Mirror Mirror is about as postmodern as a postmodern version of a fairytale gets these days – “It’s been focus-grouped!,” the prince protests, as the princess defies tradition and sets out to save him. So why is it so very white? It’s especially jarring when Indian director Tarsem Singh ends the movie with a Bollywood-inspired dance number – it’s a Technicolor celebration of cultural diversity by a cast that doesn’t seem to have any, save a dwarf or two who barely stand out from their pack.
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Here at Movieline readers have to work for their hard-earned prizes, but today we have a haiku contest that should also engage your inner child and tap into the most whimsical, fantastical depths of your imagination: Write an original haiku inspired by this weekend's colorful and witty Snow White retelling Mirror Mirror -- a movie featuring heroines in swan dresses and people wearing boats as hats! -- and you could win dinner and a movie for four! UPDATED: See the winning entry below!
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There’s plenty of spectacle in movies these days; it’s delight that’s in short supply, and Tarsem Singh’s Mirror Mirror offers plenty of it, shimmering like a school of minnows in a reflective pond. The picture is gorgeous to look at: There are fairytale castles topped with minarets of fluted gold, interior marble archways that look as if they might have been carved by Alfonse Mucha, ball gowns that take their inspiration from the rock-star effrontery of peacock feathers. But the story is a delight, too, a modernized -- but not too modernized -- retelling of the Brothers’ Grimm Snow White peopled with actors who polish the material to a bright glow rather than a high gloss. Mirror Mirror has a great deal of energy and wit and color, so much that it sometimes threatens to go right over the top. Somehow, though, it always stops short of being just too much -- it’s never too taken by its own reflection.
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He's painted cinematic landscapes of psychosexual kink (The Cell), childhood fantasy (The Fall), and ancient Greek 3-D abs (Immortals), but in this week's Mirror Mirror director Tarsem takes a turn into uncharted territory: The family-friendly fairytale. Turning his attentions to the story of Snow White, Tarsem creates another visually rich fantasyland of imagination -- and gives the fabled princess a post-modern streak to boot -- with the help of the late Oscar-winning costume designer and longtime collaborator Eiko Ishioka (Mishima: A Life in Four Chapters, Bram Stoker's Dracula, Spider-Man: Turn off the Dark), who passed away in January at the age of 73. In an exclusive chat, Tarsem takes Movieline through his work with Ishioka and the whimsical, inventive, and utterly imaginative designs of Mirror Mirror that comprise their final collaboration on film.
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Mirror, mirror on the wall, who's the fairest Evil Queen of them all? Is it Julia Roberts, who will star opposite Lily Collins's Snow White in Tarsem Singh's untitled fairy tale adaptation? Or is it Charlize Theron, who will play the wicked queen opposite Kristen Stewart's armored Disney princess in Snow White and the Huntsman? Take a look at the side-by-side comparison below before deciding for yourself.
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New theory: Immortals director Tarsem Singh (excuse us, visionary director Tarsem) is the honey badger of film directors. In an unprecedented move Saturday in San Francisco, the filmmaker behind such films as The Cell and The Fall stole the hearts and minds of WonderCon attendees away from Cowboys & Aliens helmer Jon Favreau -- and mind you, Favreau is so popular that he has his own entrance music ("Back in Black," natch). So how did visionary director Tarsem bring the house down during the panel for The Immortals, a 300-styled movie he described as "Caravaggio meets Fight Club?" Hit the jump for highlights from TarsemCon.
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