Although the films La Belle et la Bête and Mirror, Mirror are, ostensibly, vastly divergent retellings of classic fairy tales, “Beauty and the Beast” (originally published by Gabrielle-Suzanne Barbot de Villeneuve in 1740) and “Snow White” (made popular by the Brothers Grimm in 1812), respectively, they are similar in that their merits lie primarily in their aesthetics, though neither does much to augment the traditional tales on which they are based. La Belle et la Bête, directed by Jean Cocteau, is commendable for its use of lighting, cinematography, and visual effects; most notably in the successful creation of a surreal Beast’s palace, despite the limited resources available to filmmakers in the mid 1940s. The portrayal of such wholly good characters as Belle, in contrast with such wholly evil characters as her sisters, however, comes across as hyperbolic. The film’s terse dialogue, ironically, gives the central romance an air of superficiality. Similarly, regardless of the many weaknesses of Mirror, Mirror, the costumes, makeup, and set design make viewing tolerable. Unlike La Belle et la Bête, Mirror, Mirror is purposefully one-dimensional, intending simplicity for comedic effect. Although it is, on the whole, far sillier than it is clever, it is redeemable in that it does not take itself too seriously, something that cannot be said for La Belle et la Bête.

One striking contrast between the two films is each filmmaker’s attitude toward women, which reflects the times in which the films were made. While La Belle et la Bête keeps its agreeable heroine in a submissive role throughout the film, going so far as to have her enter willingly into what would now be considered an abusive relationship, Mirror, Mirror has clear feminist undertones. In the former, Belle not only is kept captive for the majority of the film, but her dialogue with the Prince and former Beast at the film’s end implies that she relishes her own subjugation:

Prince: “You’re a strange girl, Belle.”

Belle: “At your service.”

Prince: “Are you happy?”

Belle: “I’ll have to get used to it.”

Prince:  “You won’t be frightened?”

Belle: “I don’t mind being frightened… with you.”

In Mirror, Mirror, on the other hand, the assertive Snow White makes a point of dispelling the idea that a woman’s savior must be a man by locking away her prince and dwarf friends when she sets off to fight the evil queen. Although they escape and come to her aid, it is she who ultimately frees her father from his curse and sets the kingdom right once again.

Another major difference between the two films is the intended audience. While Mirror, Mirror is clearly directed at a young audience, with a few jokes slipped in for the benefit of parents forced to attend with children; La Belle et la Bête anticipates an adult audience, but appeals to the child within. Filmmaker Jean Cocteau accordingly requests a juvenile attitude of his audience at the film’s outset, writing, “I ask of you a little [ ] childlike simplicity.” Both films would likely be enjoyable to the right viewer in the right mood, though either might leave the viewer with an unfulfilled desire for originality in these retellings of extraordinarily familiar plots.