The Dwarfs Show Their Love for Snow White in What a Surprise!

Disney's first animated feature, Snow White and the Seven Dwarfs, is a film that continues to delight audiences more than seven decades later. The sweetness of Snow White and the clumsy affability of the dwarfs who shelter her make for a winning combination. That combo is revisited in What a Surprise!, the fifth volume in the Disney Storytime Treasures Library.

Written by Lisa Ann Marsoli and illustrated by Adam Devaney and Diana Wakeman, this story takes place shortly after Snow White's arrival at the dwarfs' cottage. The seven short men want to show the princess how happy they are to have her as their guest, so they decide to surprise her by doing all the chores while she indulges in a nice long nap, dreaming the day away with visions of her Prince Charming.

This is one of the funnier installments in this particular series. Most of the stories have a heartwarming message about friendship and consideration for others, but humor is sometimes lacking. Here, all of the dwarfs, well-meaning as they are, manage to bungle their tasks in comically disastrous ways. The funniest illustrations involve Dopey attempting to bake muffins. There's also a rather alarming pair of pictures showing the chaos that ensues when the dwarfs accidentally bring a swarm of bees into the house with them.

The illustrations feature rustic coloring, with the rosy cheeks of Snow White and the dwarfs heavily accentuated. All of the characters seem to pretty much be themselves, and Doc's spoonerisms are particularly fun. While the woodland animals don't play a huge role in this story, we do see them quietly observing the outdoor tasks of the various dwarfs. The squirrels seem to be especially curious about what is happening.

While Snow White does mention Prince Charming, there is no reference to the queen in this book, so it has a very lighthearted feel to it. The only conflict comes through the dwarfs' clumsiness. How big a mess will they make of things before Snow White wakes up? How will she react to their attempts to keep house on their own? This book emphasizes Snow White's gentle nature, and her tact in the final pages makes me smile as she finds a way to express her gratitude for the dwarfs' consideration.

With seven speaking characters, this is a story with plenty of dialogue, but the narration is well-written as well, with the onomatopoeia on several pages adding a fun touch. In addition to the regular story, this tale, like the others in this series, has a brief poem at the end summing up the main idea of the book. Some of these are better-written than others, and I like this one a lot, as it discusses how touched Snow White is because "she saw how hard they tried / to show her in so many ways / the love they felt inside."

Indeed, there are many different ways to demonstrate love, as the dwarfs' sincere efforts here show. The idea that the end result is less important than the thought put into it is endearing and should encourage children to flex their own creative muscles and not be discouraged if their own expressions of love may be a bit clumsy.

Disney Princesses Celebrate the Season in Winter Wishes

Earlier this fall, I read a couple of books that place various Disney princesses in autumnal settings. Now, with Christmas almost upon us, I perused the level two Step Into Reading book Winter Wishes, which features six of the ten princesses in the midst of wintry activities.

In this book, Apple Jordan writes in rhyme, which gives the story a nice lilt, though the rhythm is not as strong as it could be. The rhyme pattern is consistently ABCB, but some of the lines are short and some are long. While most pairs are pretty close in length, not all are; one that seems particularly clunky is “Cinderella wishes to go on a snowy coach ride. So Prince Charming takes his lovely bride.”

Cinderella is the last princess to appear in the book, as she was in those other Disney Princess books. She seems to have a slightly elevated status among the Disney princesses. She also appears on the title page, as well as the cover, though Belle is more predominant there. Snow White, Ariel, Jasmine and Briar Rose all have a few pages to themselves in this book too.

Ariel’s is a little strange since she’s under the sea, where I don’t think there are seasons as such, but there also aren’t mermaids, so it’s sort of a moot point. At least it isn’t snowing underwater. Jasmine does have snow in Agrabah, but that’s because Genie can do practically anything, including manipulating the weather.

Unsurprisingly, none of the princesses interact with each other. This is not a cohesive story but a series of vignettes. Snow White starts things off with eight pages, and Cinderella finishes them up with five. The rest have four each. Sleeping Beauty, Snow White and Cinderella seem to alternate in these books between their pre-prince lives and their Happily Ever Afters, and it’s not always immediately obvious which we’re getting.

Here, though, Briar Rose is still living in the woods with the three kindly fairies, while Cinderella has clearly taken up residence in the castle. Snow White’s section does not mention the prince at all, but given the short time she was with the dwarfs, it seems likely that this Christmas celebration is taking place during a later visit rather than her initial stay.

While Aladdin does not play a part in this book, his presence is implied by Genie, so Jasmine’s portion takes place at least after the first movie, while the Beast is still in his cursed form, so Belle’s takes place before the end of Beauty and the Beast. Ariel, as pretty much always seems to be the case, remains a mermaid, so her segment appears to be a prequel.

All of the sections are pretty similar, with feasting, snow and Christmas trees common to most of the stories. Not everyone has specific winter wear, but those that do look quite elegant, especially Cinderella, the top of whose dress looks like something Mrs. Claus would wear. It’s very fun and festive. While there could have been a bit more variety in the traditions presented, Winter Wishes is a vibrant seasonal choice for young readers who love the Disney princesses.

Rapunzel and Other Disney Princesses Make a Tasty Treat

When I was a kid, fruit snacks were pretty common inclusions in my school lunches. I don’t often eat them anymore, but every once in a while I’ll feel nostalgic for these little pouches of tasty whimsy. On the latest grocery excursion, I picked up a box of Kellogg’s Tangled fruit snacks, and while the form has changed, the basic gist of these treats remains the same.

The Tangled fruit snacks come in a box containing ten pouches. Each pouch contains several of the small, chewy snacks, which the box proclaims are fat free and made with real fruit, making them a source of Vitamin C. Every pouch will set you back 70 calories. Aside from nutritional information, the box features three simple games on the back. There’s a seek and find, a matching challenge and a small trivia section. It’s quite a lot squeezed into a small space, and it works well aside from the very poorly worded question, “What does Gaston say to Belle to free her father?”

Wait, Belle? I thought this was Rapunzel. Yeah, so did I. The front of the box boldly declares “Disney Tangled,” but that’s really a misnomer. Of the six fruit snack designs, only two – purple Rapunzel (grape) and the orange hairbrush (orange) – relate specifically to Disney’s 50th animated feature. A third, a yellow tiara, is pretty much a Disney princess staple.

Yellow, with lemon flavoring, is also the color of Belle. Like Rapunzel, she’s just a head, and the color works much better for her. Every time I look at a Rapunzel snack, I briefly forget and think I’m looking at Pocahontas. The red enchanted rose looks quite nice too; I think it’s cherry, though the flavor isn’t that strong and I can’t quite tell. Finally, Tiana is green and lime-flavored. Hence, we have three different princesses and three props. The front of the box shows Rapunzel’s pet chameleon and Flynn, but neither of them is inside any of the pouches, which are more accurately labeled Disney Princess.

I prefer fruit snacks that have an unmistakable firmness to them. Super-soft ones don’t do much for me. These ones are a little softer than I’d like, but they’re still fairly firm. While some fruit snacks have different coloring but no real difference in flavors, these are distinct from each other, which makes them a lot more fun to eat. For an occasional snack, they’re pretty good, even though they don’t reflect the movie as much as a quick glance at the front of the box implies.

What Is a Princess? Many Different Things...

The Disney princesses have sometimes come under fire for giving little girls unrealistic and unhealthy ideas about beauty and romance, but each Disney princess has traits that make her unique and admirable. The level one Step Into Reading book What Is a Princess?, written by Jennifer Liberts Weinberg and illustrated by Atelier Philippe Harchy, focuses on those positive characteristics.

What Is a Princess? includes six of the Disney princesses: Snow White, Belle, Cinderella, Jasmine, Ariel and Aurora (here called Briar Rose). With the exception of Ariel, who has six pages to herself, and Cinderella, who has seven, each young woman is the focus of four pages. With simple language and colorful, detailed illustrations, each small segment exemplifies one or two things that “a princess is.”

The book does a good job of showing that there is more to being a princess than simply looking pretty. Because of the wording, the implication is that all princesses have all of these traits, and that’s my main complaint here; perhaps it would be better if it said “can be” or “should be” instead of “is.” For instance, other princesses in the book, particularly Belle, are as brave as Jasmine when she stands up to Jafar, but bravery is certainly not Snow White’s strong suit. Still, the purpose is to demonstrate the many worthy characteristics that young girls can emulate in their everyday lives.

Cinderella, who in general seems to be slightly more prominent than the rest of the Disney princesses, is really the only one with a specifically feminine focus. “A princess like to dress up,” Weinberg writes. Elsewhere, we see Snow White give Grumpy a kiss on his head, but this is to illustrate her kindness. Other laudable qualities include being smart (Belle), a dreamer (Ariel) and polite (Briar Rose). The last one makes me chuckle a little because it looks as though she is being presented with her birthday dress by the fairies who raised her, which in the movie is swiftly followed by a meltdown. Well, at least the polite part came first.

This book is designed for very early readers, so the language is extremely simple. It makes sense, then, that the format is “A princess is,” even though that undermines their individuality a bit. A sentence beginning with that phrase appears seven times, with four other sentences using a slightly different format. Usually the sentence mentioning the attribute is followed by another sentence demonstrating it. For instance, “A princess is caring. Belle helps the Beast when he is hurt.” Of course, in context, Belle is technically not a princess yet, but everyone knows she will be.

What Is a Princess? is a simple but attractively illustrated book that should appeal to the princess-loving kindergarten crowd. Not every little girl may exhibit all of these traits, but it’s good to recognize that things like an adventurous spirit and a love of books are just important as the physical trappings of a princess. What’s more, these are the qualities that are really worth imitating.

Disney Princesses Celebrate Inner Beauty

One of the most popular sub-groups within the world of Disney characters is the Disney princesses. This is a group that includes Snow White, Cinderella, Sleeping Beauty, Ariel, Belle, Jasmine, Pocahontas, Mulan (despite not technically being a princess), Tiana and the brand-new tenth member, Rapunzel, who joins the last three in being a late addition to the group. The Princesses have an extensive line of merchandise, including toys, clothes, calendars, books and videos. I recently watched one of these, Princess Stories Volume Three: Beauty Shines From Within.

Given the title, I was surprised to see that Belle, the protagonist of Beauty and the Beast, does not appear on this DVD. Instead, it focuses upon Ariel, Cinderella and Jasmine. Meanwhile, a game in the bonus features involves Ariel, Jasmine and Mulan. The DVD includes three shorts, each of which can be accessed separately, though I watched them straight through. Each includes an introduction by the starring princess in which she directly addresses the audience while speaking from inside of a magic mirror. These segments veer toward condescending and moralizing, and the quality of animation isn’t quite as good. However, I found two of the three main stories quite enjoyable.

Giggles - In this episode of the Little Mermaid television show, Ariel’s tendency to get the giggles annoys an ornery blowfish who speaks in rhyme and uses his magical powers to cast curses. Consequently, he puts a spell on her that causes avalanches to occur whenever she laughs. What’s more, if she tells anyone of her affliction, the effect will be heightened. This is a fun story, and I especially like the way stodgy Sebastian, who initially also is irritated with Ariel for giggling during class, tries to get the princess to lighten up after he notices her somber demeanor. He even sings a fun song about the joy of laughter. The story builds to a satisfying climax that leads to deeper understanding between Ariel and her antagonist.

Cinderella Story - Cinderella is perhaps the most famous of all fairy tales, so even children who have not seen the Disney movie will probably be familiar with the story in one form or another. Hence, this segment, which is simply a recap of the movie, is likely to bore many kids, especially since it has a stilted quality to it. Cinderella narrates a bit, then a page turns and we see a few seconds of a scene, then she narrates some more. The effect is jarring, and I can see a lot of kids wanting to skip past this one.

Eye of the Beholder - This is an episode of the Aladdin television series featuring recurring villain Mirage, an extraterrestrial sorceress with the power to change other people’s appearances. Somewhat reminiscent of the musical Once On This Island, this is the story that best fits the theme of the video as Mirage makes a wager with Phasir, a blind, benevolent magician, that Aladdin will stop loving Jasmine if she ceases to become beautiful. After Mirage tricks her into using some magical skin cream, Jasmine begins transforming into a snake-like creature. Aladdin joins her, Genie, Abu, Iago and Carpet on a quest to find the mystical antidote that grows on a faraway tree, demonstrating at every turn how wrong Mirage is about the frailties of love.

More tales can be found in the Princess Story Builder Game in the special features. Viewers have the opportunity to pick one of three stories, one set in Agrabah, one in Atlantica and one in Ancient China. At several points in the story, kids can use the remote to indicate which of three choices they would like to have the character make. This then directs the course of the tale, though I’m not sure just how much actually changes as I tried each story only once. The stories also incorporate games that require answering three questions correctly in order to progress to the conclusion. These are fun but also rather tedious because there is so much lag time, and it’s easy to lose patience with it.

While I think that an original story in the place of the Cinderella recap would have made for a more interesting video, the Ariel and Jasmine stories are engaging, and apart from the lag time involved at decision points and game segments, the story builder is a fun game. This DVD could be better, but I wouldn’t hesitate to recommend it to young Disney Princess enthusiasts.

Disney Princesses Celebrate Autumn in A Fairy-Tale Fall

Autumn is an exciting time of year, especially if you happen to live in a place with very distinct seasons. In Pennsylvania, it means thousands of leaves painting the countryside with crimson and gold before falling to the ground to crackle underfoot. It means bundling up in sweatshirts and jackets to enjoy the fall sunshine. It means fresh produce, horse-drawn hayrides and lots and lots of pumpkins for baking and carving. These aspects of the season all come into play in A Fairy-Tale Fall, a level two Step Into Reading book focusing on the Disney Princesses.

At the time this book was published in 2010, there were nine heroines with the official Disney Princess designation. Of these, Snow White, Belle, Aurora, Jasmine, Ariel, Tiana and Cinderella make an appearance, each being the focus of four pages – except Cinderella, whose section is slightly elongated to five. The only ones missing are Mulan and Pocahontas. While this book delves into many aspects of this time of year, it covers some of the same territory as Sweet and Spooky Halloween, another recently published Disney Princesses book. Several of the sections involve dressing up, carving jack-o-lanterns and distributing tasty treats.

The book, written by Apple Jordan and illustrated by Francesco Lagramandi, was designed for children ranging from about four to seven years old who need a little help reading. Like other books at this Step Into Reading level, it features simple stories and vocabulary and short sentences. Actually, “stories” is a bit of a stretch; it’s more a series of descriptions. Still, there is a story-ish quality to it, especially since we are seeing these familiar fairy tale characters in their very distinct settings. Not only do we get each of the seven princesses above, we also see many of the supporting characters from the movies in which they first appeared.

The Snow White pages depict a costume party at the dwarfs’ cottage attended by Snow White, her prince and all seven dwarfs. The costumes on the dwarfs are very cute and fitting for their personalities. For instance, ornery Grumpy is a growling bear, while shy Bashful is a ghost, entirely covered by a white sheet with holes for eyes. My favorite costume is Sleepy’s, as he dresses as a donkey who looks very much like gloomy gray Eeyore. While no other section features such elaborate costumes, the merfolk and their friends hold a grand masquerade, and so does Cinderella after making adorable costumes for Jaq, Gus and the other mice.

Aurora – here referred to as Sleeping Beauty – basks in the beauty of the autumnal woodland and shares a feast with her forest friends. Jasmine and Aladdin give goodies away to the children of Agrabah, and Belle bakes pumpkin pie for the Beast and his enchanted staff. Meanwhile, Tiana and Naveen ride a festive float through a parade. Some of the celebrations are more lavish than others, but all look like a lot of fun.

The book’s illustrations are excellent and full of color and detail, with all but a couple of them being two-page spreads. I love the ones that feature several different characters at once, whether animals or humans; there’s so much to look at on these pages that it’s well worth lingering a moment or two beyond what it will take to read. Most pages have one or two sentences, though there is the occasional three-sentence page. These are all quite short, however, and Jordan uses plenty of repetition to make things easier for unsteady readers.

Although this book was created by a different writer-artist team than Sweet and Spooky Halloween, the similarities between the two are sometimes striking. The most obvious shared image is Cinderella and the prince riding off in a pumpkin-shaped carriage, with the scenes of the Atlantica masquerade also suggesting that they might have been going for some consistency between the two books. Another similarity is that Ariel and Belle are not yet married, while it would appear that the other princesses are, though it’s not entirely clear with Jasmine and Aurora, whose appellation of Sleeping Beauty adds to the ambiguity.

These two books would make good companions for each other, but if you’re only going to get one, I’d go with this, as there are more princesses and more fall activities in the mix. The distribution of princesses is also almost perfectly balanced, unlike in Sweet and Spooky Halloween, and giving each princess her own space makes it feel more organized. A great little book for young Disney Princess enthusiasts, A Fairy-Tale Fall offers a chance to see terrific characters interact in a charming fall setting.

The Disney Princesses Have a Festive October in Sweet and Spooky Halloween

Every year when I see kids trick-or-treating through the neighborhood or the mall, I can count on spotting a few Disney princesses. Cinderella and Beauty and the Beast’s Belle are probably the most popular, but Snow White and Sleeping Beauty’s Aurora always make a good showing as well. These four princesses, along with The Little Mermaid’s Ariel, who requires a more complicated costume and thus is a bit less common, are the stars of Sweet and Spooky Halloween, a Disney picture book written by Melissa Lagonegro and illustrated by Elisa Marrucchi.

This is a book that doesn’t really tell a story. Instead, it hops around among the above five princesses, showing how each of them celebrates the holiday. Because of the fairy tale setting of these tales, I tend not to think of these characters celebrating Halloween, though many aspects of the holiday date back several centuries. Of course, the princesses here do things that modern children can relate to, but it is presented in such a way that it feels like it works with the setting.

Cinderella, who evidently still keeps her foot in the door at the cottage where she grew up, picks pumpkins from the garden and carves them into jack-o-lanterns. Later, in more elegant garb, she hands out goodies to the children of the kingdom. Snow White watches as the dwarfs bob for apples, and the fairies create dazzling Halloween costumes for Aurora with some help from their magic wands. Ariel and her best friend Flounder masquerade in homemade masks, and Belle reads the Beast spooky stories.

With five different scenarios to juggle, the book never lingers in one place for more than four pages. Sometimes we only get a page-long glimpse of one Halloween activity before moving on to another. It struck me as a bit odd that we get two pages of Snow White, then one of Ariel, which is immediately followed by Snow White again. The distribution of princesses is also uneven, particularly in the case of Cinderella, who is the focus on nine pages, and Aurora, who is limited to just one two-page spread.

It’s also a little strange to see Belle with the Beast here, since that means she is technically not a princess yet. Ariel is still a mermaid, but since she was an undersea princess before marrying a human prince, that doesn’t matter. The other three princesses clearly are returning to their earlier haunts after marriage, though Cinderella’s prince is the only one of the three to actually appear.

Because of the way the book’s text is written, transitioning naturally from one type of activity to the next, it makes sense to shuffle the princesses around. It also provides the illusion that there’s more to each princess tale than there actually is. If the book just had all of the pages for each princess together, making five “chapters,” I don’t think it would hang together very well. It would feel lacking. Additionally, with the “stories” spread out, it feels more natural for kids to fill in the blanks between events.

Sweet and Spooky Halloween is really just an excuse to put Halloweenish imagery into a Disney princess context. It’s short on actual story, but the vibrant illustrations, from the actual pumpkin carriage Cinderella and the prince ride in to bat-shaped cookies Belle makes for the Beast, are plausible and fun to peruse. Given all those little girls in princess dresses that I see every year, I would say that this book has a ready audience.

Audrey Hepburn and Gregory Peck Embark on a Whirlwind Roman Holiday

A princess tired of having her life dictated for her decides to spend a day living as a commoner. Two kind-hearted opportunists intending to use a young woman’s royal connections for their personal gain begin to think twice once they get to know her. The first plot element reminds me of Disney’s Aladdin, the second of Don Bluth’s Anastasia, but I recently encountered them in a live-action classic predating them by decades.

William Wyler’s 1953 comedy Roman Holiday features Audrey Hepburn in a star-making role as the young Princess Ann, whose demanding schedule of royal duties on an official visit to Rome leaves her desperate for a little time to herself. After a doctor gives her an experimental treatment to help her relax, she wanders dazedly out onto the streets, where jaded journalist Joe Bradley (Gregory Peck) notices her erratic behavior and reluctantly rescues her from the poor end she may meet if she remains in this state on her own.

It isn’t until the next morning that he realizes this glamorous vagabond is the princess and could therefore be very valuable to him if he manages to convince her to stay in his company for the remainder of the day. His plan? Feign ignorance of her identity and take her out for a whirlwind tour of the city, then write an in-depth article about the experience, supplemented by photographs snapped on the sly by his friend Irving (Eddie Albert). He’ll make a mint, and she’ll never know until too late that he was using her.

Hepburn is all grace and charm as the princess, even when the doctor’s prescription has made her loopy. No matter what the situation, she exudes elegance. She is at her most endearing midway through the movie as the princess simply soaks up the pleasure of doing whatever she pleases. While this is a well-traveled young woman with extensive experience in foreign affairs, the exuberance on her face as she runs wild in Rome is infectious.

Peck is equally excellent as the world-wise journalist with the wry wit who wants to make a quick buck but has scruples enough to nag at him as he contemplates the humiliation the princess will face if he makes their dalliance public. Peck was about 13 years Hepburn’s senior; her character seems younger than her actual age and his older, so the way he relates to her is almost fatherly at first, but despite the age gap, there’s also room for realistic romantic tension to develop.

Albert’s interaction with both of them has a chummy flavor to it. Irving is a bit of a goofball, and he’s certainly not as clever as Joe. Some of the funniest moments involve his pratfalls as Joe spills beverages on him in order to make him stop talking before he blows his cover. Meanwhile, he comes to admire the princess’s feisty spirit, though he doesn’t feel quite as conflicted as Joe does about their plan. Albert’s presence increases the comedy of the film, which occasionally feels more like a drama or romance. Also amusing is Hartley Power as Joe’s cranky editor, Mr. Hennessy, who fervently hopes there’s actually something to Joe’s promises that he can secure a private audience with the princess.

This movie is in black and white, which a documentary in the special features explains was a choice made in order to make the Roman scenery more of a backdrop than a centerpiece. Cinematographers Henri Alekan and Franz Planer still capture the beauty of Rome wonderfully, and the setting enhances but does not overwhelm the plot. That making-of segment also discusses how blacklisted screenwriter Dalton Trumbo wrote the screenplay for the film but gave another writer (Ian McLellan Hunter) credit. The vibrant comedy with a splash of melancholy demonstrates his skill.

I’ve always been extremely prejudiced toward color in movies, so I was disappointed in the decision to use black and white, but the characters are colorful enough that I didn’t mind for long. Hepburn, Peck and Albert make a truly winning trio in this funny, mostly feel-good film about the joy of stepping outside of expectations.

The Prince and Me II is Superfluous But Entertaining

This year, the world watched as Prince William and Kate Middleton tied the knot. Royal weddings have a way of capturing the public’s imagination. That’s certainly the case in The Prince and Me II: The Royal Wedding. In this 2006 sequel to the charming Julia Stiles rom-com The Prince and Me, Paige (now played by little-known Kam Heskin) is happily engaged to Prince Edvard (Luke Mably) of Denmark and studying at a Danish university while wedding preparations proceed. But complications are about to come her way…

The Prince and Me II is the first of three superfluous sequels to a cute stand-alone film. The premise is a fairly tired one. A scheming relative digs up an obscure law necessitating that the prince marries someone of royal blood. Edvard already is feeling the pinch because law also dictates that he must marry by his next birthday, which is coming up quickly. He knows who he wants to marry. But will the tug of duty lead him instead into the arms of his conniving cousin Kirsten (Clemency Burton-Hill)?

While Heskin is not as nuanced as Stiles, she does what she can as her decent stand-in, and she and Mably make a fairly convincing couple. I wouldn’t say the sparks are flying, but at least it’s plain they like each other. Catherine Cyran, who also directed the third and fourth movies, takes over the franchise here, and the movie has a definite made-for-TV quality about it. While none of the major characters are children, this definitely feels like more of a kids’ movie, with abundant slapstick and a very simple storyline.

Burton-Hill alternates between extreme sweetness and cattiness as the comely woman who used to be the prince’s closest friend. While her father is clearly only interested in power and money, it does seem as though Kirsten might have genuine feelings for her childhood chum, so I couldn’t help feeling a bit sorry for her, though her behavior become increasingly abhorrent as the story progresses. Still, I found her performance the most engaging in the movie. I also enjoyed Jonathan Firth as Soren, Edvard’s personal assistant and Paige’s devoted friend, and his down-to-earth kindness and clever ideas come to the rescue on more than one occasion. He’s played by a different actor this time around too, but the change is not as noticeable, at least without having seen the first one in several years.

The movie is quite pleasant to look at, with plenty of views of royal architecture and gardens and the recurring appearance of blue butterflies. I don’t know enough about Denmark to be able to say whether there was much accuracy in the portrayal; perhaps it would have been better to invent a country, as Meg Cabot did with The Princess Diaries. It does make aspects of the country look a bit silly, but the cinematography presents Denmark in a favorable light, though it was filmed in the Czech Republic.

The fact that Paige is still studying to be a doctor is an interesting point. The implication is that when she becomes queen, her duties will be extensive, but nobody seems to think that serving as both doctor and monarch will be too much to juggle. The movie is careful to balance the traditional fairy tale notion of a prince sweeping an ordinary girl off her feet with a more modern sensibility, allowing Paige to continue pursuing her long-held career goals. Paige never needs to choose between dreams, but if Edvard truly loves her, he might need to abdicate. But can he bear to relinquish his duty to his country if it comes to that?

The Prince and Me II is a rather silly movie with several over-the-top sequences involving a series of calamities. These are probably funniest for younger viewers, who might also take away a worthwhile message about the value of education and diligent study. While there’s a reason this went directly to video, it’s still a fairly fun and family-friendly modern-day fairy tale. For what it is, I’d say it works pretty well.

The Three Gifts of Christmas Encourages Gratitude and Generoity

“It is more blessed to give than to receive.” This Bible verse – Acts 20:35 - is often repeated in some form around Christmastime, and it serves as the basis for The Three Gifts of Christmas, a picture book in the Princess and the Kiss series written by Jennie Bishop and illustrated by Preston McDaniels. The books are didactic in nature, intended to encourage children to embrace pure-heartedness; while other books in the series symbolically focus on issues of temptation, particularly in the realm of abstinence, this one is all about gratitude and generosity.

The main character is an unnamed princess whose devoted parents are dismayed to see that after years of having gifts lavished upon her by them and others in the kingdom, she has become ungrateful. She feels entitled rather than appreciative. As a result, they decide that drastic measures must be taken in order to help her adjust her attitude. They gently inform her that while the usual festivities will go on as before, this year, no one in the royal family will receive gifts from the kingdom’s subjects, and the princess will be given only three gifts by the king and queen, a reminder of the Magi who brought gifts to Jesus. At first, the princess is distressed, but she comes to realize the care with which each gift was chosen, and this in turn makes her more open to sharing those gifts with others even though she received far fewer than in years past.

The book is written with an austere air, giving it the feel of a fairy tale from long ago. The description of the gifts is especially rich and loaded with symbolism. Bishop does veer toward the over-the-top at times, and the princess’s transformation from a petulant whiner to a grateful giver occurs so instantaneously that her acts of kindness seem a bit anti-climactic. It might have been more effective to see her struggle a bit more. In this regard, we see the princess as an ideal, and her actions toward the end are something to aspire to, while her behavior at the beginning is to be avoided. Most children will fall naturally between the two extremes.

McDaniels, who has previously worked with the prolific Cynthia Rylant, a Newbery-winning author of several beloved series, brings a winsome charm to the illustrations, which fit the text perfectly. His depictions of the princess herself are especially winning and more effectively convey the complexity of her emotions than the text. I especially like the illustration of her as she receives her three gifts and her face registers her anticipation as well as her hesitation in getting started since it will be over so quickly this year.

In addition to encouraging gratitude and generosity, the book incorporates the Christmas story as presented in the Gospel of Luke, and it is written from an overtly Christian perspective with didactic intent. While I think Bishop could have been a bit less heavy-handed, I still found the story enjoyable, particularly in tandem with the illustrations. Bishop reads expressively on the included audio CD, and the music that plays behind her reading, which incorporates several Christmas carols, complements the story nicely.

While I prefer more organic stories of Christian generosity like Kate DiCamillo’s Great Joy, The Three Gifts of Christmas gets the message across well and is a good reminder of the joy to be found in true thankfulness and in the willingness to give to others.

Unimpressed By Tangled's Music? Give the Soundtrack a Few Spins and See the Light...

When Tangled, Disney’s 50th animated feature, came out last year, I heard a lot of negative comments about the music. While not all of the songs had the instant stickiness of some of those from the glory days of the Disney Renaissance, I thoroughly enjoyed each one, and I See the Light replayed in my mind – and on my computer – countless times in the weeks that followed. I read that master composer Alan Menken hoped to achieve a blend of medieval music and 1960s folk rock, which happens to be my favorite genre, so I guess I was predisposed to like it. At first, I did find the poppishness of some of the numbers, particularly Rapunzel’s first big song, a little discombobulating, but in the end, I think it really works, and in addition to the excellent character songs with lyrics by Glenn Slater, we’ve got an absolutely enchanting score from Menken that I could listen to again and again.

Something That I Want - I’m starting at the end here because I want to get the end-credits number out of the way. As has generally been the case with Disney movies since they began to include these radio-ready closers, I find it less engaging than the rest of the songs but still enjoy it well enough. Written and performed by Grace Potter, it’s a very upbeat song with peppy percussion largely provided by clapping. The song has a tween pop feel to it and covers the same basic territory as the movie’s big love song as she describes two people searching for themselves and finding each other, though it’s less romantic in nature and more generic. Still, it sums up the basic gist of the movie well. “I want something that I want, something that I tell myself I need, something that I want and I need everything I see.”

When Will My Life Begin? - This song starts off the album, and it’s a lively number whose guitar-heavy pop sound makes it sound almost as fit for radio as the end-credits track. The guitar riff reminds me a lot of Peter Gabriel’s Solsbury Hill. I don’t know if the homage was intentional, but the songs seem to have a thematic connection as Gabriel wrote that song while embarking upon a solo career and Rapunzel, played by the honey-voiced Mandy Moore, longs to break out of her monotonous life in the tower and forge a new path. Plus, we have the comparable imagery of city lights and the glowing birthday lights that Rapunzel longs to see. The manic feel of this song is an indication of all the pent-up energy Rapunzel has built up in 18 years of never being allowed to go outside, though I must say that for a gal who doesn’t get out, she certainly accomplishes a lot during the day. “And so I’ll read a book or maybe two or three. I’ll add a few new paintings to my gallery. I’ll play guitar and knit and cook and basic’ly just wonder, when will my life begin?”

When Will My Life Begin? (Reprise 1) - This track, half as long as the first but much more sedate, isn’t in the movie but nicely captures Rapunzel’s inner turmoil. She doesn’t want to be ungrateful, but she really would like to get out of the house. Slight guitar and violin accompaniment is all that’s needed here to accentuate her yearning. “I’ve got so many things I should be thankful for. Yes, I have everything except, I guess, a door…”

Mother Knows Best - As soon as I heard this song from stage veteran Donna Murphy, I thought of Master of the House from Les Miserables. Along with a similar tempo and melody in places, it’s a comical villains’ song that revels in taking advantage of others. Mother Gothel, the ancient woman who raised Rapunzel and requires her enchanted hair to survive, doesn’t openly gloat that she is taking advantage of her, but her smug tone is evidence enough. Murphy pours all her dramatic flair into this one as Gothel puts on a show for Rapunzel, swinging wildly between condescension, dire concern and crippling guilt inducement. If Marie from Everybody Loves Raymond could express herself in song, the results might sound very much like this. Here we quickly establish the twisted psychological hold Gothel has on Rapunzel as she swiftly switches between insulting and coddling her. The most Broadway-sounding of the tracks, with an extra section excluded from the movie. “Go ahead, get trampled by a rhino. Go ahead, get mugged and left for dead. Me, I’m just your mother, what do I know? I only bathed and changed and nursed you…”

When Will My Life Begin? (Reprise 2) - Now we’re back to Rapunzel for the final repetition of her longing-for-adventure theme. About halfway between the first two in length and tempo. Much of the track is simply instrumental and a good chunk of the lyrics is just a list of all the stuff she can do now that she’s outside. The first half is quite hesitant, but exuberance takes over once she reaches the ground. “Just smell the grass! The dirt! Just like I dreamed they’d be! Just feel that summer breeze – the way it’s calling me. For like the first time ever, I’m completely free!”

I’ve Got a Dream - Disney has a curious tradition of raucous bar songs. This lively number is firmly in the tradition of such rowdy sequences as The Happiest Millionaire’s Let’s Have a Drink on It, Pete’s Dragon’s I Saw a Dragon and Beauty and the Beast’s Gaston. Instead of one person being the focal point, this song really gets everyone in on the act as all of the Snuggly Duckling’s intimidating-looking pub thugs reveal the deepest desires of their hearts. Funny, sweet and oddly inspiring, the accordion- and piano-heavy ditty has a bit of a ragtime feel to it. In addition to Moore and Zachary Levi, we’re treated to the spectacle of Brad Garrett and Jeffrey Tambor waxing melodic. This track is pure fun. “Can’tcha see me on the stage performin’ Mozart? Tickling the ivories ‘til they gleam? Yes, I’d rather be called deadly for my killer show-tune medley ‘cause way down deep inside, I’ve got a dream.”

Mother Knows Best (Reprise) - Gothel returns with this reprise about half the length of the original. There’s a darker, more dangerous tone to the song this time around, and grandiose music surrounds Murphy’s scathingly sarcastic vocals, at one point echoing a key musical phrase in the score of Beauty and the Beast, which Menken also composed and nods to several times in the film. Gothel is beginning to feel truly threatened, so she ramps up the theatrics here as she plots a way to recover the source of her longevity. “Rapunzel knows best! So if he’s such a dreamboat, go and put him to the test! If he’s lying, don’t come crying. Mother knows best!”

I See the Light - Ah, my favorite track – and one of my favorite Disney songs ever. Even though you’re only getting half the effect here without the visual spectacle of the floating lights, this is an absolutely gorgeous song. The gentle acoustic guitar, occasional harp and magical woodwinds carry this duet of self-discovery and love to greater heights. I’ve heard comparisons between this and Aladdin’s A Whole New World, and they’re fitting, since both involve a young couple on an adventure, learning more about themselves and the world and falling for each other in the process. They also both rhyme “here” with “crystal clear.”

For me, though, the song that sprang to mind first was The Greatest Adventure, the Glenn Yarborough-sung theme to Rankin and Bass’s The Hobbit. “Who sits by the window will one day see rain,” that song cautions, spurring Bilbo Baggins out of the comfort of his home into the journey for which he is destined. When Rapunzel started in with “All those days watching from a window,” my mind snapped to attention. Moore breathes an air of innocence into Rapunzel’s words, while Levi infuses his with dazed regret. Both have experienced a revelation. It’s a powerful moment and a powerful song. I’m sad it didn’t win the Oscar. “And at last I see the light, and it’s like the fog has lifted. And at last I see the light, and it’s like the sky is new. And it’s warm and real and bright, and the world has somehow shifted. All at once, everything looks different now that I see you.”

Healing Incantation - This shortest track on the album is very pretty with minimal accompaniment providing a slightly mystical touch. Rapunzel is used to singing this song repeatedly for the benefit of her “mother,” but here she initiates the action, and there’s an earnest solemnity in her voice as she works her magic upon her traveling companion. “Flower, gleam and glow. Let your power shine. Make the clock reverse; bring back what once was mine.”

Flynn Wanted - Now we’re into the purely instrumental tracks. This one is filled with a sense of frantic pursuit, with the brass particularly standing out and making me think of proud palace horse Maximus tracking his thieving prey like a bloodhound.

Prologue - Eerie and fairy tale-like as we hear Gothel recite the flower rhyme, with her voice growing progressively younger, followed by an adorable tiny tyke version of Rapunzel’s recitation. Short but sweet.

Horse With No Rider - Another song of hot pursuit, this one incorporates a sense of wonder and mystery and leads naturally into Escape Route, which includes a fun instrumental tribute to Mission: Impossible about halfway through and a jazzy lounge sound toward the end.

Campfire - This contemplative track includes hints of a couple of the main songs as Rapunzel and Flynn enjoy a quiet moment together. The Celtic-flavored flute makes an especially lovely addition here, reminding me a bit of James Galway’s work on the Return of the King soundtrack. Later on, meanwhile, this one puts me in mind of the prologue to Fellowship of the Ring.

Kingdom Dance - This very Irish-sounding number is pure joy, with sprightly flutes, fiddle and tambourine making it hard to resist getting up and dancing yourself. It’s just so lively, especially once the hand-clapping begins and the pace quickens. Kinda makes you want to break this one out at a large gathering of people.

Waiting for the Lights - Another quiet moment between Flynn and Rapunzel as she waits for the fulfillment of her long-held dream. Gentle guitar, harp and piano come together for this mellow, reflective track that erupts into a burst of glory when the lights finally begin to appear.

Return to Mother - This mournful track reminds me of some of the music in the season six LOST episode Across the Sea, which seems fitting since Gothel reminds me so much of the central character in that episode. Threads of antiquity and despair mingle in this disquieting piece.

Realization and Escape - Starting out quiet, this one explodes into grandeur as Rapunzel remembers the past so long hidden from her. The track turns dire as she confronts Gothel about her new knowledge, with ominous percussion having a particularly harrowing effect. Comical moments, particularly a few seconds of what sounds like a Russian dance, mark the final part of the track as Flynn makes his unconventional escape from prison with some help from a motley crew of lovable thugs.

The Tear Heals - The longest track by more than a minute and a half, this one reminds me very much of Transformation from Menken’s Beauty and the Beast soundtrack, which makes sense since the contents of the two scenes have so much in common. At about the four-minute mark, it also reminds me powerfully of one of LOST’s most tender friendship themes. Immediately after this, Rapunzel returns for a final shaky recitation of the incantation, followed by a thrilling orchestral return to I See the Light and concluding with a slow acoustic guitar rendition of the flower theme. This is the track that feels like the finale.

Kingdom Celebration - About half a minute shorter than Kingdom Dance, this one feels more whimsical, with the instruments comically alluding to the various pub thugs now living out their dreams. The melodious burst of sound at the end concludes the instrumental portion on a high note.

The Tangled soundtrack is one that, for me, anyway, seems to get better with each successive spin in the CD player. The rich fantasy tradition from which the movie itself draws is just as evident in the music, and I truly think this is right up there with the best that Menken has done. And that is saying a lot.

The Princess and the Frog Pays Tribute to New Orleans

I absolutely love the partnership between Disney and Pixar, which has yielded such masterpieces as the Toy Story series, Monsters, Inc., Cars and Up. Nonetheless, for somebody who grew up on Disney, I couldn’t help growing a bit wistful at the thought that traditionally animated - and musical - Disney features seem to be falling by the wayside. I was extremely pleased, then, to hear word of The Princess and the Frog, Disney’s take on the story of a princess whose kiss restores a prince to his rightful form after a wicked enchantment renders him amphibious. I awaited it with great anticipation for well over a year. But somehow, when it hit theaters, I missed it. Now, thanks to the magic of Netflix, I’ve seen it and am ready to weigh in on it.

Written and directed by Ron Clements and John Musker, The Princess and the Frog is set in New Orleans in the Jazz Age, a poignant choice in the wake of Hurricane Katrina. We see the city as a vibrant place teeming with music and ambitions. The Haves throw lavish parties, while the Have Nots work diligently and indulge in a dream or two, following that great Disney tradition of wishing on stars in hopes that they will eventually come true.

Beautiful, industrious Tiana (Anika Noni Rose) doesn’t have much use for such silliness as wishing on stars. Hard experience has taught her that life doesn’t always give you everything you want, and she spends every spare moment working to scrimp together enough money for a down payment on the restaurant that her beloved late father (Terrence Howard) dreamed of opening. Their scene together in her childhood is the cornerstone of the movie, driving her determination, which frustrates her mother (Oprah Winfrey), who fears that her daughter is missing out on the greater joys of life.

Tiana nearly has enough money saved up when the owners of the derelict building she intends to buy inform her that someone else has made them a better offer. So distraught is she at this point that she resorts to star-wishing, and the answer to her plea seems to arrive in the form of a seductive, heavily accented frog. Yes, he talks, for he is actually the visiting Prince Naveen (Bruno Campos), who has been hoodwinked into his unfortunate position by the malevolent Dr. Facilier (Keith David), a showy voodoo daddy who reminds me of both the blustering Doc Terminus from Pete’s Dragon and the repulsive Rasputin from Don Bluth‘s Anastasia. He’s a scheister, but a deeply unnerving one, and his scenes of communion with wicked spirits are terrifying and troubling. I know that some objected to the movie because of the voodoo element, and I can certainly see why, though it does seem to fit very well with the setting.

Naveen was a preening peacock of a man who never worked a day in his life, and his transformation into a frog does little to change his demeanor. The more significant change will come later, after Tiana, cringing, agrees to kiss him if he will see to it that she gets the money she needs to secure her restaurant. Instead of turning him back into a prince, she morphs into a frog, and in their effort to flee the dinner party where they have suddenly become very unwelcome guests, they find themselves lost in the middle of the bayou. The journey back to civilization - with a side trip to see the mystical shamaness Mama Odie (Jenifer Lewis), who reminds me a bit of the gruff Aughra in The Dark Crystal - forces Tiana and Naveen to work together despite their constantly clashing personalities. In the process, Naveen learns the value of honest labor and Tiana comes to appreciate the joys of indulging in a little fun.

I’m again reminded of Anastasia when I think of their relationship, since, like Dmitri and Anya, they spend so much of their time squabbling but gradually fall for each other. The dynamics of their relationship are very similar. By the same token, jovial Creole firefly Ray (Jim Cummings), a sage romantic, is a bit like Dmitri’s partner in swindling, the older Vladimir. Meanwhile, exuberant alligator Louie (Michael-Leon Wooley) reminds me of Tiger, the harmless cat who becomes the best friend of Fievel the mouse in Don Bluth’s An American Tale. All Louie, a talented musician presumably named after Louis Armstrong, wants is to play his brass and have it properly appreciated.

While the main thrust of the plot involves the journey that these characters take together, we occasionally return to town to keep tabs on Dr. Facilier and his henchman Lawrence (Peter Bartlett), a bumbling, pudgy gentleman in late middle age who has adopted the guise of Naveen. The vile Facilier’s plot involves Lawrence-as-Naveen marrying Charlotte LaBouff (Jennifer Cody), Tiana’s well-to-do best friend, and murdering her father, a respected local politician amusingly voiced by John Goodman. While her vapid enthusiasm is rather exhausting, her devotion to Tiana never wavers. Growing up pampered, Charlotte doesn’t understand the pressures at play in Tiana’s life, and usually she isn’t paying close enough attention to pick up on them. However, as she is drawn into this dark deception, her life changes as well.

The movie’s animation is just as glorious as I would have hoped, particularly in the bayou. One especially artistic scene has a community of fireflies illuminating the night as they lead the way to Mama Odie’s hut. The city, too, is wonderfully realized, and we see both its grit and glory. The movie truly becomes, in part, a tribute to a bustling city laid low by natural disaster compounded with human error. The characters, particularly Tiana, are lovely to behold; much was made of the fact that this would be Disney’s first black princess, and she fits into the ranks wonderfully. Indeed, I would rank her pretty high on my list of favorites - though I don’t foresee anyone coming along to topple Belle from Beauty and the Beast any time soon.

Another welcome element of the movie was the music. Randy Newman composed the songs for the film, wonderfully capturing the flavor of the era, particularly in Down in New Orleans. The voice actors who furnish the characters’ speaking voices also perform the songs, with Rose getting the biggest vocal workout. She sings all or part of four songs, with her spirited Almost There, in which she expresses her excitement at being close to the finish line with having the money to open her restaurant, probably my favorite song of the movie. David’s Friends on the Other Side is peppy but creepy, sort of mixing the flavor of Aladdin’s Friend Like Me with The Lion King’s Be Prepared, while Cummings gets two songs to himself, one tender and another raucously jubilant. It’s a wonderful return to a format that I was beginning to sorely miss.

I’m looking forward to Tangled, Disney’s upcoming film that is set in a more traditional fairy tale realm and tells the tale of Rapunzel. While the movie is CGI, it looks as though it will at least have the feel of an old-school traditionally animated movie, and I understand that it’s a musical as well. While I fear that The Princess and the Frog may not have quite sparked the 2D revival I was hoping for, it is a most excellent movie and hopefully a sign of great things to come from Disney.

Miri Learns a Lot About Life and Herself in Princess Academy

Last year, while mulling around my aunt's bookstore waiting for the ceremonial opening of the boxes of Harry Potter and the Deathly Hallows, my eye strayed to an audiobook display, where I saw Austenland, a novel about a Jane Austen enthusiast who receives the gift of an immersive trip into Austenian England. Months later, I picked up the audiobook at the library, as it did not seem to be available in traditional book form, but I'm much more of a visual reader and never found the time to finish it. Still, I enjoyed what I heard, and the name stuck with me. Shannon Hale. It wasn't long before my friend Beth clued me in to the fact that Hale has also written several books for young adults, and exceptional ones at that. Hence, Shannon Hale was added to my list of must-read authors. Just recently, she rose to the top of the list.

Princess Academy is the story of Miri, a girl who lives with her father and sister on Mount Eskel, where most of the hardy residents spend their days mining linder, a valuable white stone. Miri stays away from the quarry, heeding her father's strict orders, though she yearns to feel like a valued part of her community. She tends the goats and is in charge of trading with the lowlanders who periodically come to town, but she still feels fairly useless. When an announcement goes out that all girls of a certain age are ordered to attend an academy in order to prepare themselves for the possibility of becoming princess, as the kingdom's priests have determined that the prince is destined to marry a girl from Mount Eskel, Miri at first dreads going. But as classes begin, she starts to imagine how her life, and that of her family, might change for the better if she were selected.

Miri is a spirited heroine, unafraid to speak her mind when she senses injustice. Initially, that happens a lot at the Academy, since their teacher, Olana, is a stern woman who imposes harsh punishments upon her pupils. In trying to defend her peers, she risks increasing her isolation. Terribly lonesome without her sister, who was deemed too old to attend, she struggles to bond with the others and is suspicious of friendly overtures made by the quiet Britta, who moved to the mountain only a short time before. Other girls, like the vacuous Liana and Bena and the fiercely determined Katar, are openly antagonistic as they compete for the title of Academy Princess, an honor likely to give the recipient a better shot with the prince.

Miri works as hard as anyone, pleased to find an arena in which she can excel, but questions whether she truly wants to be princess. The mountain is home, and marrying a man she barely knows is a scary prospect - especially when she thinks about Peder, her childhood playmate, the sight of whom has lately stirred up strange feelings within her. But she has no qualms about her education and is amazed at the world it opens up for her. Learning to read is particularly valuable, as is her accidental discovery of a communication method unique to Mount Eskel residents, which she carefully hones, knowing this covert skill may be of great use to her.

Princess Academy has the feel of an old-fashioned fairy tale, stretched across 25 chapters. It's full of richly drawn characters, adventure and romance with an emphasis on the importance of education and cultural dialogue, and I found the rules for diplomacy enumerated midway through the book worth recalling in everyday life. I could certainly see this being adapted into a fine family film, but even if that happens, it's worth taking the time to read the book. Princess Academy truly is regal.

Fairy Tale Meets Reality in The Prince and Me

I am a sucker for sappy movies. I’ll just say that up front. Thought-provoking is fine, but movies that tug at my heart strings are more likely to win me over completely. So when my mom and I went looking for a couple movies to rent recently, my eyes settled upon The Prince and Me, and when we finished watching it, I heaved the sort of happy sigh brought on by warm fuzzies. In other words, I approved.

I did a bit of searching after the movie was over and found it had been panned by critics and general audiences alike. I had to admit it was derivative, containing echoes of Coming to America, Son-In-Law and The Princess Diaries, among others. But that didn’t diminish my enjoyment of the film. In fact, I would say it was one of the sweetest movies of its genre that I have seen. With its PG rating, it manages to be almost entirely inoffensive. There were a few times when I feared it might be heading into PG-13 territory, but these scenes always were cut short before any real impropriety could occur.

The basic story is an old one. A privileged boy used to being fawned over goes incognito and falls for a girl who initially hates him. The animosity breeds passion that will eventually be refocused as they get to know one another better and discover that they actually enjoy spending time together. The boy in question is Prince Edvard (Luke Mably), whose early scenes indicate that he is a reckless, sophomoric playboy. His motivation for attending a university in the United States is a commercial he saw for a video featuring wild American college girls. He covers this up well in his explanation to his parents, but his laconic lackey Soren (Ben Miller) knows the truth and seems both amused and gratified by the fact that reserved, focused Paige Morgan (Julia Stiles) refuses to give Eddie the time of day.

The two are thrown into association with one another. They are lab partners and co-workers at the student eatery. Eddie is thrust into collegiate life, learning how it feels to be an ordinary student struggling to get by. He is humbled by the valuable life experience he gains, and his party boy demeanor dissipates surprisingly quickly. Meanwhile, he helps Paige to loosen up and have a little fun while also encouraging her to give her heart the attention she generally reserves for her mind. The seeds of romance are planted, and they begin to blossom as Eddie assists Paige in appreciating Shakespeare and Paige shows Eddie the joys of farm life back home. All the while, his true identity is hidden, but it must emerge at some point, and when it does, both of them have choices to make. It plays out in largely fairy tale fashion, but there’s enough reality in there to make us believe it could actually happen, enough chemistry between the leads that we actually want it to.

Stiles has impressed me wherever I’ve seen her, and this film is no exception. She starts out so hardened, unable to really embrace life, and slowly drops her defenses. In moments when Paige allows herself some vulnerability, Stiles is radiant. Mably is a newcomer who I expect we’ll be seeing more of. For a start, he’s in the sequel – though I’m a bit leery of that, since two of the major characters – one of them Paige – are played by different actors the second time around. At any rate, though, he starts out seeming a rogue and grows increasingly uncertain, and his charm increases spectacularly in these moments. Particularly sweet are his Shakespeare lessons, in which his courtly upbringing gives him an exquisitely old-fashioned air. He has grown up with the Bard and truly understands him – yet even as he reads passages with stirring eloquence, his emotional investment prevents him from coming across as though he is in a superior position.

Supporting cast do a fine job, particularly Ben Miller, whose Soren seems at first to loathe being forced to babysit a hopelessly immature prince. I was reminded of Hugh Laurie’s performance as Mr. Palmer in Sense and Sensibility; so few words, but such a powerful presence, and we always knew exactly how irritated he was by his bubbly, gossipy wife. Like Mr. Palmer, though, Soren is a very decent fellow, as people in sophisticated servile positions always seem to be in this type of film, and he is ultimately very likable. Paige brings out the best in him as well as the prince. Miranda Richardson turns in a mostly icy performance as Eddie’s extremely proper mother, though she thaws a bit before all’s said and done. James Fox is warm throughout as Eddie’s ailing father, and I was amused by Devin Ratray, who plays Eddie’s burnout, video game obsessed roomie Scotty.

All told, The Prince and Me is just a very sweet story simply told. There is some attempt at modernization. This is first and foremost Paige’s story, and the director was determined not to see the movie end with her giving up her dreams for the sake of a fairy tale romance. But such is the bond between these two characters that we are determined to see their relationship survive, even if a royal wedding doesn’t occur before the credits roll. I saw the alternate ending and must say I am very satisfied with the chosen finale upon comparison. Prince Edvard’s coronation speech fulfills the director’s wishes for female empowerment with abundant elegance and emotion but leaves the door open for a cathartic conclusion that contains just enough happily ever after to satisfy a sap like me.