Last week I took my daughter to see the new Snow White film and on the train she told me how all the girls had been called into a special assembly. It was to tell them that makeup was strictly forbidden – some girls (she discreetly told me their names, vaguely scandalised) had started wearing mascara to school. And as she spoke I was immediately propelled to 1991, my friend’s kitchen, the violet smell of other people’s laundry, her mother explaining that we shouldn’t wear makeup until we were, “At least 40,” because it was just, “for covering wrinkles and the shadows of age.” That conversation has rattled around in my head for decades (“the shadows of age”) and it lodged there as I settled in with my popcorn.
The new Snow White has been plagued by so much controversy some might assume the marketing team had bitten a cursed apple. It took nine years to make it into cinemas, after, OK: Rachel Zegler’s casting sparked a racist backlash; actors with dwarfism debated the ethics of portraying (in Disney’s words) the “seven characters’,”; and critics (including the son of a director who worked on the 1937 film, to the Telegraph) complained that Disney is “making up new woke things”. Then, in August, a member of a pro-Palestine campaign called for a boycott of the film, citing Gal Gadot’s (who plays the evil queen) support of Israel’s military actions. Rightwing press were next to call for a boycott, after Zegler spoke out first in support of Palestine and then against Trump, leading Disney (allegedly) to scale back the eventual premiere. And then it was here, and the reviews were… grumpy. The New Yorker headlined its review with: “Disney’s remake whistles but doesn’t work.”
