Disneyâs latest live-action remake, Snow White, released on March 21, 2025, has ignited a firestorm of debate, with some critics boldly labeling it a âcrime against cinema.â This bold accusation stems from a mix of controversial casting choices, drastic changes to the original 1937 animated classic, and a perceived betrayal of its artistic legacy. Directed by Marc Webb and starring Rachel Zegler as Snow White and Gal Gadot as the Evil Queen, the film has stumbled into the crosshairs of culture wars, disappointing box office projections, and mixed critical reception. But does it truly deserve such a harsh indictment? Letâs dive into the evidence, explore the controversies, and weigh the arguments to see if Snow White is indeed a cinematic misstep of epic proportions.
The Legacy of the Original
To understand why some view this remake as a crime, we must first revisit the original Snow White and the Seven Dwarfs. Released in 1937, it was Walt Disneyâs first full-length animated feature and a groundbreaking achievement in cinema history. At a time when animation was largely relegated to short films, Disney took a massive risk, investing $1.5 million (equivalent to over $30 million today) to prove that animation could sustain a feature-length narrative and evoke deep emotional resonance. The result was a timeless tale of innocence, resilience, and triumph over evil, complete with iconic songs like âSomeday My Prince Will Comeâ and âHeigh-Ho.â It wasnât just a film; it was a cultural milestone that established Disney as a titan of storytelling and earned an honorary Oscar for its innovation.
Critics argue that remaking such a foundational workâespecially in live-actionâis inherently disrespectful. On platforms like X, users have echoed this sentiment, with one stating, âSnow White is a work of art made to prove animation could carry feature-length films⊠Making a live-action version is insulting to the intent of the original.â This perspective frames the remake as a cash grab, diluting the purity of a film that was never meant to be âupdatedâ but preserved as a testament to its era.
The Controversies: A Perfect Storm
The road to Snow Whiteâs release has been anything but a fairy tale. Since its announcement in 2016, the project has been battered by controversies that have fueled the âcrime against cinemaâ narrative.
Casting Backlash: The casting of Rachel Zegler, a Latina actress of Colombian descent, as Snow White sparked immediate outrage from some quarters. The Brothers Grimm tale describes Snow White as having âskin as white as snow,â and purists argued that Zeglerâs casting defied this description. Right-wing commentators, including Ben Shapiro, seized on this, decrying it as âwokeâ pandering. Zegler defended her role, noting the characterâs popularity in Spanish-speaking countries and reimagining her name as a reference to surviving a snowstorm rather than her complexion. Yet, the racist undertones of the backlashâsimilar to the attacks on Halle Bailey for The Little Mermaidâcast a shadow over the filmâs intentions.
A Feminist Rewrite: Zeglerâs comments about modernizing the story added fuel to the fire. In 2022, she told Extra that the remake would shift Snow Whiteâs focus from dreaming of true love to aspiring to leadership, saying, âSheâs not going to be saved by the prince⊠Sheâs dreaming about becoming the leader she knows she can be.â This departure from the originalâs romantic core outraged traditionalists, with some accusing Disney of turning Snow White into a âgirl bossâ caricature. Conservative critics like Matt Walsh mocked Zeglerâs apparent disdain for the 1937 film, amplifying the perception that the remake disrespects its predecessor.
The Dwarfs Dilemma: Perhaps the most divisive change was the handling of the seven dwarfs. In 2022, actor Peter Dinklage, who has dwarfism, criticized Disney on the WTF podcast for perpetuating stereotypes with the characters, calling it a âbackwards story about seven dwarfs living in a cave.â Disney responded by reimagining the dwarfs as CGI creations, consulting with the dwarfism community to avoid offense. However, this move backfired. Actors with dwarfism, like Dylan Postl, lamented the loss of roles, arguing that CGI erased opportunities for real representation. Critics panned the digital dwarfs as âa pox upon the eyeballs,â further damaging the filmâs reputation.
Political Tensions: The film also became a lightning rod in the Israel-Hamas conflict. Gal Gadot, an Israeli actress and former IDF soldier, faced boycott calls from pro-Palestinian groups for her pro-Israel stance, while Zeglerâs âfree Palestineâ posts alienated Trump supporters and conservative fans. This off-screen drama turned Snow White into a political battleground, overshadowing its narrative.
The Film Itself: A Mixed Bag
So, does the final product justify the âcrimeâ label? Critics are divided. Snow White follows the titular princess (Zegler) as she survives her stepmotherâs (Gadot) assassination attempt, befriends a band of CGI dwarfs, and falls for a thief leader, Jonathan (Andrew Burnap), rather than a prince. The film retains some original songs while adding new ones by Benj Pasek and Justin Paul, aiming for a balance of nostalgia and modernity.
Positive reviews praise Zeglerâs charisma and Gadotâs menacing charm. Varietyâs Owen Gleiberman called it âone of Disneyâs better live-action remakes,â lauding the CGI dwarfs for bringing the film to life. The Hollywood Reporter placed it on the âupper endâ of Disneyâs remake spectrum, commending its visuals and performances. Audiences gave it a B+ CinemaScore, suggesting it resonates with families despite the noise.
Yet, detractors argue it falls short of the originalâs magic. The Washington Postâs Ty Burr called it âpretty goodâ but criticized the CGI dwarfs, while IndieWire deemed it âgood-enoughâ but uninspired. Box office projections of $45-55 million domesticallyâa far cry from hits like The Lion King ($1.6 billion)âsuggest lukewarm public interest. For some, the filmâs failure to recapture the 1937 classicâs emotional depth and artistic purity is the ultimate crime.
Is It Really a Crime?
Labeling Snow White a âcrime against cinemaâ is a dramatic stance, but itâs not entirely baseless. The remakeâs detractors argue it betrays the originalâs intentâproving animationâs powerâby forcing it into a live-action mold that prioritizes modern sensibilities over timeless storytelling. The controversies, from casting to creative choices, have amplified this perception, painting Disney as a studio more interested in profit than art. The decision to scale back the premiere and limit press access hints at Disneyâs own lack of confidence, reinforcing the narrative of a troubled production.
However, this view overlooks context. Disney has been remaking its classics for decades, from Cinderella (2015) to Mufasa: The Lion King (2024), often with commercial success. Snow Whiteâs updatesâempowering its heroine, rethinking the dwarfsâreflect an attempt to adapt a nearly 90-year-old story for todayâs audience, not destroy it. While imperfect, the filmâs positive elementsâZeglerâs star power, Gadotâs villainy, and moments of visual enchantmentâsuggest itâs not a total travesty.
Conclusion
Is Snow White a crime against cinema? It depends on your lens. For purists, itâs a sacrilege that tarnishes a sacred artifact. For others, itâs a flawed but earnest reimagining that stumbles under the weight of its own ambition and external pressures. The truth likely lies in between: a film that neither fully honors its legacy nor deserves outright condemnation. As the dust settles, Snow White may find its audienceâperhaps not as âthe fairest of them all,â but as a curious footnote in Disneyâs ongoing quest to reimagine its past. Whether thatâs a crime or a compromise, only time will tell.