Snow White has a Gal Gadot problem

The challenge in adapting popular Disney animated films into “live-action” spectacles is two-fold: how do you bring to life the unlimited possibilities and artistry of animation to the real world and, at least in the case of Snow White, how do you update a nearly century old film for a new audience. Despite what some unhealthily invested adults may want you to believe, let’s not forget these movies are fundamentally intended for children. They not only need to appeal to a new generation of kids who live in a far different world then 1930s America, but imbue the story with the values and lessons more reflective of our current moment.

In that sense. Marc Webb’s Snow White isn’t a total failure. There are some sincere attempts at creating a colourful and rich movie that more often than not transcends the cheap look of a lot of contemporary Disney movies. The tricks are simple; stuff the background with coloured flowers as often as possible, use coloured gels and actually embrace (at least at times) engaging montage. This isn’t big brained stuff, but it does make a difference. While large portions of the movie, particularly in the second half, still looks like a bunch of theatre kids running around the woods in off-the-rack costumes — they could have done worse.

The changes to the storyline remove focus from Snow White’s dream of being swept away by a handsome prince. Her quest becomes rooted instead in becoming a strong and empathetic leader, following in her parents footsteps by leading with kindness and grace. Rachel Zegler, an exceptional talent, sells this almost naive perspective with self-awareness and earnestness. If the film succeeds in any way, it’s almost solely due to her charisma and talent. Her presence lights up the screen; it’s easy to understand how the character’s around her naturally fall for her.

The admirable attempt to reframe the story also takes it off track however. The movie works best when it sticks to the original. The interjection of new subplots and characters only barely work to a more discerning audience, though they might sell better with young children. Among the film’s changes, perhaps the most successful among them, is the bolstering of Dopey as a character – which lends the movie a tenderness that emphasizes its “lead with kindness” ethos in a way that feels personalized and relatable. 

Unfortunately, Snow White has a big problem — a Gal Gadot problem. Unable to rise to the occasion, Gadot attempts to lean into camp to embody the role of the Evil Queen, which extends far beyond her talents. She seems uncomfortable in her skin and unable to sell even the most throwaway lines. As some right-wing trolls call for a boycott of the film due to Zegler’s casting (she’s not white enough, apparently), the only affirmative action going on here is the hiring of an untalented hack who supports Israel’s genocide against Palestine. Gadot’s presence is more than just a black mark on this particular film but reflective of a media conglomerate that’s long been far too happy and eager to get into bed with the American military and propagate its values. If this becomes a radicalizing moment for some viewers, as the pro-Israel Captain America film was earlier this year, all the better. 

Snow White isn’t a total mess, but it can’t stand up to the original. The desire to remake popular Disney classics isn’t rooted in a benevolent desire to create new stories for young people, but ultimately in a rather craven desire to cash in. Though better than some of the other recent attempts at creating “live-action” adaptations of popular animated films, these movies don’t hold anything to the artistry and sensitivity of the original movies. Though admirable that they attempt to reframe Snow White’s quest from lovelorn princess into a strong leader, it’s just not enough to make this film wholeheartedly worth recommending. ■

Snow White opens in Montreal theatres on Friday, March 21.

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