In this particular rendition of Rumpelstiltzkin, the miller's daughter is never given a name besides that of the miller's daughter. This reflects the time and culture that the Grimms wrote this piece, as they did not feel it important to give the main female character a name. This implies that feminism was not a prominent part of society when it was being written. This idea is supported by a few other occurrences in this specific version. For instance, the way in which the miller's daughter comes about Rumpelstiltzkin's name. While in some versions she goes out independently, to solve her own problem, in this interpretation she sends her messengers to go out and solve her problem for her. .
The morals made evident in this version of Rumpelstiltzkin are as follows:.
Be careful of what you say - The miller's boasting about his daughter is what got her into trouble in the first place.
There is a price for everything - In order to get Rumpelstiltzkin to spin the straw into gold for her, the miller's daughter had to give him something in return.
In the 1986 David Irving Film production of "Rumpelstiltzkin", the character of Rumpelstiltzkin (played by Billy Barty) is portrayed as that of a magical dwarf with a pet raven. Rumpelstiltzkin is a strange character who talks in rhymes and at times appears to be somewhat of a harlequin. This idea comes about through his clumsiness as well as pointless attempt to be humorous throughout the movie. .
This production of Rumpelstiltzkin was given a rather poor review:.
"Threadbare musical adaptation of the Grimms' fairy tale, with Amy Irving and Billy Barty well cast in the leads. Likely to bore even the small fry. Filmed in Israel, this was a family affair: Writer-director Irving is Amy's brother, and Pointer (who plays the Queen) is her mother. For the record, this was the first of Cannon Films' fairy-tale features.".
The movie opens with music and song. This is constant throughout the whole movie to create the atmosphere.
There are very clear moral codes embedded into Fairytale scenarios. ... Fairytales have been passed down through the ages, originating from the old oral Folk tales. ... It is tradition for these Fairytales to portray women in rather a negative light. ... The heroine in fairytales is seen as a mentor to show what is right and wrong. ... Fairytales encase the stereotypical `Ideal Virtues` of women. ...
The fairytale I like is Mulan. ... The reason why I enjoy this fairytale is because it is a female going after what she believes in, and not a male. The fairytale I never particularly enjoyed was Sleeping Beauty, at least, until I read the more interesting, earlier version written by Andrew Lang. ... The beginning of this fairytale is quite different. ...
Actually fantasy's core elements are the fairytales. ... What is have to be discussed are the possible unforeseen issues of fairytales. ... Total audience of fairytales is generally the children. ... Tolkien's idea of the concept of a fairytale. ... All of us have to know that fairytales are associated with children. ...
The fairytales read by children often influence their vision of reality. ... Often times, there is a need to see stepmothers as evil, especially in fairytales. ... Evil is not exclusive to stepmothers though; fairytales often portray witches as old women. ... Some of the women in fairytales have guardians, some use magic, and some gain power through a force like evil. ... By portraying women as both wicked and weak, fairytales perpetuate poor stereotypes of females. ...
At all times, fairytales take romance as an important point of its structure. ... In Briar Rose, "kisses" draw parallel lines between the fairytale and the novel's story. ... Briar Rose resembles the original fairytales in that it is not merely a fantasy, but also an exploration of the dark side of human nature. ... Throughout the novel, Yolen questions the possibility of fairytale "happily ever after" endings. ... Only fairytales." ...
Shrek- Not a Typical Children's Film An animated fairytale containing an assortment of personified animals and a lovable ogre appears to be setting the stage for a typical children's movie. ... While this is going on Lord Farquaad is asking the gingerbread man to disclose the location of the other fairytale characters. ... , not a typical fairytale response. ... These are not the words one would expect of a children's fairytale hero, but none of the songs throughout the movie are that of a children's level. ... Shrek is obviously not the run of t...
The common element in both book and film versions of the story is the use of satire, making fun of the fairytale genre. ... In the written text, the use of description is important, the appearances of the characters overexaggerated to be unlike the typical fairytale. ... In comparison, in the movie both Westley and Buttercup are cast to look perfect, the exact image of the fairytale lovers. ... The use of panoramic camera angles in the opening and closing scenes helps to establish the image of a beautiful, sweeping landscape typical of a fairytale. ... However, though each adaptation is signif...
This film comes across to it audience in three major ways, random, realistic, and fairytale. ... This film also has a very fairytale view when you step back and look at it as a whole. Although it is a great love story it seems just like a fairytale. ... It is a real life example of a classic fairytale. ...
The third poem, Rapunzstiltskin' is written in a well-known fairytale format and is a narration about a love story which has gone dramatically wrong. It has references to many differing fairytales from the obvious Rapunzel' and Rumpelstiltskin' to Red Riding Hood' and Sleeping Beauty'. ... It also ends on an ironic note, because all fairytales have happy endings but Rapunzstiltskin' doesn't have a happy ending. ... Liz Lochhead is trying to show that even the most fairytale of relationships can turn disastrously wrong. ...