Over the Thanksgiving holiday, our entire family sat down to watch the new Disney film, Disenchanted. In a rare occurrence, all our children were excited to view the long-awaited sequel to 2007’s Enchanted. The original film, which we’ve seen multiple times, follows Giselle – a stereotypical Disney princess in search of “true love’s kiss” – as she’s transported in modern-day New York City. The film is a smart satire of the more absurd elements of traditional Disney films (including singing rats and pigeons), but of course Giselle’s dewy-eyed goodness wins over the cynical Manhattanites in the end.
The two films bookend my parenting years: I first watched Enchanted with a visiting college friend while my newborn firstborn slept upstairs; the release of Disenchanted corresponded with that first child’s 15th birthday.
Disenchanted reunites the stars from the original movie, including Amy Adams as Giselle, Patrick Dempsey as her husband, Robert, and Idina Menzel and James Marsden as the King and Queen of Andalasia (Giselle’s native fairytale kingdom.) Fifteen years later, these actors are all decidedly middle aged. The sequel addresses the question: What comes after “happily ever after?” When it begins, Giselle and Robert are still living in an increasingly cramped Manhattan apartment with their daughter Morgan (a young girl in the original film, she’s now a sarcastic teenager) and their baby daughter, Sofia. In a rather predictable middle-aged move, they decide to relocate to the suburbs, where Giselle is sure that they can make a fresh start. Disney-fied chaos ensues, including talking animals, large musical numbers, and the eventual triumph of goodness and love over evil.
The movie has received a tepid response from critics. It wasn’t even released in theaters, but was streamed directly to Disney+, which says something. My own children were lukewarm-to-negative in their reviews. A friend who watched Disenchanted with her family said her response was, “What am I watching?”
That’s all valid if you’re watching Disenchanted purely as a film. But I thought it was brilliant, because about partway through I realized that it wasn’t just a film. That’s when I leaned over and whispered to my husband, “This is the perfect metaphor for perimenopause!”
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