Friday, June 27, 2014

Maleficent

Two kingdoms bordering one another, although kingdoms is the wrong choice of word, for although one is certainly the domain of a king, the other has no definitive ruler.

The other's strongest is respected, however, due to her extraordinary abilities, and her application of them, to the art of realm protection.

An act of charity sparks a romantic flame between occupants of the divergent lands, but whereas a magical aura of egalitarian majesty permeates the one, greed and covetousness rule the other, the relationship's male component residing in the later, not that such couples need be composed of both males and females, a fact the filmmakers use to circuitously cultivate their filmscape.

He craves more power.

And ignominiously betrays.

His betrayal has consequences for both the victim and the beast, as darkness reluctantly descends, to clarify his inestimable wickedness.

The couple comes of age.

And a child is born.

Regally recalling and extending Snow White and the Huntsman's proverbial special effects, comically synthesizing the free and the dependent, ravenously adjudicating a curse's immutability, while cloistering the innocent in an ominous crown of thorns, Maleficent tacitly tracks the course of the fairy tale, abiding by while transgressing, its traditional fantastic forms.

Beautifully stipulated and tragically adorned, it presents insights and prohibitions regarding love's cautious stealth, preferring loyalty to might, the incandescent, to the miser.

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