A rant about Disney, from my work for a wonderful course I’m taking through Toronto Metropolitan University’s online school.
Educators love Disney because children love Disney. It’s simple, fun, and an easy thing to put on at the end of a long semester. In fact, Disney stories are often considered a great visual extension of fairy tales read in class. I’m not sure I entirely agree, but I want to try and argue that Disney has ruined fairy tales.
The statement “Disney has ruined fairy tales” is based on the premise that fairy tales can be ruined at all. It’s a fine premise, so let’s define the meaning of the statement’s action. The Cambridge English Dictionary establishes that to ruin something is “to spoil or destroy something completely”. Ruinous activity desecrates something until it no longer holds its original form, and fairy tales, as we have learned in this module, originate in dynamic oral storytelling. Their fundamental essence is that they are reimagined slightly with each new teller. Opponents might ask: how can Disney destroy something that was never fully formed and always somewhat amorphous in shape? How can Disney destroy a form which was continuously and consistently destroying itself?
The answer to this problem lies in confinement and scope. If we accept that fairy tales have no original text and are meant to evolve to fit the culture and purpose of each reiteration, then the way that Disney has frozen and widely proliferated their bowdlerized version of Sleeping Beauty is an abomination of the form. Disney captured the gender restrictive elements of source material from Perrault and Grimm (without even referencing Grimm!) in an unchanging, uninspiring 1959 film version which leaves out all of Basile’s horrible but delicious dark details. Then, thanks to the power of the animated image and the powerhouse of the studio, the movie became a box-office hit. For so many people in Sleeping Beauty’s scores of audiences over the decades, it seared an image of female feebleness and lack of agency.
Who could forget the sweet, plump fairy godmothers fighting the severe, horned evil Maleficent to protect their beloved beauty? Who could unhear Brier Rose’s song to the forest or duet with the prince? The movie’s imagery is so strong that it set the tone of what a fairy tale should be in the world’s collective psyche. Unfortunately, for many years, that meant a lust for a passive girls desperate for a man, and a loathing for active witches with the power to affect their own lives. The simplicity of the Disney story was imprinted on the latent desires of generations of girls who would grow up surrounded by capitalist material shoving a distinctly pink femininity down their throats.
Whether intentional or accidental, the permanence of celluloid tape and the proliferation of a familiar patriarchal message in Sleeping Beauty made Disney and fairy tales synonymous in most private homes and public spaces. This unholy union of ideas annihilated the surprising and unique dynamism of oral fairy tales and even their adaptive literary lineages. In short, the form has been fudged.
Fairy tales are not bettered when they are transformed into simple tales of true love and good triumphing over evil.
One of my favourite elements of the fairy tale is that it is decidedly not a story of good versus evil. Rumpelstiltskin is not evil, insomuch that he is tricky and greedy. Baba Yaga is not evil, but actually leaves Vasilisa a powerful gift. Snow White’s antagonist is not a purely evil ice queen, rather she is the scorned wife of a careless man. The interesting lesson I have learned in these modules is that a fairy tale is neither good nor evil. On the contrary, they exist in that liminal space where each character has the option to do good or bad things and end up on the other side of an otherworldly challenge as a victor or a victim whether or not they have killed anyone. The brave little tailor kills so many, but is considered a hero. Puss in boots steals and cheats and kills, but is considered a valiant sidekick. I love that fairy tales are patrons of a world of murky morality.
Disney’s bifurcation of good and evil in Sleeping Beauty forces a distinctly Christian or monotheistic worldview on that ruins the nuances of being. Characters and spaces do not need to be godly or devilish, heaven or hell. Children would benefit to know that everyone has the potential for a spectrum of morality, like the weird and wonderful world that we live in.
Finally, the greatest element of a fairy tale is not its content. With its trite settings in forests and castles, or its two-dimensional characters, who make horrible decisions and lack agency. The most alluring quality of a fairy tale is that it is sparse enough to make space for the imagination of teller and the audience. The magic of fairytales is that they are dynamic, living pieces of culture which change and breathe with the unique culture of the time and space in which it is told. The magic occurs when the unique iteration creates new ideas and emotions. Disney’s version of Sleeping Beauty ruins that essential fairy tale element by setting the story in stone. Robbing the story of its agency, much like Maleficent robs Aurora’s of hers.