Stylish cut above.
Captions don't count: Surprisingly more depth and wit than I expected from a Disney princess movie. And don’t be fooled: Even though the marketing campaign shows swashbuckling adventure and boy-friendly pratfalls, the meat of this story is full-on, teen-girl yearning. Which should trigger my schmaltz reflex. As should the typical self-loving scoundrel of a hero who falls in with her in meet-cute predictability. Or the adorable animal-companions-cum-comedic-relief. My eyes should have rolled out of my head and escaped the theater. And yet, they didn’t. I bought it all. And I liked it. Here’s are four reasons why: 1.) Rapunzel’s backstory is set up with the fearless go-for-the-gut instincts of a Pixar film (and it’s no accident Pixar founder and current Disney tree-shaker John Lasseter is the producer). Rapunzel’s mother nearly dies in childbirth, only to lose her newborn to a kidnapper. Then the grieving royal parents launch thousands of candle-powered lantern kites each year on her birthday -- lights that Rapunzel can see each year from her captivity. She is entranced by their beauty while ignorant of their meaning. That’s not quite “Up” levels of pathos, but it’s damn good enough to make me truly care that this wrong is righted. 2.) The animation is punchy, evocative and plum funny. I don’t know what kinds of crippled grips the animators suffered around their digital pens in achieving this, but they wrung every tic, glimmer, wince and furrow for maximum effect in each facial expression. It’s remarkable, especially when your heroine has an alarmingly high eye-socket-to-skull ratio. Rapunzel’s conflicting emotions, her heartbreak and joy, are each hung like portraits in an exhibition. The expressiveness of the supporting cast is just as crisp and humorous. 3.) The villain is the very worst kind of all: A regular human. A bad mom who belittles and whittles away at her daughter’s esteem one slight at a time. She’s no wicked witch (there’s only one spell in the whole Rapunzelverse, and it belongs to the namesake); she’s no wicked stepmother (as in the cartoonishly evil shell of a character from ‘Cinderella’); she’s only this greedy old woman who expresses something like maternal love, dripping with the kind of casual, passive-aggressive malice you’d find at a million American Thanksgiving dinners. It’s very pedestrian, very real, and so much more dreadful than a typical cartoon mustache-twirler. 4.) “Tangled” does the full Joseph Campbell with its hero mythmaking. As you might know, the author of “Hero with a Thousand Faces” identifies death itself as a key milestone in an archetypal hero’s quest, and “Tangled” delivers with gusto. One hero makes the sacrifice of life, which delivers an emotional payoff grander than any Disney fairy tale since “Little Mermaid.” And I think that’s the perfect comparison. Just as Ariel grandly opened the Era of the Disney Princess, Rapunzel closes it with a bookend worthy of the royal bloodline.