Maleficent: Mistress of Evil is much more than a simple tweak of a familiar animated fairy tale
goes big. It introduces Maleficent to a marginalized race of beings she did not know existed, but who help her learn something crucial about herself. It makes, in visual cues obvious to the adults in the room, harrowing reference to the Holocaust. It talks about the destruction of indigenous cultures, about the blood and soil rumbling of nationalist conquest and expansion. Guns are essentially invented in the movie. There is an almost literal gas chamber scene.
The trouble is, I can’t quite tell what all that messaging aims to impart. This is the problem of so much commercial entertainment that bakes in confused political tracts.should be credited for challenging its young audiences to consider the danger of totalizing, absolutist thinking—Queen Ingrith is a pure fascist, and is bad because of it.
In that video, Ellis explicates what she sees as an unseemly trend: companies taking cues from social justice discourse to tweak their vintage wares, hemming and darting them into more culturally acceptable products, without any real thoughtfulness put toward the issues they’re paying lip service to, to the wrongs they’re trying to redress.through that lens. It’s a movie about the struggle for difference that ends with two straight white people getting married, thus saving the world.
Maybe all that is too much for kids. Maybe it’s enough that a movie this geared toward parent-enabled mega-plex success even makes reference to the bitter realities of our existence. I really can’t decide what I thinkis doing—whether it’s good or bad or, more likely, dwells in some compromised place between those two poles. But it is, and a surprising something. If you see it with your children, I hope the movie leads to some healthy discussion about what its iconography really gestures toward.
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