At first blush, Spanish filmmaker Pablo Berger's "Blancanieves" would appear to be a bit of a tough sell. Not only is his artfully realized fairy tale based on an exceedingly familiar story -- the old Snow White legend of Brothers Grimm origin -- but it's one that has been adapted for the big screen repeatedly, and twice in just the past year ("Mirror, Mirror" and "Snow White and the Huntsman").
It's a tribute, therefore, to Berger's storytelling skills and vision that his lush and lovely "Blancanieves" all but jumps off the screen as a singular and surprisingly fresh addition to the Snow White canon. Better in most ways than both recent adaptations, and more enjoyable at every turn, Berger's film stands as a testament to the idea that, even in film, the journey is every bit as important as the destination.
So, yes, we know how this story ends (or think we do). And, yes, along the way there is an evil stepmother, a band of merry little people and a poisoned apple. But the similarities between "Blancanieves" and the Snow White legend that most of us have come to know -- that is, the one established in Disney's 1939 animated version -- largely end there.
This time, the whole thing is set in 1920s Seville and our heroine -- played by fetching Macarena Garcia, a Spanish TV actress making her feature film debut -- is named Carmen, the daughter of a star matador. None of those decidedly outside-the-box elements, however, is the most striking characteristic of Berger's film.
That distinction would go to his decision to shoot it all as a black-and-white tribute to the era of silent films -- right down to its old-school 1.33:1 aspect ratio. Granted, Michel Hazanavicius' 2011's Oscar-winning "The Artist" gets bragging rights by beating Berger to the punch and being the first to prove that, yes, a distinctly old-fashioned silent film can, indeed, find an audience among modern audiences. But "Blancanieves" doesn't suffer greatly from being a late-comer to the nostalgia party.
That's largely because, like "The Artist," it's far more than merely a gimmick film. Berger's adaptation is so beautifully shot and so wonderfully scored -- and so distinctively Spanish -- that despite those seemingly derivative flourishes, it inarguably stands as its own film.
To their credit, Berger and cinematographer Kiko de la Rica make the most of their black-and-white palette, which positively glows with an old-Hollywood aura. In addition, they take pains to incorporate interesting camera set-up after interesting camera set-up that still pay homage to the silent era, while also including a smattering of stylistic echoes of European films springing from the French New Wave.
In addition, though, Berger's story -- which he wrote -- and his characters are steeped in Spanish charm, drinking deeply from that country's flamenco and bull-fighting traditions.
In keeping with the Grimm tradition, there are also a handful of grim elements to Berger's tale, which contribute to its PG-13 rating -- and which might give pause to parents considering making it a family outing. There are no graphic images, but there are several that might prove to be upsetting.
They start with the goring and subsequent paralysis of Carmen's matador father and continue with the death of her mother during childbirth, both of which happen in the first 10 minutes or so. They go on to include various cruelties at the hands of her particularly evil stepmother (played by a deliciously sinister Maribel Verdu, of "Y Tu Mama Tambien" and "Pan's Labyrinth"). Of particular concern: the death of a beloved pet, as well as an attempted drowning.
Still, Berger's film is still far more magical than it is macabre. And so although a black-and-white, foreign-film adaptation of a very familiar tale might, indeed, be a hard sell, audiences who buy into it are in for an undeniably rewarding movie-going experience.
In a word: ¡Ole!
4 stars, out of 5
Snapshot: A black-and-white, silent adaptation of the "Snow White and the Seven Dwarves" story, reimagining the fairy tale heroine as the daughter of a bullfighter in 1920s Seville.
What works: It's a beautifully shot, entirely entertaining re-telling, steeped in affection for the silent tradition as well as a wonderful Spanish charm.
What doesn't: Some story elements may be too intense for younger, more sensitive viewers, limiting the film's family appeal.
Cast: Macarena Garcia, Maribel Verdu, Daniel Gimenez Cacho, Angela Molina. Director: Pablo Berger. Rating: PG-13, for some violent content and sexuality. Running time: 1 hour 40 minutes. Where: Chalmette Movies. Find New Orleans showtimes.