save it, is the only one who escorted her to a world that does not know. The princess lost will be saved as usual, but on its own. All others, from the shoulders up comedy to what should be the hero, are helpers. Yet, a true modern girl to do this does not give up their femininity or a female approach to the world (which is the only inmate who knows). Rapunzel is not a hero tomboy (anzi!) nor aspire to anything other than the princesses of the past. It's a girl who moves in a universe in which the obstacles that stand in the way are purely modern.
to keep Rapunzel trapped in the tower it is not a physical constraint, it might want to go as if it were not held in check by fear instillatale from an early age by her stepmother and the emotional blackmail of those who, posing as his mother, professed a boundless love towards him. And here, in sincerity and strength with which this fake love is shown, the film shows a maturity greater than the average. The relationship between mother / daughter suffered from Rapunzel is based on a continuous weakened, disguised as jokes and insults at the accused only of love and never flaunted shown, because it does not exist. Most of the well hidden behind the greatest evil of the good. This dialectic of the movies we have seen only the best and harder drama and here are perfectly translated to the infant universe, that is, without ever giving a step in terms of enjoyment or light. You see
short as 4 years from the merger Disney / Pixar second has finally begun to affect the first (the screenplay is one of the authors of Cars ) and not only in the field of technical expertise. Indeed, although the character design of the princess is so guessed to be delivered immediately to the history of the best Disney heroines and facial movements of the characters allow an "acting" above average (see the depth with which one glance of the servant announced to the royal couple the discovery of the lost daughter), however, is the modern approach to the archetypes and narrative ability to perform duties in a story enough to be classic canon (yet also real enough to talk about the modern family relationships) to reveal the long arms of John Lasseter.
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