by NEVIL GIBSON
The enduring Grimm brothers’ fairytales contain universal themes that have continued to attract filmmakers over many decades.
The Snow White story, with its wicked stepmother, poisoned apples and a Prince Charming, is resonant with life’s obligations, the ephemeral nature of beauty and the possibility of resurrection.

Some sources say the story is based on a real-life 18th century German noblewoman whose father remarried, effectively disinheriting her.
The first recorded film version of Snow White was in 1916, while the best known is Walt Disney’s 1937 animated feature. Others have included horror and comedy versions. They show no sign of abating, either.
Earlier this year, Mirror Mirror starred Julia Roberts in a lighthearted retelling while the latest, Snow White and the Huntsman (Universal) is a big-budget adaptation that draws heavily on the popularity of the TV fantasy show The Game of Thrones, and eve n The Lord of the Rings trilogy.
The plot retains most of the basic themes, but with some important differences. For example, one critic has pointed out an additional eighth dwarf who helps save Snow White during her period of suspension from life under Queen Ravenna’s spell.
The major change is the conversion of Snow White’s love interest from a Prince Charming to a huntsman, while her brother becomes the dashing prince.
Queen Ravenna (Charlize Theron) makes her murderous appearance at the outset as she dispatches the king on the marriage bed.
Theron relishes roles in which her appearance can go from beauty to ugly and back (Monster, Young Adult and even Prometheus). Apart from some clunky screenwriting, which she covers with bouts of hysteria, Theron carries the film with the help of ravishing costumes and special effects.
She sucks life from everything about her to fulfil her desire for immortality, while also revealing the shocking alternative when the instant ageing ravages her physical being.
Chris Hemsworth (Thor, The Avengers) is equally impressive with the only nuanced character. He reluctantly carries out the queen’s order to capture Snow White in the Dark Forest, but instead turns into her protector. His personal weaknesses come to the fore and even Snow White nags about his liking for alcohol — “Do you drink to drown your sorrows, or your conscience?”
It is one of the few lines that give any gravitas to Snow White, who is played with uncharacteristic woodenness for a major star by Kristen Stewart. She is as lacking in charisma here as her Twilight co-star Robert Pattinson is in Bel Ami (see Clips).
Fortunately, Sam Spruell comes to the rescue as the queen’s brother, Finn, who provides enough malevolence for the rest of the cast put together.
Finn’s failure to recapture Snow White naturally raises the ire of his sister, but he keeps at the task until the spectacular denouement in the queen’s castle, as Snow White stages her comeback supported by an army of horsemen.
This attack is engineered by the dwarfs, who are played with dazzling trickery by well-known actors such as Bob Hoskins and Ray Winstone.
The real stars, however, are the technical crew and the landscape, which has as much impact as it did in The Lord of the Rings films.
Director Rupert Sanders, making his first feature, is backed up by production designer Dominic Watkins, cinematographer Greig Fraser and the costume designer Colleen Atwood — all of whom deserve to collect Oscars.
Mature audiences; 127 minutes.