Disney’s latest live-action remake, Snow White, released on March 21, 2025, has ignited a firestorm of debate, with some critics boldly labeling it a “crime against cinema.” 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? Let’s 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 Disney’s 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 “Someday My Prince Will Come” and “Heigh-Ho.” It wasn’t 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 work—especially in live-action—is inherently disrespectful. On platforms like X, users have echoed this sentiment, with one stating, “Snow 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.” This perspective frames the remake as a cash grab, diluting the purity of a film that was never meant to be “updated” but preserved as a testament to its era.

The Controversies: A Perfect Storm

The road to Snow White’s release has been anything but a fairy tale. Since its announcement in 2016, the project has been battered by controversies that have fueled the “crime against cinema” 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 “skin as white as snow,” and purists argued that Zegler’s casting defied this description. Right-wing commentators, including Ben Shapiro, seized on this, decrying it as “woke” pandering. Zegler defended her role, noting the character’s 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 backlash—similar to the attacks on Halle Bailey for The Little Mermaid—cast a shadow over the film’s intentions.

A Feminist Rewrite: Zegler’s comments about modernizing the story added fuel to the fire. In 2022, she told Extra that the remake would shift Snow White’s focus from dreaming of true love to aspiring to leadership, saying, “She’s not going to be saved by the prince… She’s dreaming about becoming the leader she knows she can be.” This departure from the original’s romantic core outraged traditionalists, with some accusing Disney of turning Snow White into a “girl boss” caricature. Conservative critics like Matt Walsh mocked Zegler’s 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 “backwards story about seven dwarfs living in a cave.” 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 “a pox upon the eyeballs,” further damaging the film’s 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 Zegler’s “free Palestine” 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 “crime” label? Critics are divided. Snow White follows the titular princess (Zegler) as she survives her stepmother’s (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 Zegler’s charisma and Gadot’s menacing charm. Variety’s Owen Gleiberman called it “one of Disney’s better live-action remakes,” lauding the CGI dwarfs for bringing the film to life. The Hollywood Reporter placed it on the “upper end” of Disney’s 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 original’s magic. The Washington Post’s Ty Burr called it “pretty good” but criticized the CGI dwarfs, while IndieWire deemed it “good-enough” but uninspired. Box office projections of $45-55 million domestically—a far cry from hits like The Lion King ($1.6 billion)—suggest lukewarm public interest. For some, the film’s failure to recapture the 1937 classic’s emotional depth and artistic purity is the ultimate crime.

Is It Really a Crime?

Labeling Snow White a “crime against cinema” is a dramatic stance, but it’s not entirely baseless. The remake’s detractors argue it betrays the original’s intent—proving animation’s power—by 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 Disney’s 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 White’s updates—empowering its heroine, rethinking the dwarfs—reflect an attempt to adapt a nearly 90-year-old story for today’s audience, not destroy it. While imperfect, the film’s positive elements—Zegler’s star power, Gadot’s villainy, and moments of visual enchantment—suggest it’s not a total travesty.

Conclusion

Is Snow White a crime against cinema? It depends on your lens. For purists, it’s a sacrilege that tarnishes a sacred artifact. For others, it’s 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 audience—perhaps not as “the fairest of them all,” but as a curious footnote in Disney’s ongoing quest to reimagine its past. Whether that’s a crime or a compromise, only time will tell.