Disney’s Froggy Dilemma
According to the New York Times , “With the stakes high, many studio executives worry that films that focus on African-American themes risk being too narrow in their appeal to justify the investment. Hollywood has nonetheless shown a willingness in recent years to bank more heavily on African-American actors and themes.” It goes on to say that “perhaps the ultimate indication that the color barrier is breaking down in Hollywood is the Walt Disney Company’s decision to introduce an African-American princess — its first — to sit beside Snow White and Cinderella.” While that is a step forward, production of The Princess and the Frog has been hounded by critics who have opposed everything from the characters’ names and ethnicities, to the main characters’ occupation, on the grounds that they present African-Americans in a stereotypical light.
It may require an extensive psychological analysis to understand why Disney feels the need to present the story in some historical and cultural context, rather than just allow Tiana to wander about in the land of Cinderella or Snow White. But, of course, this is the entertainment business, so we all assume that the company is driven more by potential sales than a desire to true to culture or tradition. Joe Pichirallo, who has more film business experience than I do, said, “The bottom line is that the major studios want assurances that film projects have the potential to attract a significant white audience,” according to the Times. Joe’s comment was in regards to the overall picture, from conceptualization to distribution.
However, even if Disney had decided to place the Princess and the Frog in a traditional fairytale — rather than historical — context, I believe sales would still be driven mainly by three things: 1) Disney fans who will see a Disney animated film just because it’s a Disney animated film 2) curious moviegoers anxious to see how the mouse will pull off transforming a relatively obscure fairy tale into a Christmas blockbuster with (quite) a few strokes of brown paint 3) Others who are genuinely excited at the prospect of seeing a black princess represented in a movie by the most well-respected and successful family entertainment company in the world.
But, whether or not excitement or curiosity or loyalty translate into mega-sales for the mouse, the fact is that Disney has a reputation to uphold. Disney animation is not seen by most as a pioneer for diversity. However, the brand is seen as tasteful, fun, and family-oriented. And Disney is, understandably, protective of that image. Those at the company who are paid to think of such things are most likely aware that one unintentionally offensive misstep could turn one of the most anticipated films of 2009 into the most scrutinized.
Disney’s Song of the South received much criticism for its portrayal of the black character Uncle Remus (who is not seen as such a beloved figure in some circles, regardless). Consequently, the company eventually ceased distribution of the video, making it the most sought-after VHS tape on Ebay (No, I have no proof.) To this day, the debate continues as to whether “Zippi Dee Doo Dah” has racial undertones.
Oh, there will definitely be scrutiny. But some in the audience would be more likely to forgive the producers for a positive embellishment of history than for completely ignoring the a black princess’s assumed heritage altogether. But without historical or cultural context, Princess Tiana can be anything or anyone. She does not have to be a black princess. She can be a princess who happens to be black. I think that most people will be able to appreciate Tiana as a princess in the context of imagination. That would eliminate, at least, any unforeseen issues that come as a result of a half-hearted commitment to cultural authenticity.
That is not to say that culture is a bad thing for a Disney film, or that it ruins the story. As with Mulan and Aladdin, the cultural aspect of an animated film can be an integral part of the film. Aladdin is actually a Middle-Eastern tale and Mulan does have Chinese origins. And if a Disney animated film were set in Africa, the atmosphere would be ripe for a traditional African tale. The difference is that the Frog Prince is known as a German tale, so The Princess and the Frog, set in New Orleans, is “out of context,” so to speak.
But, perhaps the people who get paid to think about these things are aware that a little too much caution may be essential in this first attempt at engaging its audience in with story of a black princess. And, if that effort is met with more enthusiasm and praise than animosity, their efforts will not have been in vain.
