Maleficent

Ah, the nostalgia of going and seeing a movie based on a memorable viewing experience from childhood.  This can usually go to a drastic extent of the pendulum swing.  It can be modernized replica that reminds you of all the joy of first viewing, creating the adult into their child-like state of marvel and wonder, capturing perfectly all of the wonders remembered.  This was the case with Godzilla, which came out a few weeks ago.  The other extreme could be that the movie is empty and emotionless, an experience that leaves the audience feeling like the Hollywood system was purely looking for a way to make a new movie to bring in some cash without having to think of new story ideas.  They bring super special effects, superficial storylines and characters, and can make general audiences happy.  Such as how I found last year’s Man of Steel.

And then, there are times when people attempt to travel a new direction.  They see a well-known piece of source material and it brings into their head a new way to interpret it, staying true to the basic structure but bringing out the microscope to heighten elements that have not before been explored.  A good example of this recently was Darren Aronofsky’s Noah.  The problem with films like this is that they can exist in almost a ‘no-man’s land’ where audiences can assume that it will be landing on either extreme of the spectrum.  Some can feel alienated as it was not what they expected, while others revel in being surprised by a film that takes chances and brings out fully developed and rich characters.  There is hardly ever a ‘right way’ to view a film, which is what can make these off the beaten path films polarizing, as they are not able to fully satisfy either camp.

This is the exact category that Disney’s Maleficent fits into.  While it tells the story of Sleeping Beauty audiences should be warned ahead of time; this is not a fairy tale, it is a character story.  The film follows one of the most evil villains in Disney history (played by Angelina Jolie) and adds a backstory and history of love and innocence before she became corrupted by the harshness, greed, and deception that lived in the world around her.  Her turn into bitterness and vengeance makes sense, and as she wavers on her decisions throughout the film I always had an understanding of why.  It never felt as though the Hollywood Shoe Horn was coming out to force story elements without cause (see The Amazing Spider-Man 2 if you like that sort of thing).  As Maleficent travels through her emotions, we are right there with her, feeling the sting of her pain, and hoping for her to recover from her emotional and physical wounds.

The film becomes very dark at times, which some may say a little too much so for an all ages movie, but the use of the horrible elements of humanity is never too graphic and serves to propel Maleficent through all of the twists and turns of her life.  It could get perhaps a tad scary for children at times, but most likely no more so than the terror I had when I was a young, curly haired lad seeing Sleeping Beauty for the first time.  Visually, as well as tonally, the contrast of light and dark are in integral point to properly allowing this character we view as evil to become human and redeemable.

The visual component is utterly stunning.  From creating the fanciful land where Maleficent comes from, to a fire-breathing dragon, it is a treat through and through.  My absolute favourite visual is the recreation of the green coloured evil magic from the animated film, which really added an element of geek love for me.  Director Robert Stromberg is a well credited and Oscar winning visual effects artist, and he brings that craft with him to Maleficent which is his first directorial effort.  Transcendence showed that some people do not travel well from the visual realm to the director’s chair, but Stromberg shows an innate understanding of character development and storytelling.   

Screenwriter Linda Woolverton’s script fits seamlessly with style of movie that Stromberg was creating visually.  It felt as though writer and director were one person, as they shared vision for the movie which brings down the walls of the typical fairy tale portraying the helpless woman who is ultimately useless without a good-looking prince to show up on a shimmering horse and kiss her.  Because the princess is useless, all it takes is a token act as such by a man to help her out, thus leaving little girls everywhere anticipating that they really need a man to save them if the world gets a little dark and scary. 

If I can side rant for a minute, this is not just an issue that occurs in fairy tales, but so many films that it becomes rare to find a movie about a competent and complex female character that does not either need the help of a man, or strive for the love of a man.  In ‘female driven’ movies, it can still feel as though the theme is ultimately revolving around the Y chromosome.  It is sad, and it is pathetic.  Women get the complete shaft both on screen and off screen in Hollywood, and thank goodness for movies like Maleficent that show there is so much more to the mind of a female than just the want for a handsome mate.

Angelina Jolie is perfect in filling this role.  She is able to bring to her stone-faced character emotions from all across the spectrum, from compassion to malice, all through nuances in her facial expression, while still maintaining a face that looks cold and heartless.  Opposite her is the cursed child Aurora (Elle Fanning) who is magnificent in capturing a love for life, being entranced by the beauty around her, but still being able to feel hurt, sad, and angry.  How I would right now love to go into spoilers and talk at length about the part she plays in the story, but I will refrain from that out of respect for your viewing experience, should you decide to see it.

There is a spinning wheel needle, there is a prince on a horse, but they are not the real story here.  The focus is on a complex character who is dragged through the harshness of life and becomes something evil because of it.  We are given a perspective of the story that does not line up with the ends of the pendulum swing, but choses a bold approach to venture into a change of perspective that is full of richness of character emotions and development.  It is a refreshing dip into what a movie could be if you present female roles that have emotions of their own and lack a reliance on men, and is aided by the female writing perspective of Woolverton.  Remember, this is not a fairy tale.  It is a character story, and one that leaves you hoping and begging for the ‘happily ever after’ genre trope.

Rating – 3.5 out of 4 stars