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Maleficent (film)

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Maleficent
Theatrical release poster
Directed byRobert Stromberg
Screenplay byLinda Woolverton
Produced byJoe Roth
Starring
Narrated byJanet McTeer
CinematographyDean Semler
Edited by
Music byJames Newton Howard
Production
companies
Distributed byWalt Disney Studios
Motion Pictures
Release dates
  • May 28, 2014 (2014-05-28) (United Kingdom)
  • May 30, 2014 (2014-05-30) (United States)
Running time
97 minutes[1]
Countries
  • United Kingdom
  • United States
LanguageEnglish
Budget$180 million[2]
Box office$358,461,000[3]

Maleficent (/məˈlɛfɪsənt/) is a 2014 fantasy film directed by Robert Stromberg from a screenplay by Linda Woolverton. Starring Angelina Jolie as the eponymous Disney villainess character, the film is a live-action re-imagining of Walt Disney's 1959 animated film Sleeping Beauty, and portrays the story from the perspective of the antagonist, Maleficent.[4]

Principal photography took place between June and October 2012. The film premiered at the El Capitan Theatre in Hollywood on May 28, 2014, and was released in the United Kingdom that same day. It was released by Walt Disney Pictures in the U.S. on May 30, 2014 in the Disney Digital 3D, RealD 3D, IMAX 3D, and 2D formats, as well as in conventional theaters. The film was met with mixed reviews from critics, but was a commercial success grossing $352 million worldwide.

Plot

An elderly woman narrates and tells the story of Maleficent, a young and very powerful fairy living in the Moors, a magical realm bordering a human kingdom. As a young girl, Maleficent meets a human peasant boy named Stefan whom she developed feelings for as they grew older. But Stefan's love for Maleficent is overshadowed by his ambition to become king, leading him to the castle as he eventually stops coming to see her on the border between the two kingdoms. After Maleficent defeats the kingdom's ruler when his forces attempt to invade the Moors, a mortally wounded King Henry offers his crown to whoever kills Maleficent. Visiting Maleficent at night, remembering that her race can be harmed with iron, Stefan finds himself unable to kill her after drugging her and instead cuts her wings off to win the king's favor. Heartbroken by Stefan's betrayal and the loss of her wings, saving a raven named Diaval to serve as her informant, the hate-filled Maleficent names herself queen of the Moors as she turns it into a dark and oppressive realm protected by a barrier of thorns.

Some time later, sent by her to check on Stefan, Diaval reports to Maleficent that king and his wife, the previous king's daughter Leila, have gained a baby girl named Aurora. Bent on revenge against Stefan, Maleficent arrives uninvited and curses the baby with a deep sleeping curse to take effect on her sixteenth birthday after pricking her finger on the spindle of a spinning wheel, noting that no power can change it. But in an act of mercy and irony, Maleficent adds the condition that the curse can be broken by true love's kiss, something she believes does not exist. This action results with Stefan losing his mind, becoming paranoid and bent on killing Maleficent at any cost. Having all the spinning wheels in the kingdom burned and locked away, Stefan sends Aurora off to live with three pixies hidden deep in the woods until the day after her sixteenth birthday. However, Maleficent is aware of Aurora's location and watched her from afar. But despite her initial dislike for the infant, the neglectful pixies' inability to care for Aurora forces Maleficent to care for the child in secret. Although Aurora does see the woman while as a infant and once more as a little child, Maleficent truly presents herself to Aurora when she is 15 years old after bringing her into the Moors, the young girl believing her to be her "fairy godmother" as she recalled being watched over by her all her life. Maleficent allows Aurora to spend more time in Moors, realizing she has grown fond of the girl. She also tries to revoke her curse, yet finds herself suddenly unable to because she recalls herself saying no power can lift it away. Aurora later meets a prince named Phillip and falls in love with him. Diaval thinks it must be true love and the key to lifting the curse, but Maleficent isn't so sure because of her own experience. On the day before Aurora's sixteenth birthday, hoping it can ensure her curse does not come to pass, Maleficent allows the girl to live in the Moors with her once of age. Soon after this, Aurora inadvertently learns of her parentage and Maleficent's curse from the pixies, who don't know she has changed, and furiously disowns Maleficent as she runs away to her father.

But after Stefan locks her away for safe keeping after a quick and heartless reunion, Aurora begins to fall under the curse's trance as she escapes her room while being drawn to the dungeon. There, the curse assembles a spinning wheel with Aurora fulfilling the curse. Intent to save Aurora, Maleficent abducts Phillip and infiltrates Stefan's Castle to have him kiss the sleeping girl in hope that their love is true. But Phillip's kiss fails. Despondent and feeling that she betrayed Aurora and herself, Maleficent apologizes to the princess while swearing no harm will come to the sleeping girl before kissing Aurora's forehead. This causes Maleficent's curse to be broken as her motherly concern for Aurora constitutes as "true love" with Aurora forgiving her as they attempt to flee the castle. However, turning Diaval into a dragon to fight off the guards ambushing them, Maleficent is caught in an iron net as she is subjected to a brutal beating by Stefan in iron armor. Luckily, Aurora finds Maleficent's severed wings and frees them. Once her wings are restored, Maleficent overpowers Stefan with their fight eventually ending with the king falling to his death. Soon after, Aurora is later named queen of both the humans and fairies by Maleficent, forever unifying the two kingdoms, with Phillip at her side. The narrator then reveals her identity as Aurora, affirming that the kingdoms had been united not by a hero or a villain, but by someone who was both — Maleficent, who is last seen flying up freely into the sunny clouds towards unknown destination.

Cast

Angelina Jolie, Sharlto Copley and Sam Riley

Production

Angelina Jolie had long been attached to the project since May 2011, when Tim Burton, who had tentatively planned to direct, chose not to pursue it.[16] Linda Woolverton was commissioned to write the script for the film.[17] On January 6, 2012, Disney announced that Robert Stromberg, the production designer of Alice in Wonderland, and Oz the Great and Powerful, would direct the film.[18] Joe Roth, Don Hahn, and Richard D. Zanuck were hired as producers, although Zanuck died later that year.[19] Roth said the film would not have been made if Angelina Jolie had not agreed to take the title role: "She seemed like the only person who could play the part. There was no point in making the movie if it wasn't her."[20]

In March 2012, Elle Fanning was reported to be in talks for the role of Princess Aurora.[21][22] Her casting was officially announced in May 2012, along with Sharlto Copley as the male lead, Stefan, then described as the half-human, half-fairy son of a human king, along with Imelda Staunton; Miranda Richardson as Queen Ulla, then described as a fairy queen who is Maleficent's aunt with a dislike of her niece; Kenneth Cranham as a king; Sam Riley as Diaval, a raven who changes into human form and is Maleficent's right hand; and Lesley Manville.[5]

Writing

Linda Woolverton's screenplay went through at least 15 versions as the film progressed in the production.[23] Director Robert Stromberg said: "I met many times with Linda Woolverton, the writer. We did lots of roundtable discussions and sort of cut out the fat as much as we could and sort of purified the storyline as much as we could (...)"[24] In some earlier versions of the story, Stefan was the half-human, half-fairy bastard son of King Henry. The version of the screenplay which went into shooting originally included two characters called Queen Ulla and King Kinloch, the fairy queen and the fairy king of the Moors, and the aunt and uncle of Maleficent.[5] Miranda Richardson and Peter Capaldi were cast and shot the Queen Ulla and King Kinloch scenes, but they were cut in the editing process together with more than 15 minutes of the first act of the film. Stromberg said: "We spent a bit more time originally in the fairy world before we got into the human side of things (...) we wanted to get it [the film] under two hours. So we cut about fifteen minutes out of the first act, and then that had to be seamed together with some pretty basic reshoots."[25]

Filming

With a budget estimated at $130–200 million, principal photography began on June 18, 2012 in London with the first pictures from set emerging and the first official look of Jolie as Maleficent.[26] Rick Baker designed the special makeup effects for the film. Post-production began on October 5, 2012.[26] Some filming took place in the Buckinghamshire countryside.[26]

Re-shoots

John Lee Hancock assisted Stromberg with re-shoots for the film. Hancock, who had just finished overseeing the final post-production stages of Saving Mr. Banks, was approached by Roth, with whom both had worked on Snow White and the Huntsman. Roth said: "He's not directing. He wrote pages, and I hired a first-time director, and it's good to have him on set." Roth was asked why a "film of this magnitude was entrusted to a novice director", and he noted that Stromberg won Academy Awards for production design on Avatar and Alice in Wonderland. Roth said: "The movie is gorgeous to look at, and the last 75 minutes are really entertaining. The issue is the opening, which is being re-shot over eight days."[27]

Music

James Newton Howard was hired to score the film in October 2012.[28] On January 23, 2014, it was announced that recording artist Lana Del Rey would be covering the song "Once Upon a Dream", from the 1959 film Sleeping Beauty as the title song for Maleficent.[29][30] Del Rey was handpicked by Angelina Jolie to perform the song.[31] The single was released on January 26 and was made available for free for a limited time through Google Play.[32][33]

Untitled
Professional ratings
Review scores
SourceRating

All music is composed by James Newton Howard (Tracks 1–22)

Maleficent (Original Motion Picture Soundtrack)
No.TitleWriter(s)Performer(s)Length
1."Maleficent Suite"  6:38
2."Welcome to the Moors"  1:05
3."Maleficent Flies"  4:39
4."Battle of the Moors"  4:58
5."Three Peasant Women"  1:04
6."Go Away"  2:26
7."Aurora and the Fawn"  2:28
8."The Christening"  5:30
9."Prince Philip"  2:29
10."The Spindle's Power"  4:35
11."You Could Live Here Now"  2:26
12."Path of Destruction"  1:47
13."Aurora in Faerieland"  4:41
14."The Wall Defends Itself"  1:06
15."The Curse Won't Reverse"  1:21
16."Are You Maleficent?"  2:10
17."The Army Dances"  1:28
18."Phillip's Kiss"  2:20
19."The Iron Gauntlet"  1:35
20."True Love's Kiss"  2:33
21."Maleficent Is Captured"  7:42
22."The Queen of Faerieland"  3:25
23."Once Upon a Dream"Jack Lawrence, Sammy FainLana Del Rey3:20
Total length:45:57

Release

The film was originally slated for a March 2014 release, before it was changed to July 2, 2014. On September 18, 2013, the film's release date was bumped up from July 2, 2014 to May 30, due to Pixar's The Good Dinosaur having production problems and delays.[34] In the UK, the film was released on May 28.[35]

Marketing

On August 10, 2013, as part of the live action motion picture panel of the 2013 Disney D23 Expo in the Anaheim Convention Center at Anaheim, California, Disney unveiled its first look of Maleficent by revealing the new logo of the film's title and one-minute clip from the film. Angelina Jolie made a surprise visit to the expo and talked with the attendees about her fascination with Disney's Sleeping Beauty as a child, her working experience with the filmmakers on the film, and her love of Disney. She also remarked on how she scared little girls when she was in costume, makeup, and acting during shooting; this led to the decision of hiring her and Brad Pitt's daughter, Vivienne Jolie-Pitt, for the role of the young Princess Aurora, since she would not be scared of her own mother during principal photography.[36]

Walt Disney Pictures released the teaser poster for Maleficent on November 12, 2013, featuring Jolie in costume and makeup, akin to the character's depiction in the original film.[37][38] The first trailer was released the following day, on November 13. The first teaser trailer was attached to Thor: The Dark World, The Hunger Games: Catching Fire, Frozen, and Vampire Academy: Blood Sisters.[39] Two more trailers were released in January 2014, revealing Maleficent's appearance. A third trailer featured Lana Del Rey singing "Once Upon a Dream".[40] The final trailer was released on March 18, 2014.[41] Starting April 18, 2014, Disney's Hollywood Studios and Disney California Adventure previewed the film inside the ABC Sound Studio and It's Tough to Be a Bug! theaters, respectively.[42]

Reception

Box office

Maleficent has earned $144,516,532 in North America as of June 12, 2014, and an estimated $208,100,000 in other countries as of June 8, for a worldwide total of $358,461,000.[3]

Commercial analysis

Dave Lewis, writing for HitFix, predicted that although Disney fairy tales and Angelina Jolie's performance might attract audiences, Maleficent would not gross even as much as Oz the Great and Powerful, explaining that the film was released on the same time frame with competitive releases like X-Men: Days of Future Past, Godzilla and A Million Ways to Die in the West.[43] Boxoffice wrote that Maleficent had a successful marketing campaign, featured Jolie in the title role, and its "female-driven" themes and plot aimed at women. However, the site also noted that the film would have to compete with other summer releases, and the character of Maleficent may not attract young children.[44] Todd Cunningham of The Wrap shared the same opinion, writing that "[the film's] connecting with parents and that Jolie's considerable star power is having a big impact."[45][46] Wells Fargo's Marci Ryvicker predicted that Maleficent might be "too dark and scary to be profitable" and was likely to force Disney "into a write-down", as reported by The New York Times; while RBC Capital Markets' David Bank commented that "It's definitely in the 'not a sure thing' bucket."[47][48][49] Wall St. Cheat Sheet explained that the film approached to a more "grown-up" and "sinister" aspect of the classic, and targeted for an older audience like young adults. "It's just too scary for younger children," the site wrote.[50] ScreenRant added that the PG rating of the film would "fill a void in the marketplace, which is currently without a traditional "family friendly" option."[51] Box Office Mojo primarily compared the film with 2012's Snow White and the Huntsman (another film that also focused on a villain), predicting that Maleficent "has a good chance" of matching Snow White's gross in North America box office.[52]

North America

In North America, Maleficent earned $4.2 million in Thursday night showings, surpassing the midnight and late-night grosses of two previous live-action Disney fantasy films, Alice in Wonderland ($3.9 million) and Oz the Great and Powerful ($2 million).[53][54] On the opening day of its wide release, the film earned $24.2 million, similar to Oz the Great and Powerful ($24.1 million) and ahead of Snow White and the Huntsman ($20.5 million).[55] Maleficent finished its debut weekend at first place and earned $69.4 million[56] ($6.7 million of which was earned from IMAX locations and 35 percent of which was earned from 3D showings),[57][58] which exceeded Disney's expectations of a $60 million opening[59] and making it the largest opening weekend performance for Jolie (a record previously held by her 2008 film Wanted),[57] as well as the third highest opening weekend for a solo female star (behind the first two films in The Hunger Games series).[60] Disney reported that 46 percent of ticket buyers in Thursday previews were male,[53] while weekend reports said family audiences accounted for 45 percent of the film's total audience, and couples and teens accounted for 38 and 18 percent, respectively.[57][59] Female audiences and moviegoers over 25 years old held respective proportions of 60 percent and 51 percent.[57] Dave Hollis, the company's distribution head, attributed this success to "some momentum and great word-of-mouth."[59] During its seven-day opening, the film earned a total of $93.85 million, 24 percent ahead of that grossed by Snow White.[61]

On its second weekend of wide release, Maleficent dropped 50 percent to $34.3 million[56] (ahead of a 59-percent drop to $23.06 million of Snow White).[62][63] The film surpassed the $100 million milestone on its second Friday of release,[62][64] and grossed $127.37 million over the first ten days.[62]

Outside North America

Maleficent opened outside North America on the same weekend as its wide North American release, earning $20.1 million from 35 territories in its two-day opening (May 28–29).[65] The film topped the box office outside North America on its debut weekend, earning $100.6 million from 47 territories ($9 million of which was earned in IMAX locations),[58][66] becoming the third-largest opening weekend of the year in Europe and Jolie's biggest live-action debut globally.[66] Its largest opening weekends outside North America were in Mexico ($13.4 million), Russia ($11.5 million) and the United Kingdom ($11 million).[66] On the second weekend of release, Maleficent fell to $59.7 million, earning from 52 markets.[67][68]

Maleficent is the eighth highest-grossing 2014 film,[69] Angelina Jolie's third highest-grossing film of all time at the box office outside North America.[67] In total earnings, the film's top markets after North America are Mexico ($30 million), Russia ($24.1 million), the United Kingdom ($18.8 million), Brazil ($12.8 million), and Italy ($12.2 million).[67]

Critical response

The film received mixed reviews from critics, who praised Angelina Jolie's performance and the visual effects, but criticized its script. As of June 9, 2014 it holds a 51% rating on the review aggregator website Rotten Tomatoes based on 178 reviews, with an average score of 5.6/10. The site's consensus reads, "Angelina Jolie's magnetic performance outshines Maleficent's dazzling special effects; unfortunately, the movie around them fails to justify all that impressive effort."[70] On Metacritic, the film has a rating of 56 out of 100, based on 44 critics, indicating "mixed or average reviews".[71] CinemaScore gave the film an "A" rating on an A+ to F scale, based on polls conducted among audiences on its opening Friday.[72][73]

Kate Taylor of The Globe and Mail was very positive about the film, writing that "[it] surprises not for its baroque visions of a colourful woodland enlivened by joyous fairies and a forbidding castle peopled by unhappy humans, but rather for the thematic richness of its story gloriously personified by Angelina Jolie in the title role." While criticizing the overuse of CGI and 3D effects, she particularly praised the positive message of the film and Jolie's performance. She concluded her review that "Long live the feminist revisionist backstory."[74] On the contrary, Keith Staskiewicz, writing for the Entertainment Weekly, awarded the film a "B-" and wrote that "there's a lot of levitating cliffs and odd flora. But despite their bleeding-edge digital design, the backgrounds have all the depth of the old matte-painted backgrounds of the analog days," which made the film "[feel] classical in nature." She further commented that "The characters are boiled down to their essentials, the humor is timelessly broad."[75] Michael Philips of Chicago Tribune gave the film two and a half stars, commenting that the recent "formula" that "a new angle on a well-known fairy tale appears in the light" "works" with Maleficent. He also said that the film "is all about second thoughts", as Maleficent "spends much of the film as Aurora's conflicted fairy godmother." Phillips particularly praised Jolie and Elle Fanning's acting, Rick Baker's makeup (for Jolie's "angular, serrated look"), but criticized James Newton Howard's "sloshy, pushy" musical score.[76]

Angelina Jolie's performance in the film has been repeatedly singled out for praise by critics. Robbie Collin of The Telegraph wrote, "This Disney reimagining of Sleeping Beauty lacks true enchantment, but Angelina Jolie saves the day."[77] Betsy Sharkey of the Los Angeles Times gave the film a positive review, writing "This is Jolie's film because of the Maleficent she makes. Everyone else, even Aurora, fades in her presence."[78] Ann Hornaday of The Washington Post awarded the film three-and-a-half out of four stars, commenting that "Still, for all its limitations, "Maleficent" manages to be improbably entertaining to watch, due solely to its title character."[79] Writing for Roger Ebert's website, Matt Zoller Seitz awarded Maleficent three out of four stars, praising the themes of the film and the acting of Jolie. Seitz also called the scene in which Maleficent discovers the loss of her wings "the most traumatizing image I've seen in a Hollywood fairy tale since the Christ-like sacrifice of Aslan in 2005's The Chronicles of Narnia: The Lion, the Witch and the Wardrobe."[80] The review on The Globe and Mail further explained that "in the simple context of a fairy tale, Jolie does make both the terrifying horned creature and her gradual awakening heartfelt," extolling the "emotional richness" behind her physical acts.[74] Richard Roeper of the Chicago Sun-Times felt more negatively, assigning it a D. Although Roeper praised the visuals, he criticized the acting and writing, stating that "the story itself might well put you into the same type of coma that befalls the heroine."[81]

Themes

Multiple reviewers note that an early scene in the movie, where King Stefan drugs Maleficent and removes her wings from her unconscious body, is a metaphor for rape. Hayley Krischner of The Huffington Post interpreted the scene as an important reference to rape culture: "This is the horrific side of rape culture. We're so enmeshed in it that it's impossible to ignore a metaphoric rape that occurs in a Disney movie." She goes on to praise the film for giving a positive and hopeful message to rape victims, ultimately allowing "the woman to recover. It gives her agency. It gives her power. It allows her to reclaim the story."[82] Monika Bartyzel of The Week noted the scene's implications in her review: "In its first act, Maleficent offers a dark, surprisingly adult exploration of rape and female mutilation." However, Bartyzel, goes onto to opine that the film portrays Maleficent's actions as "a rape revenge fantasy" and criticized the film for not following through on its early subtext, ultimately calling it less feminist and reductive compared to its 1959 counterpart: "In Maleficent, Aurora is the product of a cold and loveless marriage and a vengeful, unhinged rapist. Her safety relies on a trio of clueless and dangerously careless fairies, and her Godmother is the woman who cursed her--and who had, in turn, been violated by her own father."[83] Angelina Jolie addressed the issue during an interview with BBC Radio, claiming the subtext was intentional: "We were conscious of it...The core of it is abuse, and how the abused have a choice of abusing others or overcoming...What could make a woman become so dark? To lose all sense of her maternity, her womanhood, and her softness?"[84]

Jordan Shapiro of Forbes noted that the scene was symbolic of rape, however, he points out the film's main point is the detrimental effects of ultimatums between capitalist and socialist societies. He points out the Moors represent a socialist, nature-oriented, democratic society while the neighboring human kingdom is one of capitalism, industry, and monarchy. He notes the film vilifies the American Dream through the character of Stefan and his theft of the Moors' natural treasures early in the movie which eventually leads to the mutilation of Maleficent for the sake of his ambition. He claims this turn of events shows the cycle of oppression that exists in capitalist economies: "This is why, without her wings, Maleficent becomes an oppressive ruler of the Moors. She's robbed of her ability to fly...Everything she represents, believes, and stands for has been grounded. Like most victims of oppression, she responds in kind. She takes it out on those who are smaller and weaker than she." He concludes that through the merge of the two kingdoms at the end of the film, it seeks to weave together capitalism and socialism instead of pitting them against each other: "It is time to leave the kingdom of familiar partisan oppositions: let's replace either/or with neither/nor or both/and."[85]

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