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Some day my prince will come
Some day we’ll meet again
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And away to his castle we’ll go
To be jubilant forever I know
(Lyrics from Snow White and the Seven Dwarfs – Some Day my Prince Will Arrive)
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“Enchanted” begins in an gripping land named Andalasia, with a young girl named Giselle (Amy Adams) meeting the prince of her dreams, Prince Edward (James Marsden) and preparing to live happily ever after. Andalasia, and expansive parts of the movie are based on a combination of the Disney worlds of Snow White, Cinderella and Sleeping Beauty, so of course you can count on the appearance of an gross stepmother-wicked witch (Susan Sarandon) to keep an demolish to all the depressed happiness.
As soon as Giselle comes within striking distance of the castle on her wedding day, the witch (disguised as an aged hag) zaps her into another world where “happily ever afters” and just fancy apparently haven’t existed for years – display day Manhattan.
Switching to live action, Giselle tries to understand the Unusual York area of mind, and falls into the arms of a McDreamy guy named Robert (I don’t have to deliver you who the actor is, now do I? ) While Giselle begins getting acclimatized and introduces herself to the local wildlife, a rescue party from Andalasia also uses the Manhattan transfer, and soon the streets of Modern York are stormed by a CGI chipmunk, a prince in search of his missing damsel, and a henchman with a silly accent (Timothy Spall) .
If you’re a fan of fairy tales, and in particular Disney tales, you’ll worship the exiguous touches like poisoned apples in the Spacious Apple, Beauty & the Beast ballroom dancing and glass slippers, but this updated magical, musical, silly fairy sage will be a treat for the whole family.
A obvious “YES” for family entertainment, and one you probably should purchase when it comes out on DVD. Rated: 4.5 stars
Amanda Richards, December 2, 2007
What would happen when an titillating fairy account princess found herself in our physical world? This quiz is the basis of “Enchanted,” a Disney film addressing the fairy narrative clichés so effectively that it’s practically a parody. The film begins in the exciting world of Andalasia with the opening of a storybook; a voiceover narration says the obligatory, “Once upon a time …” before we’re introduced to Giselle (voiced by Amy Adams), a peasant girl who, of course, lives in a quaint microscopic cottage in the middle of the woods. As you might seek information from, she thinks of nothing but finding her one factual esteem, going so far as to produce a princely mannequin while singing brightly. To top that off, she’s satisfactory with practically every creature inhabiting the forest, and they all pay her a visit as she sings. When she’s almost eaten by a troll, the dashing Prince Edward (voiced by James Marsden) rescues her, and the two immediately resolve to acquire married.
But Edward’s wrong stepmother–Queen Narissa (voiced by Susan Sarandon) –refuses to give up the throne and vows to terminate the wedding. Disguised as an obsolete hag, she lures Giselle to a magical well and pushes her in. The well is actually a kind of inter-dimensional portal between Andalasia and our world, and according to Narissa, it’s a station, “where there are no happily ever afters.” Giselle emerges from a manhole in the middle of Current York City. Amidst the confusing, homely hustle and urge of everyday living–in which people are coarse, conniving, and fast-paced–a now-live action Giselle bumps into divorce attorney Robert Philip (Patrick Dempsey) and his six-year-old daughter, Morgan (Rachel Covey) . They assume her in, although Robert is more than a miniature anxious about the situation; from his point of idea, a delusional woman in a fluffy white princess dress is roaming the streets of Manhattan. Morgan, on the other hand, is thrilled, believing that a valid princess has entered her life.
As she prances around with all the grace and joy of the perpetually perky, Giselle gradually learns a few vital things: (1) people in the proper world don’t shatter out into song for no apparent reason; (2) people don’t like it when their curtains are ancient to produce a dress; (3) it isn’t appropriate to call forth birds, rats, and roaches to support shipshape up; and (4) esteem is not as simple as meeting one day and marrying the next. Or is it? She and Robert fragment bewitching conversations on the nature of relationships, his stance being that they’re incredibly complicated, her stance being that they don’t have to be. Considering his failed marriage and his fresh relationship with a woman named Nancy (Idina Menzel), it’s easy to stare where he’s coming from. Staunch life is nowhere advance as simple as life in Andalasia, a location where Giselle is allowed to be naïve and trusting.
As far as Prince Edward is concerned, he follows Giselle into Manhattan and begins his intrepid search. He’s impartial as naïve about our world–he mistakes a television for a magic mirror and a bus is a depraved metal beast, and he believes he can unsheathe his sword at will. He also speaks in typical Prince Charming lingo, his words boastful and one-tracked. And distinguished like Giselle, he, too, will crash into song for no apparent reason. He’s accompanied by a Pip, a chipmunk who has lost his Andalasian ability to whine English. Pip constantly tries to warn Edward about Nathaniel (Timothy Spall), Queen Narissa’s sniveling weasel of a henchman. Under the guise of being estimable, he does whatever he can to steer Edward in the infamous direction, and most of the time, he succeeds. Will Edward rep Giselle? Will they fragment Legal Love’s Kiss and live happily ever after? Or is her relationship with Robert is more complex than she would like it to be?
As you can probably jabber, this film has fun toying with the classic formula of the Disney fairy account, the most prominent being “Snow White and the Seven Dwarfs.” So many of its spot devices are spoofed in “Enchanted,” from the treasure struck young maiden to the faulty queen to the plucky prince. Yes, even the poisoned apple is reused, and I believe it’s sure which characters are fervent in that regard. But there are other elements of parody at work here, not the least of which is music smooth by Alan Menken. Menken is known for scoring a number of Disney’s films during its tedious twentieth century renaissance: “The Itsy-bitsy Mermaid”; “Beauty and the Beast”; “Aladdin”; “Pocahontas”; “The Hunchback of Notre Dame”; “Hercules.” Given this track report, I can’t assume of anyone better obliging for the job.
And then there’s the final fifteen minutes, which features an impressive computer-animated dragon; a tale like this always ends with a climactic fight between the hero and the enemy, and the hero is always supposed to rescue the enemy’s captive. But impartial who is the hero in “Enchanted”? Who is the enemy’s captive? The answers aren’t all that surprising, but they peaceful create for something attractive. That’s elegant grand the arrangement the entire film works–”Enchanted” is a film that’s perfectly aware of what it wants to effect, and it pokes fun at itself while simultaneously paying homage to the formulas Disney films have followed. Thank goodness it has a sense of humor; this kind of storytelling could only work for so long before starting to regain amusing.
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