Princes who have been turned into Dwarfs seek the red shoes of a lady in order to break the spell, although it will not be easy. A parody with a twist.
After 10+ years of production, a marketing fiasco, and a delayed release, Hong Sung-ho’s “Red Shoes and the Seven Dwarfs” finally hit Korean theaters on July 25. The CGI animation had previously been under fire at Cannes 2017 for its not-so-family-friendly content: promotions for the film received backlash for implied fat-shaming, and the 2017 preview depicted two Dwarfs peeping on an undressing Snow White. After deleting the trailer from Youtube and a massive apology, Locus Animation finally presents a renewed version of the Snow White classic. “Red Shoes” suggests that more exists than what meets the eye — especially in a hodgepodge fantasy-world full of magic.
The story deviates from the original Grimms fairy tale from the get-go. An overweight Snow White (Chloe Grace Moritz) innocently picks a red apple from a cursed tree. The apple morphs into a pair of coveted scarlet heels that transforms its user into the “most beautiful woman in the land” — so in Snow White’s case, she dramatically slims down. The withering Witch Queen (Gina Gershon) chases the princess out of the kingdom to take over the throne, forcing Snow White to flee. Upon a stroke of serendipity, she stumbles upon (or more accurately, crashes) into the home of the Seven Dwarfs.
The embellished Snow White introduces her alter-ego as “Red Shoes.” Like the Disney’s 1937 film “Snow White,” the Dwarfs fall to her charms; however, they are nothing like the emotive helpers of the original. Instead, these Dwarfs are actually members of the “Fearless Seven,” a celebrity group of monster hunters now cursed into their current form. Herein lies the main conceit: the Dwarfs need the kiss of a princess to return to their more attractive, human selves. Snow White, on the other hand, rather enjoys her new slender, spellbound body. Between a mad bounty hunt, enchanted wood animals, and the classic search for true love, the film stresses that outer appearance doesn’t matter so much as the beauty within.
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