"Snow White" and Theatrical Revivals: An Argument for Live-Action Remakes

The live-action remakes that have populated Walt Disney Studios’ release schedule for over a decade now are a fickle little thing, no? If the movies stray too far from their source material, critics and audiences rag and rant about how it was nothing like the original movie. If the movies are a shot-for-shot remake, critics and audiences rag and rant about how it was exactly like the original movie. It’s a lose/lose battle for these films. At this point in time, fifteen years since Tim Burton’s Alice in Wonderland reignited the trend, it’s almost as if their sole purpose is to anger anyone who operates a smartphone. The discourse machine never stops turning.

Heading to the theater last night to see Snow White, Disney’s newest addition to this pseudo-franchise, it was hard to not let the discourse bounce around my head. The tweets! The drama! The marketing! Is it possible for modern audiences to really go into a film without any set of expectations? For Snow White, it's unfortunately an uphill battle. While star Rachel Zegler is in the midst of an Anne Hathaway-level hatred campaign (give her three-to-five more years and everyone will be back to singing her praises, as is the curse of being a theater kid in Hollywood), the film itself has been derided from being “woke" and giving Snow White more “agency" than her animated counterpart.

What I was most struck by was not its animated film connections, but how it felt more like a Broadway revival. While the bones of the original story remained, alongside some updated songs, a majority of the film felt wholly original. It’s an interpretation of the source material using iconography from the 1937 classic. Snow White herself still remains the sweet and kind character we’ve all come to love, but in this new film, she yearns to have kindness for all.

As I left the theater, I seemed to float from the sumptuous fairy tale setting and delightful new music. (Though…Gal Gadot was a major sore spot. As I said in my Letterboxd review, I wish she Gal Gadidn’t.) It was the same feeling I had when leaving Jamie Lloyd’s recent Sunset Blvd. production, the Audra McDonald-led Gypsy, or last fall’s Rachel Zegler-led revival of Romeo & Juliet. These were all stories I’ve known well over the years, but these interpretations helped to recontextualize and embrace the characters’ eccentricities with (or without) major changes to the story.

In the case of Snow White, a larger script change occurred to introduce this (welcomed) new interpretation of the character who works to fight for a kindness rebellion. However, the roots of the original remained. This is the cornerstone of a great Broadway revival: updating a known story for a new audience. Sometimes it’s successful, sometimes it isn’t, but there’s no harm in trying.

Whenever a movie is remade, Disney or otherwise, the argument immediately reverts to nostalgia-based anger. “Why are you ruining perfection?" “Why are you ruining my childhood?" Now, I don’t believe any original has been physically ruined, but whatever. Your DVD collecting dust remains the same. They still exist. Immediately, the argument doesn’t doesn’t carry any validity. When it comes to Broadway revivals, they are usually welcomed with open arms. “A new interpretation? How exciting!" Can we not bring the stage mindset to films? For many, the results might just surprise. (cough cough 2021’s West Side Story)

With this remake anger in mind, many have an unrecognized bias when it comes to fully accepting new works as just that: new. For Snow White, this began years before it even hit theaters. Those that are a part of the discourse machine found a target and set their sights on being fed up at what was produced. Now, this is not to say criticism isn’t important, however, a lot of preconceived notions were brought forward before an ounce of footage was released. (In the case of the dwarf argument, many were angry when a set photo seemed to show a band of seven playing the beloved characters. Lo and behold, that same group does not play Doc and co.) The wheels keep turning and the anger keeps rising.

Personally, I fell in love with Snow White and its tale of resilience. I welcome discussing the film with those who didn’t love it as much as I. Yet, if there is vitriol because something is different? Then, my friends, I’m not sure it’s possible to have those discussions. To fully comprehend and appreciate art and storytelling in that state is likely impossible. Maybe it's in everyone’s best interests to be like live theatergoers and welcome what’s to come. While the story might be altered from what you’ve come to know and love, have an open mind at the new ideas being presented. Heck, at least you still have the original cast album if all else fails.

I came to this realization after last night’s viewing, realizing I have been a part of the problem in the past. Gasping at the idea of films remaking classics, questioning their ethics or merits before even being able to watch them on the big screen. Maybe it was the power of Snow’s kindness, but I already feel a duty to go back and rewatch these live-action films with a more receptive media-viewing mindset, ready to take them at face value and not covered in their overly maligned pretense. One could argue that overly hating a film prior to its release might just be a case of princess problems…