The Greatest Conservative Films: Enchanted (2007)
“Robert…? I’m so sorry. You’ve been a very kind friend to me, when I had none; and I would never want to make you unhappy or cause you any trouble, so…I’ll go. I wish you—every happiness.”
Enchanted is a film I’d planned on including in this series from the beginning. However…the reason I haven’t actually done it until now was: “Would I just be stretching, forcing it in because I love it so much?” After all, it’s one of my Top 10 all-time favorite movies—and in case you haven’t realized it by now, Amy Adams is quite possibly my favorite actress working today.
“But—is it really political?” And so, I resolved to shelve it until I’d be 100% sure it belonged here—mulling over it, keeping it in mind.
Until now. At last, my mind’s made up. And so, dear readers…
WHY IT’S A CONSERVATIVE FILM:
In many ways, you can credit the great Faith Moore for nudging me, bit by bit, into finally going, “Yep—Enchanted makes the list.”
For those of you who don’t know, she’s 1) the daughter of Supreme Overlord Andrew Klavan; 2) a Parenting and Lifestyle columnist for PJ Media; and 3) a Culture Warrior who specializes in laying out many a masterful case for a stable of pop culture that many a pseudo-feminist Just Can’t Stand:
The Disney Princess.
Yep—rather like Wonder Woman, the fact that the feminazis we’ve done battle with so much hate the D.P. archetype frankly means that our side really needs to take a look at it. Maybe, in effect, that makes it Conservative by default.
Maybe, though…it’s also something more.
The Disney Princess Defended:
In her effective manifesto for her D.P. apologetic, “Yes, I Am A Grown Woman Who Loves Disney Princess Movies” (aka “Feminists Are Wrong About Disney Princess Movies”), Moore writes:
For decades, debate has raged over whether or not the Disney princesses are feminists. In one camp are those who argue that the princesses can’t be feminists when all they’re after is a man to marry. In the other camp are those who grudgingly acknowledge that the princesses’ end goal is marriage but insist that there is so much more to them than their desire to marry. What I want to know is: what’s so wrong with marriage?
She points to pseudo-feminist writer Sarah Bregel, who basically complained about her little daughter being inspired by The Little Mermaid to fantasize about finding her own Handsome Prince*. As Moore notes:
If her daughter started pretending she was the CEO of a Fortune 500 company, I bet her mother would be over the moon. The issue is that this little girl is thinking about marriage in particular. But if little kids are going to make believe about adult things, which they are, and if marriage is something that adults do, which it is, it seems like her little girl is on the right track.
…Ariel desperately wants to be human. Belle wants adventure in the great wide somewhere. Jasmine doesn’t want her destiny decided for her. But a part of their plan is to find someone they love, who loves them in return, to spend their lives with. And, dare I say it, this holds a pretty high spot on the list of important life goals for most people, if they’re honest with themselves. And this is a good thing. Healthy, even.
Now…why Enchanted in particular? Bear with me.
The Problem With “Modern Takes”:
Disney’s done great things lately, even with the “Disney Renaissance” of the 1990s long past. Under its dominion, Star Wars has cleansed itself of the prequel stench, and the incomparable Marvel Cinematic Universe constantly dominates the cinematic landscape—while providing audiences with delightfully Conservative-friendly fare. Pixar’s continued its reputation for quality (Cars sequels aside)—Toy Story 3 and Up being the second and third animated films ever nominated for Best Picture.
Disney’s one of the dominating corporations of the world. It’s a cultural force to be reckoned with.
Still…with all that power comes a lot of scrutiny—particularly from those Cultural Overlords of the Far Left. As such, Disney constantly feels led to throw bone after bone to the New Censors—for example, transforming ESPN into a glorified MSNBC 2.0 with some football thrown in. They’ve also locked Song Of The South and The Path To 9/11 in the darkest corner of the Disney Vault—with no plans to release them, ever.
And relevant to the current subject matter…we’ve also seen a constant need to “reinvent” the classic D.P. archetype. And not in the “reconstructive” way of Ariel, Belle, Jasmine, etc. As Moore notes:
In recent years, Disney has tried to appease feminists who are arguing that marriage is not an appropriate end goal for little girls. Movies like Frozen and Brave attempt to shift the focus away from romantic love. In Frozen, Elsa learns that the most important love of all is the love she has for her sister. And in Brave, Merida learns that…actually, I have no idea what she learns—that movie made no sense. There were a lot of bears. But she ends up exactly where she started, at home with Mom and Dad.
Sorry, Frozen fans…but them’s the facts. Consider:
Why Enchanted Is Better Than Frozen:
Enchanted came out in 2007, Frozen in 2013. And I’ve often argued that, with all the focus in Frozen on a D.P. story deconstructing itself…well, it wasn’t necessary. Enchanted already DID that—hold up the tropes under a microscope, test them, etc. And frankly, Enchanted did it better.
It did it better because it also reconstructed—delivering all the goods, proving how they could still hold up, standing the test of modern sensibilities.
Maybe that was the “problem”. Maybe pseudo-feminists saw that and screamed like Narissa entering dragon mode. Not that pseudo-feminists aren’t permanently there, already. But I digress.
Frozen and Enchanted both make it a point to tackle the #1 “problem” of the D.P. storyline: the whole Love At First Sight thing. The difference is how—and frankly, the implications are very telling:
In Enchanted, Prince Edward, while a bit shallow, is still a noble soul with a good heart. He’s just not Giselle’s “true” True Love—and Giselle comes to realize this over getting to know the two potential suitors in her life.
In Frozen—SPOILER ALERT—Prince Hans reveals he’s the villain. Aside from this “twist” having absolutely no setup whatsoever, it has a very disturbing undertone, along the lines of what Michael Medved pointed out in Hollywood vs. America, about “women’s thrillers” involving a heroine finding Mr. Right—only to discover he’s a psycho.
A pseudo-feminist mindset, brought to its height by the late-80s/early-90s radicals that linked heterosexual romance to “patriarchal oppression”—or worse.
And again, Frozen’s “Act Of True Love” comes not from romance (via Kristoff), but the Feminist Ideal of “sisterhood” (Ilsa). In Enchanted, “True Love’s Kiss” solidifies that the guy Giselle’s developed an emotional connection with is her actual True Love.
Oh—and Edward gets a happy ending, too.
Speaking Of “True Love’s Kiss”…
The final straw that made me go “That’s it—I’m doing Enchanted next!” was the breaking news last week about a professor of (what else?) Gender Studies, who’s just laid out the case that the princes of Snow White and Sleeping Beauty are, in fact, sexual offenders.
Because they kiss the princesses in their sleep.
Never mind how in both cases, the princesses are dying, and that’s established as what cures them. Or that in Sleeping Beauty the prince is told by the fairies what he’s gotta do. Or that in both films our hero and heroine have met before, and have an established romantic connection. As the great Carlin would say: “CONTEXT!!!”
Said the feminazi: Doesn’t matter—the princess didn’t give consent…in her comatose state…or something.
Naturally, my mind went to Enchanted—the great reconstruction of the D.P. archetype. And naturally…the whole film has Giselle emphasizing the value of True Love’s Kiss—which is what leads to the two guys, Edward and Robert, realizing that that’s how to reverse the effects of the poison. And Giselle’s reaction to it all is one of relieved joy.
And so, I have a suggestion to Kazue Muta, Gender Studies professor at Osaka University:
Why don’t you go kiss a toad?
Enchanted delivers the goods. It’s a perfect reconstruction of the classic D.P. mythos, and isn’t ashamed of that. Princess Giselle’s pretty, playful, innocent, capital-R Romantic, idealistic, empathic, compassionate. In a word, feminine. Amid this, she’s passionate, motivated, resourceful, and very self-assured. In a word, empowered.
And in the end, Giselle takes the sword and bravely confronts Narissa, to save Robert. Never once does this seemingly conflict with her femininity, nor does it emasculate Robert: recall, he’s only in that predicament because he stood bravely before dragon-mode Narissa, telling the villainess she’ll only take the princess “Over my dead body.”
Giselle fights out of necessity—she’s as vulnerable as ever, while still brave and courageous, discovering the heroine within herself.
As Moore put it, in a recent piece:
See, princesses are feminist. They are women at the center of the story. They are true-hearted, kind, brave, mentally strong, and often have to overcome intense adversity all on their own. They’re not men, they’re women. And if you’re looking for a strong woman you need look no further than the Cinderellas, Rapunzels, Belles, and Ariels of the world. Asking little girls to give that up is asking them to become secondary characters instead of the strong protagonists they naturally aspire to become.
…Princesses embody emotional strength, capability, and self-confidence. They are kind, virtuous, graceful, and loving. They are women. So of course, little girls want to emulate them. Forcing them to steer clear of princesses tells little girls that their natural “girl-ness” is wrong. That they must be more like boys. Because boys (apparently) are better than girls. Is that what feminists really want?
As Amy Adams herself noted (on her portrayal of Lois Lane), a girl doesn’t have to “act like a man” to be strong.
One of the most concrete examples of Giselle improving the “real” world around her involves her inspiring a couple intent on divorce to remember the good things about one another…and reconcile, instead. Her bursting into tears when Robert explains to her what divorce is—and everyone’s coldness to her reaction—is frankly a powerful indictment on how society’s become so desensitized to the cultural “breakdown of the family”:
“What is wrong with you?”
“Yes, you—this whole Kumbaya, Up-With-People routine. Those people are in real pain—”
“Well of course they’re in pain: They’re separated forever! They’re married one day and the next they’re not—what sort of awful place is this?!”
Robert being a divorce lawyer at once underlines his cynically “realistic” view of the world in contrast to Giselle’s Romantic outlook…and, as he opens up to her about his past, underlines the tragic effects divorce can have on all the members of a family.
Early on, as we’re introduced to Nancy, she notes how Robert had set down a rule that she wouldn’t stay the night at his apartment for the sake of his daughter, Morgan. “Boundaries” is the word used—and Nancy’s not just understanding about it, she makes clear how impressed she was.
Speaking of Morgan, a cute moment about her discussing makeup and “one thing” with Giselle is a nicely subtle condemnation of the idea of culture sexualizing children.
“And The Greatest Of These…”
I’ve long noted how Enchanted gives a beautiful parallel for faith vs. atheism. Giselle approaches the world with a childlike faith in the beliefs she holds dear to her heart—and this keeps her chin up, nothing ever getting her down for long. Meanwhile, Robert’s cynical obsession with “reality” allegedly gears him for the harshness of the world…but it’s clearly shown to cause unfortunate complications in his relationship with his daughter—and, by implication, with Nancy.
And unlike far too many Christian-studio films today, our effective atheist is not a one-dimensional jerk until he’s shaken out of his rigid unbelief. Robert’s a highly sympathetic, likable guy. He’s not destructive in any way—and he’s certainly never hate-able. He’s just wrong—sympathetically wrong.
Note carefully the pizza-parlor conversation, in which Robert goes on about how he used to believe that “lovey-dovey” stuff, but then “I woke up.” Giselle, being the empathic, compassionate, gentle soul that she is, doesn’t balk at this—she patiently asks, “Well, what made you ‘wake up’?”
She effectively “kills with kindness” throughout—and Robert “converts”, by movie’s end, by virtue of Giselle’s example.
The film as a whole has as its thematic centerpiece “These things abide: Faith, Hope, and Love. And the greatest of these is Love.”
As always, a faith-based theme never qualifies a movie as Conservative in and of itself. It’s icing on the cake, though. Very delicious icing—on a very delicious cake.
The Cultural Value Of The Disney Princess:
Giselle is the quintessential Disney Princess, and never once is that frowned upon by the film. Never once is that derided—never once is she shown as wrong in her devotion to these things. To the contrary: Giselle constantly has a positive effect on the world around her. Her “magical” charisma, if you will, is actually something of a fantastical spin on the “nurturing” quality—the kind of caring tenderness specific to femininity. Her empathy makes the world a better place—affecting humans and animals alike.
True, her arc throughout the film involves her growing as an individual. But never once does that ever entail sacrificing the qualities she already has—as a D.P., and as a lady. Far from it.
Disney princesses really are positive examples of femininity in a modern world. The fact that so many little girls…gravitate towards these characters says something about their impact and importance as role models. Even the older movies, which do sometimes espouse values we now view as antiquated, have a lot to offer little girls looking to grow into modern, but feminine, women.
…The stigma around Disney princesses, the idea that their message is no longer relevant to today’s women and girls, or, worse, that it’s actually antithetical to it, is in error. It just isn’t true. [Little girls] love Disney princesses. Why? Because Disney princesses are brave—because they are kind—because they are beautiful and magical and smart. Because they are women. No editing [or deconstruction] required.
To paraphrase Chandler, if there were enough like Giselle, the world would be a very nice place to live in…and yet not too dull to be worth living in.
For Bonus Points:
There’s a nice apparent nod to the Ayn Rand sort of Individualist Romanticism, when Giselle makes it a point to not wish Robert to sacrifice his emotional well-being for her sake—giving perhaps my favorite line in the entire movie, with that warm, glowing smile only Amy Adams can give. (At least that I’m aware of….) Naturally, it’s the page quote, above. Really, if you still haven’t fallen in love with Giselle, with that line…you have no soul.
Look sharp during the quick shot of Morgan opening her present, revealing a book of famous women of history. On the front cover is a picture, among others, of the great Margaret Thatcher.
Speaking of which, that sequence sets up the notion that Morgan, like many a girl before her, deeply loves fairy tales—and as it turns out, fairy-tale princesses in particular. Robert, being “realistic”, tries to get her out of it and focus on “real” dreams, and “meaningful” careers, even though she’s six.
Almost a subtle shot at all the feminists Faith Moore’s called out who try their hardest to steer their daughters away from the D.P. mythos, one way or another.
On that note, surely I’m not the only one to notice how the villain of this movie is a power-hungry matriarch who sees romance in general—and a D.P. in particular—as a threat. And for good measure, Narissa even makes it a point to try and verbally emasculate the men around her. (And she’s played by Susan Sarandon, to boot….)
Maybe another reason why the Cultural Overlords propped up Frozen so much—trying their hardest to shove Enchanted to the wayside?
Well…not if I have anything to say about it.
WHY IT’S A GREAT FILM:
Permit me, dear readers, while I indulge. Some of you may know where I’m going with this. Brace for a gush-fest. I’ll try my best to stay rational.
Amy Adams as Princess Giselle:
The role that made Amy a superstar. And if anyone deserved it, she did.
Five years before, Amy had a supporting role in Steven Spielberg’s Catch Me If You Can, as the romantic interest for Leo’s character! Spielberg himself, deeply impressed by Amy, predicted that she would be a star one day—and was saddened that it took so long for it to happen.
Alas, Amy struggled a bit in the interim, having to settle for bit parts in TV shows and so on…before she got her first Oscar nomination, for Best Supporting Actress in Junebug. The year after, Enchanted boosted her into the Hollywood A-List.
It can’t be over-emphasized just how perfectly cast Amy is for the role. It literally couldn’t be anyone else, for the film to have that exact impact. To see what I mean, look up the names considered for the role of Giselle. Apparently Uma Thurman was one. The Bride from Kill Bill?! Well…look at the musical remake of The Producers to get an idea of a more “innocent” Uma….
Still, that proves my point. There’s no doubt in my mind: Had any other actress been cast, they’d have given in to the temptation to play Giselle with a more “knowing” air, “winking at the camera”. Or worse…giving her an “edge”.
Not Amy. Catch and Junebug showed the roots of something she’d bring, that few if any actresses, then or now, would: a straightforward, authentic aura of pure, enthusiastic innocence. Innocence that isn’t merely “naïve”, per se—there’s nothing dumb about her. She’s incomparably sweet, warm, and endearing—with a significant inner-strength and dignity behind it, a heart and a soul. And, of course…she’s unbearably beautiful, to boot.
The perfect Disney Princess. It’s the role Amy was born to play.
A “Real” Princess:
Again, Amy provides that quality demanded by exactly what movie this was supposed to be—not merely a deconstruction, but a reconstruction, where the value of the D.P. would be praised and exalted, not brought down and torn apart. The film needed someone who’d give her all to play Giselle completely, 100% straight—and she does. Amy plays a Disney Princess for keeps. She believes it, and we believe it.
And in so doing, she makes Giselle real, for us—a flesh-and-blood, 3-dimensional human being, with wants and needs and desires we connect with. Things we’ve arguably seen before, if we remember those Disney classics of the past—and yet, somehow…we haven’t felt it so deeply, before this. Perhaps because there hasn’t been such a dramatic connection to “reality” as in this film. Giselle’s thrown into the “real world”—our world—with her soul as a D.P. intact. And she keeps that soul, never losing it for a second amid her emotional arc.
Further: There’s nothing tongue-in-cheek about that. While Giselle’s certainly humorous, getting herself and others into many a funny situation (complete with some witty “misunderstandings”), we don’t laugh at her—we laugh with her. It’s what Ayn Rand would call a benevolent humor—Giselle’s never undercut or “destroyed” by the comedy. (Nothing knocks into her when she sings….) And the heart Amy brings to her performance goes a long way towards ensuring that.
We care about Giselle—our hearts go out to her as she struggles through the crowds and travels the dirty streets of New York. We smile with her as she glowingly takes in all she experiences with childlike wonder.
To wit: We fall in love. And for 107 minutes, we honestly believe that someone like her could actually exist in this world.
Patrick Dempsey as Robert Phillip:
Most know him as Dr. “McDreamy” of Gray’s Anatomy. And here, he’s the wannabe hardcore realist who doesn’t realize he’s a brave knight in the making. His life experience helps Giselle acclimate herself to our world…all the while finding that she’s teaching him to open up, smile, and enjoy life to the fullest.
He’s also the “straight man” to Giselle, reacting just like anyone who’s not exactly a D.P. super-fan would. Bewildered, a bit frustrated…then begrudging…until finally accepting, allowing himself to give in to the magic. As such, he makes Enchanted the perfect gateway for such folks into a real appreciation for the mythos. Trust me: I ought to know.
And of course, their differing perspectives and wisdoms lead to some delightfully awkward situations—complete, for the adults in the audience (thankfully imperceptible to the kiddies, a la The Incredibles), with some glorious sexual tension.
To make it clear: the birds don’t fly over with the towel until after Robert starts entering the bathroom. And what does Giselle say, upon hearing him knock…?
Their worldviews confront each other throughout, amid all the antics and mayhem. And it all culminates in a moment of intense emotion, on so many levels—proving to the world, incidentally, just how great an actress Amy really is:
For Dempsey’s part, he keeps up with our multiple-Oscar-nominee (-to-be) beautifully—the yin to her yang, the Sam to her Diane. And while it becomes fairly inevitable soon enough that Giselle’s gonna end up with him, not Edward…it truly is the journey that counts.
The Rest Of The Cast:
Idina Menzel, aka Ilsa of Frozen and star of many a Broadway musical, plays Nancy, the “cool gal” counterpart to Giselle’s princess—who’s not-so-guardedly hiding a romantic side. Alas, she doesn’t sing (though Amy apparently kept trying to tease her into joining her behind-the-scenes serenades). Maybe in the sequel….
James Marsden, aka Cyclops in the original trilogy of the X-Men universe (and the guy Lois may or may not have been married to in that thankfully-fading-from-memory Superman Returns), plays Prince Edward, bring some hilarious ego and hammy charisma to the role—along with a surprisingly operatic singing voice of his own.
Hollywood veteran Susan Sarandon plays evil Queen Narissa—who has a darkly seductive side of her own, invoking such with Nathaniel. She’s magnificently evil, and fun to watch with it. Great range, too, as her “old hag” mode indicates.
Timothy Spall plays Nathaniel—delivering the wondrous range required by the character being a master of disguise. (Funny thing: I watched his performance and listened to his voice, and thought “He’d be a great Hitchcock in a biopic or something!” Well…see: The Girl.)
Rachel Covey plays the adorable and amusingly quasi-street-smart Morgan—the bridge between Robert’s realism and Giselle’s Romanticism. And if Morgan’s warm, endearing chemistry with Giselle’s any indication, our princess is gonna be a wonderful mother.
(It’d sure be interesting to see Rachel return as a grown-up Morgan in the sequel….)
Pip the chipmunk’s actually a director cameo by Kevin Lima!
Finally, the rest of the cast’s essentially one Disney cameo after another. Robert’s faithful and equally “straight-man” secretary? Jodie Benson, aka Ariel.
The soap opera heroine? Page O’Hara, aka Belle. The long-suffering pregnant woman Edward encounters? Judy Kuhn, aka Pocahontas (well…her singing voice, anyway).
And the narrator? “SHE’S MARY POPPINS, Y’ALL!!!” Aka Sister Maria…aka Julie Andrews.
Return Of The Musical:
Well, not just yet. Hopefully, The Greatest Showman solidifies the trend of La La Land and ensures the genre’s full-force return.
At any rate, this film has Amy Adams—who started her acting career in dinner theater—show off her full “Triple-Threat” talent. (For Those Of You In Rio Linda: She can act, sing, and dance, and do it all like a master.) It’s a shame she rarely gets to use her golden pipes on screen—as she’s often noted, it’s led to her constantly serenading any film production she can. (For some reason, Amy seems partial to Frozen songs. Come on, Princess—don’t you wanna sing from your own territory?) Heck, Trouble With The Curve had her interacting with Justin Timberlake, and the movie didn’t give them a duet?! (It just has her mutter “You Are My Sunshine” at one point….)
But I digress. Without further comment—the oft-overlooked greatness of the angelic Amy Adams:
Seriously, Hollywood. Get our girl in another musical—or two. Or three. Or more, unless and until she ever gets Tired Of Winning….
A Kiss Before Dying:
In the climax of the picture, Amy once again shows her range—bringing what was heretofore a sweet romantic comedy into full-blown drama, as Giselle tearfully watches Robert dancing with Nancy, at last coming to terms with the fact that she’d fallen in love with him…not Edward. But it’s tearing her apart—he’s with another, and she’s about to be married to the man she’s so sure she’s meant to be with….
Cue Narissa, in “old hag” mode, taking full advantage of Giselle’s heartbreak, with the classic poisoned apple. And unlike with Snow White, it’s hard not to get the idea that Giselle knows darn well what the apple’s all about. Leaving aside her getting Robert’s joke earlier…Narissa’s words sound very disturbingly like the inner promises mulled over by many a victim of depression brought to the brink of suicide….
Our hearts break for our princess—and that makes the resolution all the more rewarding:
“The most powerful thing in the world.”
And then the clash with Narissa, where Giselle discovers her inner heroine—and then, the classic D.P. happily ever after.
(On a side note: Amy Adams has been nominated for an Academy Award 5 times. Frankly, considering this sequence, the “Angry!” scene, etc…she’s deserved at least 6.)
In The End…
Delivering the goods, all the while proclaiming to the world that there’s nothing wrong with them, after all. As Enchanted beautifully shows us, the classic D.P. mythos is something to be celebrated—not “twisted” or taken down a peg. There’s something universal about it, capturing our imaginations. Boys and girls alike, from 1 to 101.
It’s why the most iconic image of Disney besides the Mouse himself, from the days of Walt to the foreseeable…is a castle. A fairytale castle.
A castle destined to house a princess—be it in medieval Europe—or Andalasia…or Anaheim—or Orlando…
Or in Manhattan, shaped like an apartment complex—housing a radiant copper-haired princess with the voice of an angel and a soul to match, who bridges two worlds—reality and make-believe…truly, if you will, “enchanting” them both.
By The Way…
Pay close attention to the statue Giselle builds at the beginning of the animated prologue—the statue of the man of her (literal) dreams. While we’re initially led to believe that it’s Edward, note how the statue’s dressed. Then recall how Robert’s dressed at the ball in the climax.
Like any great performer, Amy Adams “threw in” several things the filmmakers loved and kept in. The moment in the animated prologue where Giselle waves to the birds who provided her tiara was based on something Amy did on instinct during voice recording. Also, the parasol we see her holding for a bit in the “How Does She Know” number was something Amy happened to bring with her on set that day.
Speaking of that sequence—the elderly male dancers are veterans of the old-school dance musicals, appearing in Mary Poppins and West Side Story.
Enchanted apparently stared out as a Touchstone Pictures project, planned to have more “adult” content before Disney ultimately decided to play it more straight….
Look closely at the shot of Giselle crossing the street before she tries talking to the old greedy bum, and you’ll see a couple of “street girls”. There’s actually a publicity still of Giselle interacting with them—almost certainly from a sequence understandably cut out. One wonders exactly what it involved—perhaps Giselle misunderstanding what “a good time” means….
The inside jokes and references throughout this movie abound—far too many to list, here! The Blu-Ray’s got a feature for pointing them out….
One More Thing:
Yes, folks—there is a sequel planned! Titled Disenchanted, production’s supposedly scheduled for this very year. Apparently it involves poor Giselle, after 10 years, facing doubts about the world….
There’ve also been rumblings about a shared Disney Princess universe, supposedly involving the live-action adaptations from Cinderella onward, to culminate in a Kingdom Hearts film. Frankly, the perfect way to introduce the “shared universe” concept would be through Disenchanted, with Narissa’s wishing-well portal as the bridge—and the self-aware Giselle (and Nancy) as the effective Nick Fury (and Agent Coulson) of the franchise!
*(On the off chance you’re wondering: Yes, I’m aware of the Prince’s name in Little Mermaid. I’ve been aware since childhood, and I admit…I’ve always cringed about it. Same for Magneto of X-Men—albeit to a lesser extent. Yeah, I’m a little defensive: “Eric” is a “rare” enough name where I instinctively link any mention of it to myself. Sad? I dunno. In my defense, some idiots did tease me about “Prince Eric” on occasion, in my younger years. But the point is, as my appreciation for the D.P. archetype increased, my animosity towards the Little Mermaid writers decreased. Besides…if you’ll pardon the observation of a red-blooded male: Dang, but Ariel is just…)
Buy the movie here. And stay film-friendly, my friends.
THE SERIES SO FAR:
Rio Bravo (1959)
Man of Steel (2013)
Inglourious Basterds (2009)
Fight Club (1999)
The Dark Knight (2008)
The Dark Knight Rises (2012)
Jackie Brown (1997)
Apocalypse Now (1979/2001)
The Magnificent Seven (1960)
Dirty Harry (1971)
Magnum Force (1973)
The Enforcer (1976)
Bridge Of Spies (2015)
Captain America: Civil War. (2016)
The Green Berets (1968)
Wonder Woman (2017)
Other People’s Money (1991)
Hail, Caesar! (2015)
Gran Torino (2008)
Die Hard (1988)
It’s A Wonderful Life (1946)
Any recommendations for films to make this series? Read the rules, here, and let us know!
Eric was raised by Conservative Christian parents, but first became especially passionate about politics in high school, through reading up on economic theory. He also first read The Fountainhead and Atlas Shrugged around this time, for the ARI's essay contests. He now owns a great deal of Ayn Rand's work. Also included in his library are the collected works of Rush Limbaugh, Mark Levin, Ann Coulter, etc.
Eric is no stranger to writing commentary, as the writer of the Conservative Considerations column on CampCampaign.com, and as a film critic and commentator on FlickRev.com. He has also carried on the Conservative tradition of talk radio commentary, as the host of "Avengers of America" for the USF student radio station, Bulls Radio. In the meantime, he is practicing what he preaches: Striving to enter the professional realm of Hollywood, he has already written and directed short films for the Campus MovieFest, which can be found on his YouTube channel, Hard Boiled Entertainment.
Latest posts by Eric Blake (see all)
- The Greatest Conservative Films: Enchanted (2007) - January 9, 2018
- Critic v. Critic – Star Wars: The Last Jedi (with Christian Toto!) - January 1, 2018
- The Greatest Conservative Films: It’s A Wonderful Life (1946) - December 28, 2017