The Price of the Curse

Film pro­mo­tional photo for Into the Woods, dir. Rob Mar­shall. Source: Pinterest.

”Into the Woods” is a fantasy mu­sical dir­ec­ted and pro­duced by Rob Mar­shall, re­leased in 2014. The ori­ginal screen­play was cre­ated by Stephen Sound­heim in 1986 and dir­ec­ted by James Lapine. Lead­ing cast mem­bers are Meryl Streep, Johnny Depp, Emily Blunt, Tracey Ull­man, Christine Baranski, Anna Kendrick and Chris Pine. A fairy tale for adults, ”Into the Woods” in­ter­twines sev­eral stor­ies, such as “Cinder­ella”, “Little Red Rid­ing Hood”, “Ra­pun­zel” and “Jack and the Beanstalk”. 

The mu­sical cap­tures new fa­cets of the gen­eric fairy tale, while the as­so­ci­ation of pop­u­lar fairy tale char­ac­ters un­der the same sky pro­duces con­fu­sion and curi­os­ity. They are brought to­gether by the Baker and his wife. The couple was doomed not to have chil­dren by a witch who had pre­vi­ously cast a spell on their house. The evil witch had cursed them on ac­count of a faulty deed done by the Baker’s father. To lift the curse, the two lov­ers were asked to solve a very, VERY dif­fi­cult quest: to gather four ob­jects dur­ing three nights: “A cow as white as milk, a cape as red as blood, a hair as yel­low as corn, and a slip­per as pure as gold.” Thus, everything comes to life and the plot starts to unravel.

Char­ac­ters from dif­fer­ent stor­ies are here tied up to work hand in hand for a greater good. As a mat­ter of fact, this usu­ally hap­pens in tra­di­tional fairy tales… Here, Rob Mar­shall de­mol­ishes the ste­reo­types and in­trigues the pub­lic. People are fight­ing for a good in­deed, but with an ego­centric in­clin­a­tion. The men­ing­ful­ness of life is called into ques­tion dur­ing the en­tire mu­sical and au­da­cious in­ter­ven­tions of the char­ac­ters lead the thread to­wards a he­don­istic tend­ency. Every char­ac­ter has a per­sonal in­ten­tion and the plot is de­term­ined by their self-in­terest: Cinder­ella wants to marry the Prince, Jack wants to help his mother, Ra­pun­zel wants to es­cape from the tower and run away with her lover, the Witch wants to re­gain her lost beauty. 

The her­oes and heroines are com­mon hu­man be­ings, with their flaws, in­sec­ur­it­ies, de­sires and griefs. The im­age of the hero is dif­fer­ent from tra­di­tional fairy tales, the her­oes are here anti-her­oes, or even vil­lains. The Baker and his wife are the ones who tie everything and every­one to­gether, so we might think that fam­ily as the purest con­nec­tion is the epi­cen­ter. The pres­ence of hu­man flaws, such as lust, pre­tense, dis­loy­alty and aban­don­ment de­bunk and dis­mantle this il­lu­sion of the per­fect family. 

Sexual un­der­tones and pe­do­philic tend­en­cies ap­pear in the film, care­fully hid­den between the “lines”. Lack of mor­al­ity is present and cre­ates con­fu­sion: is this movie suit­able for chil­dren? There are a few pas­sages in the movie where the char­ac­ters have im­proper be­ha­viour: the Baker’s wife lets her­self en­chanted by the power of the forest and slightly steps out of line. Then Baker acts fool­ishly at hard times and aban­dons his much-de­sired son for a short time. The “per­fect” fam­ily is ac­tu­ally a real fam­ily, with crisis, prob­lems and frus­tra­tions, but al­ways to­gether. Re­main­ing to­gether and not giv­ing up on their ini­tial pur­pose is the real perfection. 

The plot grav­it­ates around wishes and life paths that come across without a clear or­der and change people. The forest acts like a fa­cil­it­ator for its in­hab­it­ants; it brings them in dif­fer­ent situ­ations and pushes them to re­act. All the char­ac­ters blame each other when in dis­tress and re­fuse to take re­spon­bil­ity, some of them even for­get their pur­pose. The Prince claimed to madly love Cinder­ella, but the love van­ishes away with the first pro­voc­at­ive en­counter. His feel­ings seem rather su­per­fi­cial and the im­age of love is sour.

”Into the Woods” is, in fact, a real­istic de­pic­tion of ex­ist­ence presen­ted in a seem­ingly happy man­ner with the help of mu­sic and spe­cial ef­fects. Man is presen­ted here with all of his mys­ter­i­ous ways of be­ing and as­ton­ishes with com­plex­ity. Fun­da­ment­als about the hu­man char­ac­ter are care­fully hid­den between the lines and songs, but still there for the ones who are curi­ous to discover. 

Ana-Maria Stan

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