Review | ‘Disenchanted’ is a simple sequel that uses and abuses the talent of Amy Adams

15 years ago, the walt disney invited us to a fun and memorable adventure entitled ‘Delighted‘, whose story accompanied Princess Giselle (Amy Adams), a young dreamer who was deceived by a superb and evil queen and ended up in our world, forced to adapt to a totally unknown reality. Now, in the middle of 2022, Casa Mouse decides to unlock our memories with the upcoming sequel ‘disenchanted‘, which arrives tomorrow, November 18, to the catalog of disney+🇧🇷

The main idea of ​​the feature film is to explore what happens after “happily ever after”, putting an exciting twist on one of the most adorable and kind protagonists of the company’s pantheon. Here, we re-follow Giselle on an ongoing quest to keep all she’s achieved alive – but realizing that things aren’t quite that simple. After all, she must deal with the fact that her stepdaughter, Morgan (Gabriella Baldacchino) being a teenager, and also the arrival of young Sophia to the family – who forces them to leave New York behind and takes them to the picturesque suburb of Monroeville, managed by Malvina Monroe (Maya Rudolph🇧🇷 Believing she can rescue a piece of her homeland of Andalasia, Giselle runs into problems that propel her into a fearless, reckless vortex that changes everything she knows forever – and that involves a powerful magic wand.

After having a deep discussion with Morgan, she asks that her life, in fact, turn into a fairy tale. What she didn’t imagine, however, is that the request would come true and seek the classic elements of the stories we are used to to transform her into the villain. That’s right: having everything she’s ever wanted, the princess forgets that a fairy tale needs a vain antagonist, driven by ambition and without any empathy with other people – turning her, little by little, into a copy iconic movie villains (a cross between Lady Tremaine and Cruella de Vil). Steeped in an almost irreversible curse, she has the power to undo what she wants before the clock strikes midnight, to save those she loves and Andalasia itself, whose magic fades to make Giselle’s request eternal.

The film doesn’t come close to the nostalgic grandeur of its predecessor, but it still serves as an honest assault, perfect for enjoying the end of the year. Adam Shankman, who returns to the director’s chair, leaves aside the visual spectacle of the first chapter (how can we forget the epic fight between Giselle and the Evil Queen?) and bets on something more homely and intimate, touching the picturesque and reducing the scale of sets in order to turn the spotlight on the spectacular cast. Of course, the creative team hits the spot in the art direction and in the explosion of colors that delineates each of the acts of the work (highlighting the imagistic conflict between the before and after of desire), but the rest is brushed with more subtle notes. simple and that can be a problem for the most avid fans.

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Alan Menken and Stephen Schwartz were also scheduled to return to the sequel, being responsible for the soundtrack and, in the same way as the other artistic aspects, there is something bucolic that permeates the original songs. Adams and Rudolph do spectacular and engaging work, while Baldacchino surprises us with a potent rendition and Idina Menzel, reprising Nancy, has her well-deserved solo and finds herself in a theatricality that throws her back to the Broadway stages; however, the arrangement of instruments seems more like an amalgamation of previous Menken incursions than something that breathes on its own – a detail that even spreads to the countless references played over the two hours of screen.

The first half of the feature works in its entirety, taking the time necessary to explore familiar terrain and indicate what the main conflicts will be: the gears of the main core and the intergenerational clashes between Giselle and Morgan; Malvina’s menacing presence; and the protagonist’s ultimate need to control everything around her and make everyone happy. With the arrival of the second part, in which we are invited to see how the plot will unfold, we perceive a tiredness that spreads until the final credits, marked by gaps in rhythm and a strong emotional attachment to the past. Thankfully, the chemistry of the cast and the candid nature of the production are enough to get us hooked and not be able to look away, even for a moment.

🇧🇷disenchanted‘ may even have significant problems and not match the first film, but that doesn’t take away from its beauty. The heart of the work is in the right place and, in the end, it fulfills its promise by discussing themes that speak about the power of memories of loved ones and those we can call family.

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