For my 16th birthday, I could have thrown a party. I could have gone to my first real concert or seen a movie with friends. Instead, I decided to go to New York and see a Brooklyn theater’s interpretation of The Nutcracker nestled between elementary schoolers and my parents.
One could say I have a foolish adoration for The Nutcracker.
But unlike my birthday choices, I am not alone here. Theaters around the world have created their own takes of E.T.A. Hoffmann’s classic “The Nutcracker and the Mouse King,” which is best known in ballet form accompanied by Tchaikovsky’s illustrious soundtrack.
But no fairytale in the public domain is complete without Disney’s giant footprint forever altering the way younger generations experience a story. And so a live-action movie is in the works.
The Nutcracker and the Four Realms will be directed by Lasse Hallström (What’s Eating Gilbert Grape, Safe Haven) — an interesting choice, considering Safe Haven and Dear John were overwrought love stories, while Gilbert Grape and The Cider House Rules are far more somber than the Christmas ballet. His push into the film, however, did come from directing ABBA’s music videos, which may prove more suitable for a musical production (not that we’re sure this is one).
The screenplay, written by Ashleigh Powell, will include some elements of Hoffmann’s original, more sinister story, which contains the magic and spells off which Disney thrives.
There is, of course, huge potential in the talent, costumes and effects Disney can buy. Charlie and the Chocolate Factory was another interpretation that gave new life to a classic story. Through an entirely remade soundtrack and an eerie dystopian set, the film was more than a remake — Disney successfully created a new diegesis and piece of art in its own right.
Without words, Tchaikovsky’s compositions shine as the most lingering part of the ballet. If Disney keeps some version of the iconic tunes, it will help to ease the transition from the formal theater setting to the dreamlike, nondescript, yet undeniably modern backdrop it often uses for most of its fantastical stories.
On the other hand, entirely new songs would instantly set apart Disney’s adaptation — or at least save it from the bizarre flop that was The Nutcracker in 3D. Audiences will be less likely to spend the two hours drawing comparisons and instead will be able to focus on the movie for whatever nonpareils it has to offer.
There’s a good chance Disney won’t muff this one up. After all, we’re dealing with the company that practically invented the American fairytale. But on the off chance that Disney blows it, this one will be tragic. The Nutcracker has lived on as a ballet and a holiday tradition. A bad but memorable film might just leave a salty taste in the mouths of generations to come.
