Don’t we all love a fairytale, none more so than one which has been turned on its head. We are taught early on to understand that darkness equates to evil and light, bright and white as good, but what if we have been believing a fallacy all this time? Just because we hear a story over and over again does not make it true. What if the very origin of the fable of an evil fairy cursing a princess is in fact clever propaganda used to sway our trust and misdirect our fear?
The story of Maleficent continues and we find ourselves caught once more between the human world and its fae (fairy) counterpart. Angelina Jolie reprises her role as the horned fairy and in this sequel to the retelling of her narrative we have a view of humanity that leaves a bittersweet taste in the mouth.
Prince Phillip (Harris Dickinson) has proposed to Princess Aurora (Elle Fanning) sparking the line “Maleficent is coming to dinner” as the two families meet to break bread. Talk of family and marriage quickly dissolves into a provocation and curses. Sides are drawn, emotions are high and families are divided, setting the stage for the battle which has been long brewing.
This film is underscored with the desire for union and equality, something this marriage hopes to foster between the kingdom and the neighbouring moors. However, there is evil lurking in the wings, cleverly disguised of course, because who would possibly question pretty?
There are so many references to ‘other’ throughout the movie, from Aurora’s suggestion that Maleficent cover her horns upon entering the kingdom to the wedding dress options presented to Aurora and the language used to refer to the fae folk. The hidden lair revealed beneath the castle takes this air of concealed hatred a step further as we discover that the Queen, brilliantly played by Michelle Pfeiffer, has plans to quash her husband’s hopes of bridging the divide between the two peoples. Lab testing and weapon-building suggest something deeply Machiavellian is at hand.
While the premise of the movie is at its heart seeking to reach that Disneyfied Happy Ending, there are moments of the narrative that loosen the parameters of our comfort zone. A trap set for the fae and its execution were unnervingly reminiscent of acts performed during the second world war, a subtext I felt ran throughout the story.
Despite this dark edge, cleverly applied by director Joachim Rønning, the story is ultimately about the rebirth both of a long-held ideal and the subject of that legend. The phoenix rising from the ashes, reborn and renewed is the powerful image we are left with at the summation of this tale. With plenty of opportunities to laugh, primarily thanks to Jolie’s charismatic portrayal of Maleficent, and the gentle manner in which the darker scenes are handled; Maleficent: Mistress of Evil now ranks as my 7.5yo daughter’s most favourite film!
Maleficent: Mistress of Evil is in Australian cinemas nationwide from 17 October 2019.