Малефисента сценарий фильма

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Maleficent is a 2014 American dark fantasy adventure film directed by Robert Stromberg from a screenplay by Linda Woolverton. The film stars Angelina Jolie as the title character, with Sharlto Copley, Elle Fanning, Sam Riley, Imelda Staunton, Juno Temple and Lesley Manville in supporting roles. Loosely inspired by Charles Perrault‘s original fairy tale, the film is a live-action adaptation of Walt Disney’s 1959 animated film Sleeping Beauty, and portrays the story from the perspective of the eponymous antagonist, depicting her conflicted relationship with the king and princess of a corrupt kingdom.^[3]

Walt Disney Pictures announced the film’s development in 2010, with Joe Roth as producer and Jolie, Don Hahn, and Michael Vieira as executive producers. Principal photography took place between June and October 2012. A special screening for the film took place at Kensington Palace in London on May 9, 2014.^[4]

Maleficent premiered at the El Capitan Theatre in Hollywood on May 28, 2014, and was released in the United Kingdom that same day. The film was released in the United States on May 30, 2014 in the Disney Digital 3D, RealD 3D and IMAX 3D formats, as well as in conventional theaters. The film received mixed reviews from critics, earning praise for Jolie’s performance, the costumes, visual effects and musical score, while criticism was aimed at the script and some inconsistencies in tone. Maleficent was a commercial success, grossing over $758 million worldwide, and became the fourth-highest-grossing film of 2014 as well as the highest-grossing film starring Jolie. The film received an Academy Award nomination for Best Costume Design at the 87th Academy Awards. A sequel, Maleficent: Mistress of Evil, was released in 2019.

Plot[]

Maleficent is a powerful fairy living in the Moors, a magical forest realm bordering a human kingdom. As a young girl, Maleficent meets and falls in love with a human peasant boy named Stefan. On Maleficent’s 16th birthday, he gives her what he calls a true love’s kiss, but that was not to be. His love is overshadowed by ambition, and as they grow older, the two grow apart and Maleficent becomes protector of the Moors.

When King Henry tries to conquer the Moors, Maleficent mortally wounds him, forcing his retreat. As he lies dying, he declares that whoever kills Maleficent will be named his successor and marry his daughter. Stefan visits Maleficent in the Moors, and drugs her, but is unable to bring himself to kill her. Instead, he severs her wings using iron, which is lethal to fairies, and presents them to the king. Devastated by Stefan’s betrayal, Maleficent turns the Moors into a dark kingdom and transforms a raven named Diaval to serve her after saving his life.

After some time, Diaval informs Maleficent that King Stefan’s newborn daughter, Aurora, is being christened. Vengeful, Maleficent arrives uninvited and curses the infant princess; on her 16th birthday, she will prick her finger on a spinning wheel spindle and fall into a permanent sleep. Maleficent mocks Stefan’s plea for mercy, but offers an antidote; the curse can be broken by true love’s kiss, which Maleficent and Stefan believe is nonexistent.

Stefan sends Aurora away to live with three pixies — Knotgrass, Thistlewit, and Flittle — to protect her until the day after her 16th birthday. He destroys every spinning wheel in the kingdom and hides their remnants in the castle dungeon. Stefan sends his armies to find and kill Maleficent, but she surrounds the Moors with an impenetrable wall of thorns to protect herself and the Moors’ inhabitants from the soldiers. In trying to prevent the curse, Stefan slips into madness and paranoia, even neglecting to see his wife on her deathbed.

Maleficent finds the pixies and Aurora’s residence. As the years pass, Maleficent watches Aurora grow from afar and gradually begins to care for her when the bumbling and neglectful pixies fail to properly look after her. When Aurora is 15, she encounters Maleficent. Aware she is being watched over, Aurora believes Maleficent to be her «fairy godmother». Maleficent realizes that she cares for the girl and unsuccessfully attempts to undo the curse, but it is unbreakable other than by true love’s kiss. Meanwhile, in the forest, Aurora meets a young prince named Phillip, and the two are attracted to each other.

On the day before Aurora’s 16th birthday, Aurora tells Maleficent that she would like to live with her in the Moors. When Aurora returns to the cottage, the pixies inadvertently tell Aurora of her past and Maleficent’s true identity. Aurora runs to her father’s castle, upset that Maleficent had never told her about the curse.

To protect Aurora, Stefan locks her in a room while plotting to kill Maleficent, but the curse’s power draws Aurora to the dungeon. Aurora pricks her finger on a spindle and falls into a deep sleep, fulfilling the curse. Maleficent, intent on saving her, abducts Phillip and infiltrates Stefan’s castle. Phillip’s kiss fails to awaken Aurora. Finally regretting her past mistakes, Maleficent tearfully apologizes to Aurora and kisses her forehead. Aurora awakens, as Maleficent’s motherly feelings for her goddaughter count as true love.

As Maleficent and Aurora attempt to leave, Stefan and his guards ambush them. An iron net is dropped on Maleficent. Maleficent transforms Diaval into a dragon, who battles Stefan’s guards, but he is eventually captured, as well. Before Stefan delivers the fatal blow, Aurora finds Maleficent’s caged wings and releases them. They fly to Maleficent and reattach themselves. Maleficent carries Stefan to the top of the castle’s highest tower, but cannot bring herself to kill him. However, Stefan attacks Maleficent as she turns away, and they both plummet from the tower, entwined. Maleficent opens her wings and Stefan loses his grip, falling to his death.

In the end, Maleficent returns the Moors to its former glory, and gives away her position to Aurora who is crowned queen of the moors to unite the two kingdoms forever, Phillip also comes to live with them.

Cast[]

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• Angelina Jolie as Maleficent, a fairy and the former queen of the Moors. Maleficent is loosely based on the wicked fairy godmother from the original fairy tale, although the film depicts her (and also Stefan) as tragic rather than evil.
  • Isobelle Molloy as Young Maleficent.
  • Ella Purnell as Teen Maleficent.
• Sharlto Copley as Stefan,^[5] an old childhood friend of the Moors who takes Maleficent’s wings.
  • Michael Higgins as Young Stefan.
  • Jackson Bews as Teen Stefan.
• Elle Fanning as Aurora, the daughter of King Stefan.
  • Vivienne Jolie-Pitt as Aurora (5 years).
  • Eleanor Worthington Cox as Aurora (8 years).
• Sam Riley as Diaval, a raven that is given human form by Maleficent.^[5]
• Imelda Staunton as Knotgrass,^[5] a red fairy. Staunton portrayed her human form and provided motion-capture for her fairy form.
• Juno Temple as Thistlewit,^[6] a green fairy. Temple portrayed her human form and provided motion-capture for her fairy form.
• Lesley Manville as Flittle,^[5] a blue fairy. Manville portrayed her human form and provided motion-capture for her fairy form.
• Brenton Thwaites as Prince Phillip,^[7] a prince who befriends Aurora.
• Kenneth Cranham as King Henry,^[5][8] a king and Stefan’s predecessor, who tried to take over the Moors.
• Hannah New as Princess Leila, the daughter of King Henry and wife of Stefan.
• Janet McTeer as the Narrator, an elderly Aurora.

Production[]

Angelina Jolie had been attached to the project since March 2010, when Tim Burton, who had tentatively planned to direct, chose not to pursue it.^[9][10] Jolie’s desire to play this role stemmed from her love of the character when she was a little girl.^[11] Linda Woolverton was commissioned to write the script for the film.^[12] 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.^[13] Joe Roth, Don Hahn, and Richard D. Zanuck were hired as producers, although Zanuck died later that year.^[14] Roth said the film would not have been made if 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.»^[15] According to Hahn, the film was originally set to be animated, but was changed to a live-action feature after Jolie’s casting.^[16]

In March 2012, Elle Fanning was reported to be in talks for the role of Princess Aurora, the Sleeping Beauty.^[17][18] Her casting was officially announced in May 2012, along with Sharlto Copley as the male lead, King Stefan, Princess Aurora’s father, 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 that changes into human form and is Maleficent’s right hand; and Lesley Manville.^[5]

Director Stromberg highlighted the «wonderful» contrast between the two lead actresses, Elle Fanning and Angelina Jolie, calling the character of Aurora the «beacon of light» that he was looking forward to blending with the darkness of Maleficent.^[19]

Writing[]

Linda Woolverton’s screenplay went through at least 15 versions as the film progressed in the production.^[21] 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».^[22] In some earlier versions of the story, Stefan was the half-human, half-fairy bastard son of King Henry. The version of the screenplay that 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 their roles 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 15 minutes out of the first act, and then that had to be seamed together with some pretty basic reshoots.»^[23]

Stromberg later claimed in an interview that he employed an «age-old» emotional storytelling for the film and called it «the biggest thrill» against all technology advances.^[19] «And the way we play with that is we have somebody who’s perhaps in love but betrayed and doesn’t believe that true love exists. So the moral to it is we can all feel dark ourselves but not to lose hope because there is light in places where we might not be expecting», he explained.^[19]

Filming[]

Principal photography began on June 13, 2012.^[24] Some filming took place in the Buckinghamshire countryside near Turville.^[25]

Reshoots[]

John Lee Hancock assisted Stromberg with reshoots for the film. Hancock, who had just finished overseeing the final postproduction stages of Saving Mr. Banks, was approached by producer Joe Roth, with whom he 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 was the opening, which was reshot over eight days.»^[26]

Visual effects[]

As a previous production designer, Stromberg sought to balance the use of practical and computer-generated effects. For example, while Maleficent’s horns and facial prosthetics were created by makeup artist Rick Baker, Digital Domain took facial capture of Imelda Staunton, Lesley Manville, and Juno Temple for the three pixies to be generated with high authenticity with the help of special rigging by Disney Research in Zurich.^[19] For the visuals, Stromberg wanted to make it «a bit more grounded» and «not too surreal» because it could be distracting from the simplicity of the story.^[19] He also regretted not employing bigger sets and allowing actors to work in a more tangible environment, on «real sets with real lights».^[19]

Music[]

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James Newton Howard was hired to score the film in October 2012. Howard had previously scored films from Walt Disney Animation Studios including Dinosaur, Atlantis: The Lost Empire and Treasure Planet. ^[27] On January 23, 2014, recording artist Lana Del Rey was announced as covering the song «Once Upon a Dream«, from the 1959 film Sleeping Beauty, as the title song for Maleficent. The song «Once Upon a Dream» is based on the Grand Waltz from ballet Sleeping Beauty written by Russian composer Tchaikovsky.^[28][29]

The single was released on January 26, 2014 and was made available for free for a limited time through Google Play.^[30][31]

Track listing[]

Template:Track listing

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, 2014, due to Pixar’s The Good Dinosaur having production problems and delays.^[32] In the United Kingdom, the film was released on May 28, 2014.^[33]

On November 22, 2018, a one-time special screening of the film is held in Sofia, Bulgaria at New Bulgarian University, where Bulgarian actor Peter Baykov does the dubbing for every character in the film by changing his voice from male to female live. He later performs part of the film trailer live during the semi-finals on the Got Talent show in Bulgaria in 2019 which leads him to the season finale.^[34][35] He later gets cast by Walt Disney Studios to play the role of Prince Phillip in Bulgarian for Maleficent: Mistress of Evil.^[36]

In September 2020, the film returned to theaters in the United Kingdom following their reopening from closure due to the COVID-19 pandemic.

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 a 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 to hire her own 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.^[37][38]

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.^[39][40] 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.^[41] Two more trailers were released in January 2014, revealing Maleficent’s appearance. A third trailer featured Lana Del Rey singing «Once Upon a Dream».^[42] The final trailer was released on March 18, 2014.^[43]

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.^[44] Disney Infinity 2.0 featured Maleficent as a playable figure using the look from the film.

Novelization[]

A tie-in novelization of the film written by Elizabeth Rudnick was published by Disney Publishing Worldwide on April 29, 2014.^[45]

Home media[]

Maleficent was released by Walt Disney Studios Home Entertainment on Blu-ray, DVD, Blu-ray 3D, and digital download on November 4, 2014.^[46] The film topped the home-video sales chart in its first week of release.^[47] Template:As of, Maleficent has made over $74 million in total home-video sales.^[48] Maleficent was released on 4K UHD Blu-ray on September 24, 2019.^[49]

Reception[]

Box office[]

Maleficent earned a gross of $241.4 million in the US and Canada, and $517.1 million in other countries, for a worldwide total of $758.5 million against a budget of $180 million.^[1] Calculating in all expenses, Deadline Hollywood estimated that the film made a profit of $190.77 million, making it the sixth most profitable film of 2014.^[50] Worldwide, in its opening weekend, the film earned $175.5 million,^[51][52] $9 million of which were from IMAX locations.^[53] It is also the biggest debut among films starring Angelina Jolie,^[53] and the actress’ highest-grossing film of all time worldwide,^[54][55] as well as the fourth-highest grossing 2014 film (behind Transformers: Age of Extinction, The Hobbit: The Battle of the Five Armies, and Guardians of the Galaxy), and the 15th Disney-distributed film to surpass the $700 million mark at the worldwide box office.^[56] The film is also one of four Walt Disney Studios releases in 2014 to gross over $500 million; the other titles being Guardians of the Galaxy, Captain America: The Winter Soldier, and Big Hero 6.^[57]

In North America, Maleficent earned $4.2 million in Thursday-night showings, surpassing the midnight or late-night grosses of previous live-action fantasy films, Alice in Wonderland, Oz the Great and Powerful^[58][59] and Snow White and the Huntsman. By the end of its opening day (including late-night Thursday earnings), the film earned $24.3 million, similar to Oz, but ahead of Snow White and the Huntsman and behind Alice.^[60] Maleficent finished its debut weekend at first place with $69.4 million^[51] ($6.7 million of which was earned from IMAX locations and 35% of which was earned from 3D showings),^[61][62] which exceeded Disney’s expectations of a $60 million opening^[63] and making it the largest opening-weekend performance for a live-action film starring Jolie (a record previously held by her 2008 film Wanted),^[61] as well as the third-highest opening weekend for a solo female star (behind the first two films in The Hunger Games series).^[64] Disney reported that 46% of ticket buyers in Thursday previews were male,^[58] while weekend reports said family audiences accounted for 45% of the film’s total audience, and couples and teens accounted for 38% and 18%, respectively.^[61][63] Female audiences and moviegoers over 25 years old held respective proportions of 60% and 51%.^[61] Dave Hollis, head of Walt Disney Studios Motion Pictures, attributed this success to «some momentum and great word-of-mouth.»^[63] During its first week, the film earned $93.8 million, ahead of Snow White yet behind Oz and Alice.^[65] In its second weekend, Maleficent dropped by 50.6% to $34.3 million, finishing in second place.^[51] It experienced a smaller second-weekend drop than Snow White,^[66][67] yet still bigger than Oz and Alice.^[68] In North America, Maleficent is the eighth-highest-grossing 2014 film.^[69]

Maleficent opened outside North America on the same weekend as North America, earning $20.1 million from 35 territories in its first two days (May 28–29, 2014).^[70] During its opening weekend, the film topped the box office with $106.1 million from 47 territories.^[52] Its largest opening weekends were in China ($22.2 million),^[71] Mexico ($14.0 million), and Russia and the CIS ($13.0 million).^[53] On the second weekend of release, Maleficent fell to $61.7 million, earning from 52 markets.^[72][73] It was in first place at the box office outside North America on three weekends, its first, third ($39.2 million)^[74][75] and fourth ($47.9 million).^[76]

Maleficent is the fourth-highest grossing 2014 film,^[77] and Angelina Jolie’s highest-grossing live-action film.^[54] In total earnings, the film’s top markets after North America are Japan ($57.6 million), China ($47.7 million), Mexico ($46.2 million), Russia ($37.7 million), Brazil ($33.2 million), the United Kingdom ($31.7 million), Venezuela ($24.5 million), and Italy ($19.1 million).^[78] It was also the most watched film at the Maltese box office in 2014, enjoying an eighteen-week run.^[79]

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 such as X-Men: Days of Future Past, Godzilla, and A Million Ways to Die in the West,^[80] though it outperformed those films later on. 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.^[81] Todd Cunningham of The Wrap shared the same opinion, writing, «[the film’s] connecting with parents and that Jolie’s considerable star power is having a big impact.»^[82][83] 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.»^[84][85][86] 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.^[87] 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.»^[88] Box Office Mojo primarily compared the film with 2012’s Snow White and the Huntsman (another film that also focused on a fairy tale villain), predicting that Maleficent «has a good chance» of matching Snow WhiteTemplate:’s gross in North America box office.^[89] The film, however, ended up grossing double the amount projected.

Variety wrote that the film’s opening weekend outperforming initial box-office projections was later attributed by analysts in part to Disney’s successful marketing to the «potent demographic» (female audiences) much like the studio accomplished with Frozen, in which both films feature a strong female lead.^[90] Disney argued that a lack of family-friendly options in the marketplace would «bode well for MaleficentTemplate:’s [box-office] performance» in its two first weeks of release.^[90]

The cost of the film was offset by a rebate from the UK in the amount of £23,535,108 ($37 million in 2012, the period in which it was shot).^[91]

Critical response[]

On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 54% based on 272 reviews, with an average rating of 5.70/10. The website’s critical consensus reads: «Angelina Jolie’s magnetic performance outshines MaleficentTemplate:’s dazzling special effects; unfortunately, the movie around them fails to justify all that impressive effort.»^[92] On Metacritic, the film has a weighted average score of 56 out of 100 based on 44 critics, indicating «mixed or average reviews».^[93] Audiences polled by CinemaScore gave the film an «A» grade on a scale of A+ to F.^[94][95] Jolie’s performance in the film was repeatedly singled out for praise.

The New York Times stated, «with two shorn wings and an astonishing maternal kiss, Maleficent demolishes stereotypes that were only tweaked in Frozen.»^[96] 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 with, «Long live the feminist revisionist backstory.»^[97] 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.» He further commented that «The characters are boiled down to their essentials, the humor is timelessly broad.»^[98] Michael Philips of the 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.^[99] Robbie Collin of The Daily Telegraph wrote, «This Disney reimagining of Sleeping Beauty lacks true enchantment, but Angelina Jolie saves the day.»^[100] 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.»^[101] J.C. Maçek III of PopMatters wrote, «Even at its silliest, Maleficent is a well-acted film, with Sharlto Copley turning in a memorable performance and Elle Fanning proving to be an inspired choice for Aurora/Sleeping Beauty. Jolie manages to steal her own show in most every scene. Jolie is excellent as the hopeful fairy, enjoying the world she flies through. She is also brilliant as the Dark Lady, who could be a perfect counterpart to any Darth Vader, as she malevolently takes her revenge on those who have wronged her.»^[102]

Ann Hornaday of The Washington Post awarded the film three-and-a-half out of four stars, commenting, «Still, for all its limitations, Maleficent manages to be improbably entertaining to watch, due solely to its title character.»^[103] 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.»^[104] The review in 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.^[97] 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.»^[105] However, some such as Stella Morabito of The Federalist, criticized the film for its negative portrayal of men. According to Morabito, «Maleficent lacks a single complex male character». Morabito also criticized the film for portraying Maleficent as a hero.^[106]

Mary Costa, who voiced Aurora in the 1959 animated motion picture, called the film, «a very good movie». She added that «the concept and perspective are totally different than the original film’s, which makes it new and interesting.» As for Jolie’s performance, she said, «No one could have played the part of Maleficent better,» concluding that «she was absolutely magnificent!»^[107]

Accolades[]

Themes[]

Rape allegory[]

Multiple reviewers and commentators have opined that an early scene in the movie, in which 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 went 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».^[118] 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 went on to opine that the film portrayed 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».^[119]

Angelina Jolie addressed the issue during an interview with BBC Radio 4 on the Woman’s Hour programme and claimed that the subtext was intentional: «The question was asked: ‘What could make a woman become so dark and lose all sense of her maternity, her womanhood, and her softness?’ … We were very conscious, the writer and I, that [the scene] was a metaphor for rape». She further explained that the answer to the question «What could bring her back?» was still «an extreme Disney, fun version [of the story]», but «at the core it is abuse, and how the abused then have a choice of abusing others or overcoming and remaining loving, open people».^[120][121]

Capitalism and socialism[]

Jordan Shapiro of Forbes argued that the film’s main subtext was the detrimental effects of ultimata between capitalist and socialist societies. He pointed out that the Moors represented a socialist, nature-oriented, democratic society, while the human kingdom was one of capitalism, industry, and absolute monarchy. Shapiro further commented that the character of Stefan, his theft of the Moors’ riches (the jewel), and his mutilation of Maleficent’s wings for the sake of his ambition were references to the American Dream.

He conceived the wing-tearing scene as «a social commentary that any hierarchical rise to power inherently happens through the exploitation of others», explaining that it was the reason why «without her wings, Maleficent also becomes an oppressive ruler of the Moors. Everything she represents, believes, and stands for has been grounded», and «like most victims of oppression», «she takes it out on those who are smaller and weaker». He concluded that through the merge of the two kingdoms at the end of the film, it sought to weave together capitalism and socialism and let go oppositions: «It is time to leave the kingdom of familiar partisan oppositions: let’s replace either/or with neither/nor or both/and«.^[122]

Sequel[]

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On June 3, 2014, Angelina Jolie hinted about the possibility of a sequel.^[123] On June 15, 2015, Disney announced the sequel with Linda Woolverton returning to write the screenplay and Joe Roth to produce the film.^[124] On April 26, 2016, it was confirmed that Jolie would reprise her role as Maleficent.^[125] On August 30, 2017, Disney hired screenwriter Jez Butterworth to rewrite the initial script by Woolverton.^[126] On October 3, 2017, it was reported that Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales) is in talks on directing the sequel.^[127]

In January 2018, the sequel was reported to start filming in spring 2018,^[128] and that Patrick Tatopoulos had joined the crew as production designer.^[129] In April 2018, Ed Skrein was announced to play the film’s villain, and that Elle Fanning was set to reprise her role as Aurora.^[130]

On April 27, 2018, it was reported that Michelle Pfeiffer was in advanced talks to play a queen in the sequel, while the script’s most recent draft was written by Noah Harpster and Micah Fitzerman-Blue.^[131] On May 2, 2018, it was reported that Harris Dickinson had joined the cast as Prince Phillip, replacing Brenton Thwaites, who was unable to reprise the role due to scheduling conflicts.^[132] On May 4, 2018, it was announced that Chiwetel Ejiofor (who previously worked with Jolie in Salt), was in talks to join the cast of the sequel as a potential love interest to Maleficent.^[133] On May 17, 2018, Jenn Murray was announced to join the cast.^[134]

On May 23, 2018, David Gyasi was reported as joining the cast in an unspecified role.^[135] On May 29, the movie officially started filming as the cast and synopsis were revealed.^[136]

Principal photography concluded on August 24, 2018.^[137] The film was released on October 18, 2019.^[138]

References[]

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External links[]

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Maleficent is a 2014 American dark fantasy adventure film directed by Robert Stromberg from a screenplay by Linda Woolverton. The film stars Angelina Jolie as the title character, with Sharlto Copley, Elle Fanning, Sam Riley, Imelda Staunton, Juno Temple and Lesley Manville in supporting roles. Loosely inspired by Charles Perrault‘s original fairy tale, the film is a live-action adaptation of Walt Disney’s 1959 animated film Sleeping Beauty, and portrays the story from the perspective of the eponymous antagonist, depicting her conflicted relationship with the king and princess of a corrupt kingdom.^[3]

Walt Disney Pictures announced the film’s development in 2010, with Joe Roth as producer and Jolie, Don Hahn, and Michael Vieira as executive producers. Principal photography took place between June and October 2012. A special screening for the film took place at Kensington Palace in London on May 9, 2014.^[4]

Maleficent premiered at the El Capitan Theatre in Hollywood on May 28, 2014, and was released in the United Kingdom that same day. The film was released in the United States on May 30, 2014 in the Disney Digital 3D, RealD 3D and IMAX 3D formats, as well as in conventional theaters. The film received mixed reviews from critics, earning praise for Jolie’s performance, the costumes, visual effects and musical score, while criticism was aimed at the script and some inconsistencies in tone. Maleficent was a commercial success, grossing over $758 million worldwide, and became the fourth-highest-grossing film of 2014 as well as the highest-grossing film starring Jolie. The film received an Academy Award nomination for Best Costume Design at the 87th Academy Awards. A sequel, Maleficent: Mistress of Evil, was released in 2019.

Plot[]

Maleficent is a powerful fairy living in the Moors, a magical forest realm bordering a human kingdom. As a young girl, Maleficent meets and falls in love with a human peasant boy named Stefan. On Maleficent’s 16th birthday, he gives her what he calls a true love’s kiss, but that was not to be. His love is overshadowed by ambition, and as they grow older, the two grow apart and Maleficent becomes protector of the Moors.

When King Henry tries to conquer the Moors, Maleficent mortally wounds him, forcing his retreat. As he lies dying, he declares that whoever kills Maleficent will be named his successor and marry his daughter. Stefan visits Maleficent in the Moors, and drugs her, but is unable to bring himself to kill her. Instead, he severs her wings using iron, which is lethal to fairies, and presents them to the king. Devastated by Stefan’s betrayal, Maleficent turns the Moors into a dark kingdom and transforms a raven named Diaval to serve her after saving his life.

After some time, Diaval informs Maleficent that King Stefan’s newborn daughter, Aurora, is being christened. Vengeful, Maleficent arrives uninvited and curses the infant princess; on her 16th birthday, she will prick her finger on a spinning wheel spindle and fall into a permanent sleep. Maleficent mocks Stefan’s plea for mercy, but offers an antidote; the curse can be broken by true love’s kiss, which Maleficent and Stefan believe is nonexistent.

Stefan sends Aurora away to live with three pixies — Knotgrass, Thistlewit, and Flittle — to protect her until the day after her 16th birthday. He destroys every spinning wheel in the kingdom and hides their remnants in the castle dungeon. Stefan sends his armies to find and kill Maleficent, but she surrounds the Moors with an impenetrable wall of thorns to protect herself and the Moors’ inhabitants from the soldiers. In trying to prevent the curse, Stefan slips into madness and paranoia, even neglecting to see his wife on her deathbed.

Maleficent finds the pixies and Aurora’s residence. As the years pass, Maleficent watches Aurora grow from afar and gradually begins to care for her when the bumbling and neglectful pixies fail to properly look after her. When Aurora is 15, she encounters Maleficent. Aware she is being watched over, Aurora believes Maleficent to be her «fairy godmother». Maleficent realizes that she cares for the girl and unsuccessfully attempts to undo the curse, but it is unbreakable other than by true love’s kiss. Meanwhile, in the forest, Aurora meets a young prince named Phillip, and the two are attracted to each other.

On the day before Aurora’s 16th birthday, Aurora tells Maleficent that she would like to live with her in the Moors. When Aurora returns to the cottage, the pixies inadvertently tell Aurora of her past and Maleficent’s true identity. Aurora runs to her father’s castle, upset that Maleficent had never told her about the curse.

To protect Aurora, Stefan locks her in a room while plotting to kill Maleficent, but the curse’s power draws Aurora to the dungeon. Aurora pricks her finger on a spindle and falls into a deep sleep, fulfilling the curse. Maleficent, intent on saving her, abducts Phillip and infiltrates Stefan’s castle. Phillip’s kiss fails to awaken Aurora. Finally regretting her past mistakes, Maleficent tearfully apologizes to Aurora and kisses her forehead. Aurora awakens, as Maleficent’s motherly feelings for her goddaughter count as true love.

As Maleficent and Aurora attempt to leave, Stefan and his guards ambush them. An iron net is dropped on Maleficent. Maleficent transforms Diaval into a dragon, who battles Stefan’s guards, but he is eventually captured, as well. Before Stefan delivers the fatal blow, Aurora finds Maleficent’s caged wings and releases them. They fly to Maleficent and reattach themselves. Maleficent carries Stefan to the top of the castle’s highest tower, but cannot bring herself to kill him. However, Stefan attacks Maleficent as she turns away, and they both plummet from the tower, entwined. Maleficent opens her wings and Stefan loses his grip, falling to his death.

In the end, Maleficent returns the Moors to its former glory, and gives away her position to Aurora who is crowned queen of the moors to unite the two kingdoms forever, Phillip also comes to live with them.

Cast[]

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• Angelina Jolie as Maleficent, a fairy and the former queen of the Moors. Maleficent is loosely based on the wicked fairy godmother from the original fairy tale, although the film depicts her (and also Stefan) as tragic rather than evil.
  • Isobelle Molloy as Young Maleficent.
  • Ella Purnell as Teen Maleficent.
• Sharlto Copley as Stefan,^[5] an old childhood friend of the Moors who takes Maleficent’s wings.
  • Michael Higgins as Young Stefan.
  • Jackson Bews as Teen Stefan.
• Elle Fanning as Aurora, the daughter of King Stefan.
  • Vivienne Jolie-Pitt as Aurora (5 years).
  • Eleanor Worthington Cox as Aurora (8 years).
• Sam Riley as Diaval, a raven that is given human form by Maleficent.^[5]
• Imelda Staunton as Knotgrass,^[5] a red fairy. Staunton portrayed her human form and provided motion-capture for her fairy form.
• Juno Temple as Thistlewit,^[6] a green fairy. Temple portrayed her human form and provided motion-capture for her fairy form.
• Lesley Manville as Flittle,^[5] a blue fairy. Manville portrayed her human form and provided motion-capture for her fairy form.
• Brenton Thwaites as Prince Phillip,^[7] a prince who befriends Aurora.
• Kenneth Cranham as King Henry,^[5][8] a king and Stefan’s predecessor, who tried to take over the Moors.
• Hannah New as Princess Leila, the daughter of King Henry and wife of Stefan.
• Janet McTeer as the Narrator, an elderly Aurora.

Production[]

Angelina Jolie had been attached to the project since March 2010, when Tim Burton, who had tentatively planned to direct, chose not to pursue it.^[9][10] Jolie’s desire to play this role stemmed from her love of the character when she was a little girl.^[11] Linda Woolverton was commissioned to write the script for the film.^[12] 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.^[13] Joe Roth, Don Hahn, and Richard D. Zanuck were hired as producers, although Zanuck died later that year.^[14] Roth said the film would not have been made if 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.»^[15] According to Hahn, the film was originally set to be animated, but was changed to a live-action feature after Jolie’s casting.^[16]

In March 2012, Elle Fanning was reported to be in talks for the role of Princess Aurora, the Sleeping Beauty.^[17][18] Her casting was officially announced in May 2012, along with Sharlto Copley as the male lead, King Stefan, Princess Aurora’s father, 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 that changes into human form and is Maleficent’s right hand; and Lesley Manville.^[5]

Director Stromberg highlighted the «wonderful» contrast between the two lead actresses, Elle Fanning and Angelina Jolie, calling the character of Aurora the «beacon of light» that he was looking forward to blending with the darkness of Maleficent.^[19]

Writing[]

Linda Woolverton’s screenplay went through at least 15 versions as the film progressed in the production.^[21] 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».^[22] In some earlier versions of the story, Stefan was the half-human, half-fairy bastard son of King Henry. The version of the screenplay that 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 their roles 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 15 minutes out of the first act, and then that had to be seamed together with some pretty basic reshoots.»^[23]

Stromberg later claimed in an interview that he employed an «age-old» emotional storytelling for the film and called it «the biggest thrill» against all technology advances.^[19] «And the way we play with that is we have somebody who’s perhaps in love but betrayed and doesn’t believe that true love exists. So the moral to it is we can all feel dark ourselves but not to lose hope because there is light in places where we might not be expecting», he explained.^[19]

Filming[]

Principal photography began on June 13, 2012.^[24] Some filming took place in the Buckinghamshire countryside near Turville.^[25]

Reshoots[]

John Lee Hancock assisted Stromberg with reshoots for the film. Hancock, who had just finished overseeing the final postproduction stages of Saving Mr. Banks, was approached by producer Joe Roth, with whom he 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 was the opening, which was reshot over eight days.»^[26]

Visual effects[]

As a previous production designer, Stromberg sought to balance the use of practical and computer-generated effects. For example, while Maleficent’s horns and facial prosthetics were created by makeup artist Rick Baker, Digital Domain took facial capture of Imelda Staunton, Lesley Manville, and Juno Temple for the three pixies to be generated with high authenticity with the help of special rigging by Disney Research in Zurich.^[19] For the visuals, Stromberg wanted to make it «a bit more grounded» and «not too surreal» because it could be distracting from the simplicity of the story.^[19] He also regretted not employing bigger sets and allowing actors to work in a more tangible environment, on «real sets with real lights».^[19]

Music[]

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James Newton Howard was hired to score the film in October 2012. Howard had previously scored films from Walt Disney Animation Studios including Dinosaur, Atlantis: The Lost Empire and Treasure Planet. ^[27] On January 23, 2014, recording artist Lana Del Rey was announced as covering the song «Once Upon a Dream«, from the 1959 film Sleeping Beauty, as the title song for Maleficent. The song «Once Upon a Dream» is based on the Grand Waltz from ballet Sleeping Beauty written by Russian composer Tchaikovsky.^[28][29]

The single was released on January 26, 2014 and was made available for free for a limited time through Google Play.^[30][31]

Track listing[]

Template:Track listing

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, 2014, due to Pixar’s The Good Dinosaur having production problems and delays.^[32] In the United Kingdom, the film was released on May 28, 2014.^[33]

On November 22, 2018, a one-time special screening of the film is held in Sofia, Bulgaria at New Bulgarian University, where Bulgarian actor Peter Baykov does the dubbing for every character in the film by changing his voice from male to female live. He later performs part of the film trailer live during the semi-finals on the Got Talent show in Bulgaria in 2019 which leads him to the season finale.^[34][35] He later gets cast by Walt Disney Studios to play the role of Prince Phillip in Bulgarian for Maleficent: Mistress of Evil.^[36]

In September 2020, the film returned to theaters in the United Kingdom following their reopening from closure due to the COVID-19 pandemic.

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 a 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 to hire her own 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.^[37][38]

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.^[39][40] 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.^[41] Two more trailers were released in January 2014, revealing Maleficent’s appearance. A third trailer featured Lana Del Rey singing «Once Upon a Dream».^[42] The final trailer was released on March 18, 2014.^[43]

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.^[44] Disney Infinity 2.0 featured Maleficent as a playable figure using the look from the film.

Novelization[]

A tie-in novelization of the film written by Elizabeth Rudnick was published by Disney Publishing Worldwide on April 29, 2014.^[45]

Home media[]

Maleficent was released by Walt Disney Studios Home Entertainment on Blu-ray, DVD, Blu-ray 3D, and digital download on November 4, 2014.^[46] The film topped the home-video sales chart in its first week of release.^[47] Template:As of, Maleficent has made over $74 million in total home-video sales.^[48] Maleficent was released on 4K UHD Blu-ray on September 24, 2019.^[49]

Reception[]

Box office[]

Maleficent earned a gross of $241.4 million in the US and Canada, and $517.1 million in other countries, for a worldwide total of $758.5 million against a budget of $180 million.^[1] Calculating in all expenses, Deadline Hollywood estimated that the film made a profit of $190.77 million, making it the sixth most profitable film of 2014.^[50] Worldwide, in its opening weekend, the film earned $175.5 million,^[51][52] $9 million of which were from IMAX locations.^[53] It is also the biggest debut among films starring Angelina Jolie,^[53] and the actress’ highest-grossing film of all time worldwide,^[54][55] as well as the fourth-highest grossing 2014 film (behind Transformers: Age of Extinction, The Hobbit: The Battle of the Five Armies, and Guardians of the Galaxy), and the 15th Disney-distributed film to surpass the $700 million mark at the worldwide box office.^[56] The film is also one of four Walt Disney Studios releases in 2014 to gross over $500 million; the other titles being Guardians of the Galaxy, Captain America: The Winter Soldier, and Big Hero 6.^[57]

In North America, Maleficent earned $4.2 million in Thursday-night showings, surpassing the midnight or late-night grosses of previous live-action fantasy films, Alice in Wonderland, Oz the Great and Powerful^[58][59] and Snow White and the Huntsman. By the end of its opening day (including late-night Thursday earnings), the film earned $24.3 million, similar to Oz, but ahead of Snow White and the Huntsman and behind Alice.^[60] Maleficent finished its debut weekend at first place with $69.4 million^[51] ($6.7 million of which was earned from IMAX locations and 35% of which was earned from 3D showings),^[61][62] which exceeded Disney’s expectations of a $60 million opening^[63] and making it the largest opening-weekend performance for a live-action film starring Jolie (a record previously held by her 2008 film Wanted),^[61] as well as the third-highest opening weekend for a solo female star (behind the first two films in The Hunger Games series).^[64] Disney reported that 46% of ticket buyers in Thursday previews were male,^[58] while weekend reports said family audiences accounted for 45% of the film’s total audience, and couples and teens accounted for 38% and 18%, respectively.^[61][63] Female audiences and moviegoers over 25 years old held respective proportions of 60% and 51%.^[61] Dave Hollis, head of Walt Disney Studios Motion Pictures, attributed this success to «some momentum and great word-of-mouth.»^[63] During its first week, the film earned $93.8 million, ahead of Snow White yet behind Oz and Alice.^[65] In its second weekend, Maleficent dropped by 50.6% to $34.3 million, finishing in second place.^[51] It experienced a smaller second-weekend drop than Snow White,^[66][67] yet still bigger than Oz and Alice.^[68] In North America, Maleficent is the eighth-highest-grossing 2014 film.^[69]

Maleficent opened outside North America on the same weekend as North America, earning $20.1 million from 35 territories in its first two days (May 28–29, 2014).^[70] During its opening weekend, the film topped the box office with $106.1 million from 47 territories.^[52] Its largest opening weekends were in China ($22.2 million),^[71] Mexico ($14.0 million), and Russia and the CIS ($13.0 million).^[53] On the second weekend of release, Maleficent fell to $61.7 million, earning from 52 markets.^[72][73] It was in first place at the box office outside North America on three weekends, its first, third ($39.2 million)^[74][75] and fourth ($47.9 million).^[76]

Maleficent is the fourth-highest grossing 2014 film,^[77] and Angelina Jolie’s highest-grossing live-action film.^[54] In total earnings, the film’s top markets after North America are Japan ($57.6 million), China ($47.7 million), Mexico ($46.2 million), Russia ($37.7 million), Brazil ($33.2 million), the United Kingdom ($31.7 million), Venezuela ($24.5 million), and Italy ($19.1 million).^[78] It was also the most watched film at the Maltese box office in 2014, enjoying an eighteen-week run.^[79]

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 such as X-Men: Days of Future Past, Godzilla, and A Million Ways to Die in the West,^[80] though it outperformed those films later on. 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.^[81] Todd Cunningham of The Wrap shared the same opinion, writing, «[the film’s] connecting with parents and that Jolie’s considerable star power is having a big impact.»^[82][83] 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.»^[84][85][86] 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.^[87] 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.»^[88] Box Office Mojo primarily compared the film with 2012’s Snow White and the Huntsman (another film that also focused on a fairy tale villain), predicting that Maleficent «has a good chance» of matching Snow WhiteTemplate:’s gross in North America box office.^[89] The film, however, ended up grossing double the amount projected.

Variety wrote that the film’s opening weekend outperforming initial box-office projections was later attributed by analysts in part to Disney’s successful marketing to the «potent demographic» (female audiences) much like the studio accomplished with Frozen, in which both films feature a strong female lead.^[90] Disney argued that a lack of family-friendly options in the marketplace would «bode well for MaleficentTemplate:’s [box-office] performance» in its two first weeks of release.^[90]

The cost of the film was offset by a rebate from the UK in the amount of £23,535,108 ($37 million in 2012, the period in which it was shot).^[91]

Critical response[]

On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 54% based on 272 reviews, with an average rating of 5.70/10. The website’s critical consensus reads: «Angelina Jolie’s magnetic performance outshines MaleficentTemplate:’s dazzling special effects; unfortunately, the movie around them fails to justify all that impressive effort.»^[92] On Metacritic, the film has a weighted average score of 56 out of 100 based on 44 critics, indicating «mixed or average reviews».^[93] Audiences polled by CinemaScore gave the film an «A» grade on a scale of A+ to F.^[94][95] Jolie’s performance in the film was repeatedly singled out for praise.

The New York Times stated, «with two shorn wings and an astonishing maternal kiss, Maleficent demolishes stereotypes that were only tweaked in Frozen.»^[96] 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 with, «Long live the feminist revisionist backstory.»^[97] 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.» He further commented that «The characters are boiled down to their essentials, the humor is timelessly broad.»^[98] Michael Philips of the 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.^[99] Robbie Collin of The Daily Telegraph wrote, «This Disney reimagining of Sleeping Beauty lacks true enchantment, but Angelina Jolie saves the day.»^[100] 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.»^[101] J.C. Maçek III of PopMatters wrote, «Even at its silliest, Maleficent is a well-acted film, with Sharlto Copley turning in a memorable performance and Elle Fanning proving to be an inspired choice for Aurora/Sleeping Beauty. Jolie manages to steal her own show in most every scene. Jolie is excellent as the hopeful fairy, enjoying the world she flies through. She is also brilliant as the Dark Lady, who could be a perfect counterpart to any Darth Vader, as she malevolently takes her revenge on those who have wronged her.»^[102]

Ann Hornaday of The Washington Post awarded the film three-and-a-half out of four stars, commenting, «Still, for all its limitations, Maleficent manages to be improbably entertaining to watch, due solely to its title character.»^[103] 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.»^[104] The review in 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.^[97] 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.»^[105] However, some such as Stella Morabito of The Federalist, criticized the film for its negative portrayal of men. According to Morabito, «Maleficent lacks a single complex male character». Morabito also criticized the film for portraying Maleficent as a hero.^[106]

Mary Costa, who voiced Aurora in the 1959 animated motion picture, called the film, «a very good movie». She added that «the concept and perspective are totally different than the original film’s, which makes it new and interesting.» As for Jolie’s performance, she said, «No one could have played the part of Maleficent better,» concluding that «she was absolutely magnificent!»^[107]

Accolades[]

Themes[]

Rape allegory[]

Multiple reviewers and commentators have opined that an early scene in the movie, in which 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 went 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».^[118] 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 went on to opine that the film portrayed 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».^[119]

Angelina Jolie addressed the issue during an interview with BBC Radio 4 on the Woman’s Hour programme and claimed that the subtext was intentional: «The question was asked: ‘What could make a woman become so dark and lose all sense of her maternity, her womanhood, and her softness?’ … We were very conscious, the writer and I, that [the scene] was a metaphor for rape». She further explained that the answer to the question «What could bring her back?» was still «an extreme Disney, fun version [of the story]», but «at the core it is abuse, and how the abused then have a choice of abusing others or overcoming and remaining loving, open people».^[120][121]

Capitalism and socialism[]

Jordan Shapiro of Forbes argued that the film’s main subtext was the detrimental effects of ultimata between capitalist and socialist societies. He pointed out that the Moors represented a socialist, nature-oriented, democratic society, while the human kingdom was one of capitalism, industry, and absolute monarchy. Shapiro further commented that the character of Stefan, his theft of the Moors’ riches (the jewel), and his mutilation of Maleficent’s wings for the sake of his ambition were references to the American Dream.

He conceived the wing-tearing scene as «a social commentary that any hierarchical rise to power inherently happens through the exploitation of others», explaining that it was the reason why «without her wings, Maleficent also becomes an oppressive ruler of the Moors. Everything she represents, believes, and stands for has been grounded», and «like most victims of oppression», «she takes it out on those who are smaller and weaker». He concluded that through the merge of the two kingdoms at the end of the film, it sought to weave together capitalism and socialism and let go oppositions: «It is time to leave the kingdom of familiar partisan oppositions: let’s replace either/or with neither/nor or both/and«.^[122]

Sequel[]

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On June 3, 2014, Angelina Jolie hinted about the possibility of a sequel.^[123] On June 15, 2015, Disney announced the sequel with Linda Woolverton returning to write the screenplay and Joe Roth to produce the film.^[124] On April 26, 2016, it was confirmed that Jolie would reprise her role as Maleficent.^[125] On August 30, 2017, Disney hired screenwriter Jez Butterworth to rewrite the initial script by Woolverton.^[126] On October 3, 2017, it was reported that Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales) is in talks on directing the sequel.^[127]

In January 2018, the sequel was reported to start filming in spring 2018,^[128] and that Patrick Tatopoulos had joined the crew as production designer.^[129] In April 2018, Ed Skrein was announced to play the film’s villain, and that Elle Fanning was set to reprise her role as Aurora.^[130]

On April 27, 2018, it was reported that Michelle Pfeiffer was in advanced talks to play a queen in the sequel, while the script’s most recent draft was written by Noah Harpster and Micah Fitzerman-Blue.^[131] On May 2, 2018, it was reported that Harris Dickinson had joined the cast as Prince Phillip, replacing Brenton Thwaites, who was unable to reprise the role due to scheduling conflicts.^[132] On May 4, 2018, it was announced that Chiwetel Ejiofor (who previously worked with Jolie in Salt), was in talks to join the cast of the sequel as a potential love interest to Maleficent.^[133] On May 17, 2018, Jenn Murray was announced to join the cast.^[134]

On May 23, 2018, David Gyasi was reported as joining the cast in an unspecified role.^[135] On May 29, the movie officially started filming as the cast and synopsis were revealed.^[136]

Principal photography concluded on August 24, 2018.^[137] The film was released on October 18, 2019.^[138]

References[]

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External links[]

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Эта статья о художественном фильме 2014 года. О других значениях см. Малефисента.

«Малефисента» (англ. Maleficent) — американский фэнтезийный художественный фильм 2014 года режиссёра Роберта Стромберга, снятый по сценарию Линды Вулвертон. Он был создан киностудией Walt Disney Pictures в сотрудничестве с продюсерской компанией Roth Films, дистрибьютором выступила Walt Disney Studios Motion Pictures. Фильм является киноадаптацией полнометражного мультфильма 1959 года «Спящая красавица», в свою очередь, основанного на одноимённой сказке Шарля Перро, и пересказывает его сюжет с точки зрения одноимённой антагонистки. Заглавную роль сыграла актриса Анджелина Джоли, среди исполнителей ролей второго плана — Шарлто Копли, Эль Фэннинг, Сэм Райли, Имельда Стонтон, Джуно Темпл и Лесли Мэнвилл.

Идея создания «Малефисенты» зародилась в 2003 году, но фактическое производство стартовало не раньше 2010-го. Первоначально режиссёром должен был стать Тим Бёртон, который только закончил работу над «Алисой в Стране Чудес», но в связи с обязательствами перед другими фильмами он покинул проект, после чего режиссёрское кресло занял дебютант Стромберг, ранее также работавший над «Алисой» в качестве художника-постановщика. Джоли, которая рассматривалась как единственный кандидат на заглавную роль, подтвердила своё участие в феврале 2012 года и впоследствии также выступила в качестве исполнительного продюсера. Основной кастинг проходил в период с марта по май того же года, съёмки проходили в Лондоне на студии Pinewoods с июня по октябрь.

Мировая премьера «Малефисенты» состоялась 28 мая 2014 года в голливудском кинодворце Эль-Капитан. Прокат киноленты в США стартовал 30 мая, в России — днём ранее; она была выпущена в форматах Disney Digital 3D, RealD 3D и IMAX 3D. Фильм получил смешанные отзывы от кинокритиков и зрителей, которые оценили актёрскую игру Джоли, костюмы, визуальные эффекты и музыкальное сопровождение, но раскритиковали сценарий и непоследовательность тона. «Малефисента» имела коммерческий успех, собрав в мировом прокате более 758 млн долларов, что сделало её четвёртым самым кассовым фильмом 2014 года и самой кассовой кинолентой с участием Анджелины Джоли на сегодняшний день. Фильм также был номинирован на премию в категории «Лучший дизайн костюмов» на 87-й церемонии вручения премии «Оскар». В 2019 году было выпущено продолжение киноленты, получившее название «Малефисента: Владычица тьмы».

Синопсис

Юная волшебница Малефисента вела уединенную жизнь в зачарованном лесу, окруженная сказочными существами, но однажды все изменилось… В её мир вторглись люди, которые принесли с собой разрушение и хаос, и Малефисенте пришлось встать на защиту своих подданных, призвав на помощь могущественные тёмные силы. В пылу борьбы Малефисента наложила страшное заклятие на новорожденную дочь короля, прекрасную Аврору. Но, наблюдая за тем, как растет маленькая принцесса, Малефисента начинает сомневаться в правильности своего поступка — ведь, возможно, именно Аврора может вдохнуть новую жизнь в волшебное лесное царство.

Сюжет

С давних пор между двумя соседними королевствами существовала непримиримая вражда, искоренить которую было под силу только великому герою или великому злодею. Первым царством правил алчный и жестокий король Генри, чья зависть к богатствам соседских земель не давала ему покоя. Второе королевство, Топкие Болота, населяли многочисленные волшебные создания, которые совсем не нуждались в правителе, так как всегда доверяли и полагались друг на друга. Среди обитателей зачарованного царства особенно выделялась юная фея с рогами и огромными крыльями, которую звали Малефисента.

В один из дней на Болота пробирается юный крестьянин и крадёт из омута драгоценный камень, но тут же попадается на глаза дозорным. Новость о появлении чужака из вражеских земель вызывает беспокойство у местных обитателей, и Малефисента решает лично встретиться с воришкой. Юной фее удаётся убедить мальчика, который представляется ей Стефаном, вернуть краденное, после чего она провожает его до границы Болот. По дороге между детьми завязывается практически дружеская беседа, и через несколько недель Стефан возвращается, чтобы снова повидаться с Малефисентой. Вопреки вражде двух королевств, дети становятся близкими друзьями, а с годами их дружба перерастает в нечто большее, и на шестнадцатый день рождения Малефисенты Стефан дарит ей «первый поцелуй любви».

По прошествии ещё нескольких лет Стефан становится слугой во дворце короля Генри и перестаёт посещать Болота, а Малефисенте, как сильнейшей из фей, выпадает роль новой защитницы зачарованного королевства. Вскоре Болота подвергаются нападению со стороны короля Генри и его войска, но волшебным созданиям во главе с Малефисентой удаётся прогнать захватчиков восвояси. Во время битвы король оказывается смертельно ранен и, понимая, что его конец близок, даёт обещание отдать свой трон и дочь Лейлу тому, кто сможет в отместку за него расправиться с «крылатой нечистью». Желая воплотить в жизнь свои давние амбиции и занять королевский престол, Стефан решается на предательство и отправляется на Болота, где снова встречается с Малефисентой. Они проводят вместе весь вечер, как и в былые времена, пока Стефану не удаётся хитростью напоить подругу снотворным. Сначала юноша действительно намеревается убить фею, но в память об их дружбе отказывается от этой затеи и вместо этого отрезает её крылья, которые относит умирающему королю.

Создав себе посох для передвижения и опоры, подавленная и преданная Малефисента ненадолго покидает Болота и перебирается в расположенный неподалёку заброшенный замок. Через некоторое время она наталкивается на фермера, поймавшего ворона и собравшегося убить его. Сжалившись над птицей, Малефисента превращает её в человека. Когда фермер в ужасе убегает прочь, фея предстаёт перед «оборотнем», и тот, представившись ей Диавалем, в знак благодарности за спасённую жизнь соглашается стать её слугой. Малефисента принимает его предложение и сразу же поручает ему найти Стефана. Диаваль отправляется в королевский замок и там становится свидетелем провозглашения Стефана новым королём человеческого королевства и Лейлы его королевой. Когда он сообщает об этом Малефисенте, она осознаёт, зачем Стефан предал её, и приходит в дикую ярость. Сразу после этого она возвращается обратно на Болота и там провозглашает себя новой королевой всех фей и других волшебных созданий.

Вскоре у Стефана и Лейлы рождается ребёнок — девочка, которую они называют Авророй. В честь рождения дочери королевская чета устраивает крестины, на которые приглашают всё королевство. На праздник также заявляются три феи — Нотграсс, Флитл и Фислвит, желающие одарить новорождённую принцессу волшебными дарами. Нотграсс и Флитл дарят ей красоту и радость, соответственно, но прежде чем Фислвит успевает вручить свой подарок, в замок заявляется Малефисента. Желая отомстить Стефану за предательство, она накладывает заклятье на маленькую принцессу, согласно которому в день своего шестнадцатилетия Аврора уколет палец о веретено прялки и уснёт беспробудным сном, от которого она никогда не проснётся. Однако, когда Стефан буквально на коленях умоляет Малефисенту пощадить его дочь, она несколько смягчается и добавляет, что разрушить заклятье может только поцелуй любви. По возвращении на Болота Малефисента создаёт огромную терновую стену, чтобы раз и навсегда оградить своё королевство от любых людских посягательств. Стефан в это время приказывает сжечь все прялки в своём королевстве, а пепел спрятать в самом глубоком подземелье в замке. Он также тайно доверяет заботу о своей дочери трём феям, чтобы те ближайшие шестнадцать лет и ещё день берегли её, прячась глубоко в лесу. Там они поселяются в старой хижине и, превратив себя в людей, выдают себя за тётушек Авроры. А сам Стефан на долгие годы укрывается за стенами замка и начинает разрабатывать план по уничтожению Малефисенты и её заклятья.

На протяжении следующих нескольких лет Малефисента, узнавшая о местонахождении Авроры, наблюдает за тем, как растёт юная принцесса и, несмотря на свою неприязнь к маленькому «чудищу», с неохотой начинает заботиться о ней, так как феи оказываются совершенно неприспособленными к жизни в качестве людей. В это время Стефан становится настоящим параноиком, полностью помешанным на охоте на Малефисенту. Он заставляет своих кузнецов беспрерывно производить железные орудия, помня от том, что железо очень опасно для фей. К сожалению, королева Лейла тяжело заболевает и умирает, но Стефан оказывается настолько поглощённым своим желанием расправиться с бывшей подругой-феей, что не испытывает никакого горя по поводу смерти его жены. Проходит время, и Авроре исполняется пятнадцать лет, и тогда она впервые встречается лицом к лицу с Малефисентой, которую девушка всё это время считала своей «феей-крёстной». Малефисента позволяет Авроре посещать Топкие Болота, и девушка вскоре начинает практически ежедневно проводить там время. Очень скоро между ними возникают крепкие дружеские отношения, и Малефисента решает снять своё заклятье с Авроры, но у неё это не выходит, так как согласно заклятью никакая на свете сила не способна его разрушить, кроме поцелуя истинной любви.

За день до шестнадцатого дня рождения Авроры Малефисента, чтобы предотвратить свершение заклятья, предлагает девушке поселиться вместе с ней на Болотах, и та с радостью соглашается. На следующий день, гуляя по лесу, Аврора случайно встречает проезжающего мимо принца Филлипа, и они неожиданно влюбляются друг в друга с первого взгляда. За этой сценой тайком наблюдают Малефисента с Диавалем, и последний считает, что именно Филлип может снять заклятье, но Малефисента отказывается верить в это, так как продолжает считать, что истинной любви не существует. Вернувшись в хижину, Аврора говорит своим «тётушкам», что намерена покинуть их, и те тут же рассказывают девушке о её отце, наложенном на неё заклятии, а также о той, кто его наложил. Чувствуя себя преданной и обманутой, Аврора кричит Малефисенту, а затем в ярости отправляется в замок отца. Испытывая чувства вины и стыда, Малефисента понимает, что теперь единственной надеждой на спасение Авроры является только поцелуй истинной любви, и вместе с Диавалем она начинает искать Филлипа.

В это время Аврора предстаёт перед Стефаном, но тот, хотя и оказывается рад возвращению дочери после долгих шестнадцати лет, сразу же приходит в ярость, так как феи должны были привести её только на следующий день. Он приказывает запереть девушку в башне, в её покоях, а сам начинает готовиться к появлению Малефисенты. С приближением заката Аврора начинает испытывать на себе влияние мощи заклятья. Выбравшись из своей комнаты, она быстро находит подземелье, в котором хранились сожжённые остатки прялок. Тем временем Малефисента находит Филлипа и, на время погрузив принца в сон, отправляется с ним и Диавалем в замок Стефана, но прежде чем она успевает добраться до него, Аврора укалывает палец о веретено одной из уцелевших прялок и погружается в беспробудный сон. С наступлением ночи Малефисента и Диаваль вместе с Филлипом проникают в замок и приводят его к спящей Авроре. Спрятавшись в укрытии, они наблюдают за тем, как принц целует девушку, но, к сожалению, ничего не происходит, и принцесса продолжает спать. После того как три феи выталкивают Филлипа из покоев Авроры, отправляясь искать кого-нибудь другого, чтобы разбудить её, Малефисента выходит из укрытия и раскаивается перед спящей принцессой в своём проступке, объясняя его тем, что была ослеплена ненавистью и жаждой мести. В слезах Малефисента целует девушку в лоб, и прежде чем она успевает уйти, происходит чудо — Аврора просыпается. Тогда Малефисента, наконец, осознаёт, что возникшей у неё материнской любви по отношению к Авроре было достаточно, чтобы разрушить заклятье, которое она сама и наложила.

После этого троица пытается незаметно покинуть замок, но, проходя через тронный зал, они оказываются в ловушке: люди Стефана сбрасывают на Малефисенту железную сеть, и та сразу же ослабевает. Аврора пытается спасти её, но солдаты не дают девушке это сделать. Тогда Малефисента из последних сил превращает Диаваля в дракона, и тот помогает своей госпоже выбраться из ловушки, а Аврора убегает с места битвы и, случайно оказавшись в комнате её отца, обнаруживает крылья Малефисенты и освобождает их. В конечном счёте стражникам удаётся пересилить Диаваля и окружить Малефисенту, и в этот момент перед ней предстаёт сам Стефан. Обезумевший король готовится убить ослабевшую фею, но прежде чем он успевает нанести смертельный удар, крылья Малефисенты воссоединяются со своей хозяйкой. С их помощью фея освобождает Диаваля и вместе с ним начинает сражаться с солдатами Стефана. В конце концов, Стефан и Малефисента оказываются на верхушке одной из башен замка, и последняя почти убивает бывшего возлюбленного, но в итоге решает пощадить его. Однако Стефан, не желая сдаваться, набрасывается на фею, и оба сваливаются с башни. Малефисенте удаётся освободиться от хватки Стефана и взлететь в воздух, в то время как сам король падает на землю и разбивается насмерть.

Со смертью Стефана между волшебным и человеческим королевствами, наконец, воцаряется мир, а сердце Малефисенты вновь становится добрым и полным света. Фея разрушает терновую стену и передаёт свою корону Авроре, провозглашая девушку новой королевой обоих королевств, чем раз и навсегда примиряет людей и волшебных созданий.

В ролях

• Анджелина Джоли — Малефисента, защитница и самая могущественная фея Топких болот, которая в отместку за предательство насылает заклятие на дочь своего бывшего возлюбленного Стефана Аврору. Джоли была заявлена на роль 11 февраля 2012 года^[1], однако новости о её возможном участии в проекте появились ещё в марте 2010-го^[2]. По словам Дона Хана, Джоли рассматривалась на роль ещё тогда, когда к проекту подключился Тим Бёртон, и всегда была единственным выбором^[3], в то время как Джо Рот сказал, что фильм не был бы снят, если бы она отказалась^[4]. Желание Джоли сыграть Малефисенту было обусловлено её любовью к персонажу с детства^[5], а также уговорами её детей^[1] и брата^[6]. Она также была «очень тронута сценарием», хотя изначально сомневалась в возможности создать фильм о «том, кто проклинает ребёнка»^[5]. Джоли тесно работала с Линдой Вулвертон, чтобы убедиться, что Малефисента останется достаточно злой, не потеряв «присущий ей чёрный юмор»^[5], в то время как Вулвертон склонялась к более вызывающей сочувствия стороне персонажа, назвав «сохранение в ней обоих качеств: и героя, и злодея» самым большим вызовом^[7]. Джоли описала Малефисенту как «немного сумасшедшую, чрезвычайно энергичную, немного порочную и обладающую большим чувством юмора. Можно сказать, что в ней всего понемногу. Это одна из тех героинь, которых нельзя играть вполсилы»^[8].
  • Элла Пернелл — шестнадцатилетняя Малефисента. Первоначально на роль была выбрана Индиа Айсли^[9], но после того, как продюсеры решили переснять вступительные сцены фильма, её заменила Пернелл^[10], которая изначально пробовалась на роль Авроры^[11]. Кандидатура Пернелл была лично одобрена Анджелиной Джоли^[11]. На роль также пробовалась Аня Тейлор-Джой^[12].
  • Изобель Моллой — Малефисента в детстве
• Эль Фэннинг — Аврора, дочь Стефана и Лейлы, которая становится жертвой заклятия Малефисенты и ключёвой фигурой в её становлении на путь исправления. Фэннинг была заявлена на роль 7 мая 2012 года^[13], в то время как новости о её переговорах со студией появились двумя месяцами ранее^[14]. Кандидатура Фэннинг была предложена Ротом после того, как он посмотрел фильм «Супер 8» с её участием^[15].
  • Вивьен Джоли-Питт — пятилетняя Аврора
  • Элеонор Уортингтон Кокс — восьмилетняя Аврора
  • Джанет МакТир — Аврора в старости/рассказчица
• Шарлто Копли — Стефан
  • Майкл Хиггинс — Стефан в детстве
  • Джексон Бьюз — юный Стефан
• Лесли Мэнвилл — Флитл
• Имельда Стонтон — Нотграсс
• Джуно Темпл — Фислвит
• Сэм Райли — Диаваль
• Брентон Туэйтес — принц Филлип
• Кеннет Крэнем — король Генри
• Ханна Нью — принцесса Лейла

Русский дубляж

Технические данные

• Режиссёр дубляжа — Инна Соболева
• Авторы русского текста — Елена Вержбицкая, Лев Вержбицкий
• Звукорежиссёр — Дарья Васильева
• Менеджер проекта — Екатерина Синенко
• Творческий консультант — Юлия Баранчук

Фильм был дублирован на русский язык кинокомпанией «Невафильм» по заказу компании Disney Character Voices International в 2014 году.

Производство

Замысел и пре-продакшн

В 2003 году, во время совещания продюсера Дона Хана с отделом анимации Disney, было предложено создать фильм о происхождении Малефисенты из «Спящей красавицы» в духе тогда недавно вышедшего бродвейского мюзикла «Злая»^[16][17]. Изначально он задумывался как мультипликационный, но, по словам Хана, это «оказалось слишком сложно», и поэтому было решено снять киноленту с живыми актёрами^[17][18]. В 2005-м он встретился с Тимом Бёртоном и предложил ему несколько проектов для Disney, включая «Малефисенту», который Бёртон согласился снять^[16][19], но вернулся к нему не раньше лета 2009 года, когда заканчивал работу над «Алисой в Стране Чудес»^[19][20]. Приблизительно в то же время Хан обратился к Линде Вулвертон, с которой он ранее работал над «Красавицей и Чудовищем» и «Королём Львом», для написания сценария^[17][19], и в марте следующего года она официально присоединилась к проекту^[20][21], а студия начала переговоры об исполнении заглавной роли с Анджелиной Джоли^[22]. Бёртон лично руководил разработкой киноленты в течение нескольких месяцев до почти года^[16][19], пока 16 мая 2011-го не стало известно, что он покинул проект^[23][24] из-за обязательств перед другими фильмами, включая «Франкенвини» и «Мрачные тени»^[19][25]. После этого студия рассматривала на пост режиссёра Дэвида Йетса, снявшего последние несколько фильмов о Гарри Поттере^[23][24], а несколько месяцев спустя появилась информация, что в числе кандидатов находятся Даррен Аронофски^[26][27] и Дэвид О. Расселл^[28][29]; желание срежиссировать киноленту также высказывал Гильермо дель Торо, назвав оригинальную «Спящую красавицу» одним из трёх своих любимых диснеевских мультфильмов^[30][31]. В сентябре того же года к продюсерскому составу присоединился Джо Рот^[32], а 6 января 2012-го было объявлено, что режиссёром фильма был назначен дебютант Роберт Стромберг, который ранее выступил художником-постановщиком «Аватара», «Алисы в Стране Чудес» и «Оза: Великого и Ужасного»^[33][34]. Месяц спустя, во время 62-го Берлинского международного кинофестиваля, Джоли официально подтвердила своё участие в фильме^[35].

Разработка сценария

Съёмки

Визуальные эффекты

Музыка

Выход в прокат

Мировая премьера фильма состоялась 28 мая 2014 года в кинодворце El Capitan Theatre, Голливуде, Лос-Анджелесе, Калифорнии. Широкий прокат в США и Канаде стартовал 30 мая, в России — днём ранее, 29 мая.

Первоначально фильм должен был выйти в прокат 14 марта 2014 года, но вскоре дата выхода была перенесена на 2 июля того же года. Чуть позже дата выхода была снова перенесена со 2 июля на 30 мая в связи с производственными проблемами мультфильма «Хороший динозавр».

Кассовые сборы

Фильм заработал в североамериканском прокате 241 410 378 долларов и 517 129 407 долларов в международном. Мировые сборы фильма составили 758 410 378 долларов. По подсчётам сайта Deadline.com прибыль от фильма составила около 190 млн долларов.

Отзывы критиков

Отзывы в США

Фильм получил смешанные отзывы критиков. На сайте Rotten Tomatoes рейтинг картины составил 50%, а средняя оценка — 5.7 баллов из 10 на основе 201 обзора. Metacritic дал фильму 56 баллов из 100 («средне») на основе 44-х рецензий. По данным сайта CinemaScore, зрители поставили фильму оценку A по шкале от A+ до F.

Кейт Тейлор из газеты Globe and Mail очень положительно оценила фильм, написав: «Честно говоря, вы просто не можете ждать возращения злодейки Джоли на большой экран. Она — сила фильма, даже если в её глазах-бусинках горит зловещий огонек или душераздирающая слеза катиться по её алебастровой щеке. Всего несколько слов разделяет злодейство от величества: её Малефисента великолепна». Робби Коллин из издания The Telegraph в своём отзыве написал: «Возможно, новой диснеевской интерпретации “Спящей красавицы” не хватает истинного очарования, но Анджелина Джоли спасает положение». Бетси Шарки из газеты Los Angeles Times положительно оценила фильм, написав: «Это исключительно фильм Джоли — из-за того, как она сыграла Малефисенту. Все остальные, даже Аврора, меркнут в её присутствии».

Мэри Коста, исполнительница роли Авроры в оригинальном мультфильме 1959 года, также похвалила фильм: «Это очень хороший фильм. Концепт и перспектива совершенно отличаются от оригинального мультфильма, и это делает его новым и интересным. Никто бы не смог сыграть роль Малефисенты лучше, чем Анджелина Джоли. Я думаю, она была абсолютна великолепна».

Отзывы в России

Русскоязычная критика также сдержанно оценила фильм. Корреспондент Денис Корсаков из газеты Комсомольская правда тепло встретил фильм, написав: «“Малефисента„ — великолепная сказка, может быть, лучшая голливудская сказка, вышедшая на экраны за много лет». Редакция портала CN.ru положительно оценила фильм: «“Малефисента„ — это прекрасный сказочный гимн женщине и фее, не сильно детский (12+), но о детском во взрослых, с замечательной Джоли, спецэффектами, не без чудес и чудищ». Сергей Оболонков из российского издания The Hollywood Reporter в своём отзыве назвал фильм «волшебной сказкой, которая несмотря на вывернутый сюжет, вполне способна не только заинтересовать юных зрителей, но и вызвать определенное любопытство у их родителей». Обозреватель радиостанции Вести ФМ Антон Долин дал положительную рецензию: «Да, это сказка о женщине-сатане — недаром крылатой, черной и рогатой, — но, как у Мильтона, дьяволице здесь дан шанс доказать делом преимущество честной тьмы над лицемерным светом. Этот еретический дуализм скрадывает все очевидные минусы и делает “Малефисенту„ фильмом если и не стопроцентно удавшимся, но, бесспорно, очень интересным и ни на что не похожим». Обозреватель Ксения Аташева из журнала Мир фантастики в своём обзоре назвала «Малефисенту» «немного неровной, но мудрой, доброй и трогательной лентой». Михаил Швецов из интернет-издания Age of Geeks написал: «Нельзя сказать, что фильм мне не понравился, тем более он ориентирован на детей и несет им “урок” и “мудрость”, которую будет полезно услышать и взрослым. Анджелина Джоли перекрыла своими крыльями всю абсурдность сюжета и сам факт, что это вторично снятый фильм, пусть и с другим сюжетом. “Малефисента” — хороший повод сходить в кино всей семьей или посмотреть с друзьями на знакомую сказку с другой стороны».

Обозреватель интернет-портала Film.ru Борис Иванов более холодно отнёсся к фильму, назвав его «внешне красивым, но сценарно беспомощным и недодуманным переиначиванием “Спящей красавицы„». Однако, Иванов похвалил стиль и спецэффекты в фильме и игру Джоли. Резко отрицательный отзыв достался фильму от портала Посткритицизм: «“Малефисента„ оказалась поразительно вульгарной и эталонно пустой, смотреть там решительно нечего ни взрослым, ни, тем более, детям».

Награды и номинации

Сиквел

Основная статья: Малефисента: Владычица тьмы

16 июня 2015 года компания Disney объявила о создании сиквела к фильму.

Галерея

Видео

Русскоязычные ролики

Примечания

Юная фея Малефисента из края волшебных существ заводит дружбу с мальчиком по имени Стефан из соседнего человеческого королевства. Проходят годы, и их дружба перерастает в любовь, но по прошествии еще ряда лет повзрослевший Стефан (Шарлто Коупли) предает Малефисенту (Анджелина Джоли). Опоив ее снотворным, он отрезает ей крылья и относит их своему королю, чтобы уверить его, что убил самую могущественную фею, которая не дает людям покорить волшебные края. В благодарность за этот «подвиг» тяжело раненный в бою с Малефисентой правитель делает Стефана своим преемником. Узнав об этом, оскорбленная и униженная фея замышляет месть. В день крещения принцессы Авроры, новорожденной дочери Стефана, Малефисента является в замок и накладывает на малышку нерушимое проклятие, которое должно сбыться в день 16-летия Авроры…

По словам продюсера «Малефисенты» Джо Рота, они бы не стали снимать картину, если бы Анджелина Джоли отказалась играть заглавную роль

«Спящая красавица» занимает неоднозначное место в диснеевском каноне. С одной стороны, картина 1959 года считается одним из самых красивых и выразительно анимированных классических западных мультфильмов, и американские девочки обожают одеваться в простые, но элегантные платья принцессы Авроры. С другой стороны, у этой волшебной сказки хоть и классический, но неуклюжий и примитивный по меркам XX века сюжет, а заглавная героиня до сих пор держит первенство по наименьшему времени, которое формальный протагонист проводит на экране (будучи «спящей красавицей», Аврора быстро выключается из действия).

За пластический грим Малефисенты отвечал легендарный Рик Бейкер, семикратный лауреат «Оскара» в своей категории

Поэтому когда было объявлено, что сценаристка «Красавицы и Чудовища» и недавней «Алисы в Стране чудес» Линда Вулвертон по диснеевскому заказу переписала сказку в более уважительном для женщин ключе, это не показалось кощунством. Одно дело – переиначивать шедевр, другое – дорабатывать «Красавицу», которая в свое время не слишком удачно прошла в прокате и чуть не похоронила студию Disney. Так почему бы не попытаться посмотреть на эту историю с точки зрения Малефисенты – феи, которая в оригинале предстает буквально исчадьем ада?

Теперь, однако, совершенно ясно, что это была неудачная идея. Возможно, другой сценарист и смог бы улучшить «Красавицу», но Вулвертон ее ухудшила. Причем многократно. Драматургически неуклюжая, но внутренне логичная сказка в ее руках превратилась в собрание абсурдных нескладушек.

Взять хотя бы проклятие, из-за которого весь сыр-бор. Что делает могущественная обиженная женщина? Мстит быстро и мстит обидчику. А что делает Малефисента? Придумывает заклятие, которое бьет по новорожденной девочке с 16-летней задержкой. Это поступок не обиженной женщины, а злобной социопатки. Для которой обида лишь повод, чтобы выплеснуть злобу и проявить садизм. Классическая Малефисента была именно такой, но новая Малефисента совсем другая! Она добрая, заботливая, нежная. Разве можно представить, чтобы Невеста в «Убить Билла» покусилась на дочь Гадюки? А Малефисента Джоли – не наемная убийца, а добродетельная фея. Такая героиня могла бы обезножить Стефана (ноги за крылья – «глаз за глаз»). Но проклясть его дочь? Никогда.

Свежеиспеченный король, впрочем, ведет себя еще бредовее. Где бы вы спрятали маленькую девочку от лесной феи, которая не может прикасаться к стали? Очевидно, в стальной башне королевского замка, поближе к охране в доспехах и подальше от лесных чудищ. Стефан же отсылает малышку жить в лесу (!) с ее феями-крестными (!!!), которые формально являются подданными Малефисенты. Даже если они фейская «пятая колонна», прочно стоящая на стороне людей, которые пытаются покорить их страну, Стефан явно не настолько доверчив. К тому же феи-крестные у Вулвертон бессильны и бесполезны, и у короля нет никаких оснований считать, что они смогут скрыть девочку от Малефисенты или позаботиться о ней.

И так далее, и тому подобное. О ляпах «Малефисенты» можно написать трактат. И всякий раз хорошо видно, откуда эти ляпы берутся – сценаристка пытается сохранить как можно больше событий из мультфильма и придать им новый смысл. И у нее это раз за разом не получается, потому что на то «Спящая красавица» и детская сказка, что смысл там на поверхности, и другой смысл с этими событиями не сочетается. С тем же успехом Вулвертон могла бы готовить бефстроганов из картошки и сковородки.

Что еще в фильме плохо? Проще сказать, что в нем хорошо. Роберт Стромберг – двукратный «оскароносец» за арт-режиссуру («Аватар» и «Алиса в Стране чудес»), и «Малефисента» вышла стильной и красивой, со множеством эффектных кадров. Великолепна и Джоли в заглавной роли – настолько, насколько это возможно в рамках слабого сценария. Она, как говорится, была рождена, чтобы сыграть зловещую фею с черными рогами и золотым сердцем, и некоторые ее сцены сами по себе почти окупают стоимость билетов.

С другой стороны, Элль Фэннинг никак не тянет на «красавицу» (у Кристен Стюарт было куда больше оснований для приглашения на роль Белоснежки), а Шарлто Коупли предстает жалким мерзавцем, недостойным любви и ненависти Малефисенты. Вообще, из всех мужчин в фильме на своем месте кажется лишь Сэм Райли из «Контроля». Но его персонаж – прислуживающий Малефисенте ворон-оборотень – почти весь фильм проводит в животных обличьях, и его игра картину спасти не может. Как, впрочем, и погубить – с этой задачей Вулвертон справилась без чужой помощи.

С 29 мая в кино.