The anomaly that is Hansel and Gretel - a few musings from manuscript to film

It is no secret that the fairytales attributed to the Brothers Grimm were subject to multiple adjustments in order to make it more suitable for children, portraying the right message to the right audience. The tale of Hansel and Gretel, was no exception to this rule but it is how their tale was adjusted that makes Hansel and Gretel an anomaly in the body of gender stereotypes disseminated by most fairytales of the 18th and 19th centuries. And this characteristic might just be what makes it ideal for today’s audience.

As with most fairytales, Hansel and Gretel is based on generalizations and stereotypes commonly known to the people of the period for which it is meant. For example, the original manuscript for this collected story identifies the two main characters as Little Brother and Little Sister. Considering this tale has many other European versions, some of which were published two centuries before the Grimm Brothers’ tale, they could just as easily have been Gérard and Brigitte. It was Jacob and Wilhelm that endowed them with the names Hansel and Gretel – two names that would have been the equivalent of today’s Jane and John Doe in early nineteenth century Germany.

Other alterations were also minor, having little effect on the essence of the subliminal gender stereotyping messages that can be read into this well-known tale. Initially, it was the children’s mother that conspired with the woodcutter to abandon them in order to conserve food. This character was later replaced by an evil stepmother and, while the 1812 edition saw the father and mother equally willing to abandon their children, later revisions saw the woodcutter becoming an uncertain pawn at the hands of the stepmother’s wishes. By, firstly, emphasising the father’s internal struggle with regards to the idea of abandoning his children and, secondly, by highlighting the dire situation the family was in, their actions are made to seem more morally ambiguous than sinister as in previous editions. Religious comments were also inserted. In the Middle Ages, from whence the story is said to have sprung, society had lost faith in the church in the face of the seemingly unending suffering caused by the Great Famine. The Brothers Grimm, as devout Christians, added Hansel’s phrase ‘God shall not forsake us.’ The text also became increasingly dramatic, literary and sentimental with each revised edition thanks to Wilhelm Grimm’s hand. In particular, the addition of the children traversing of the large body of water one at a time on the back of a duck.

Most fairytales suggest that female protagonists (the heroines who are blessed with a happy ending) need to be beautiful, dependent, young, kind, naïve, talented (they usually sing), passive, good housekeepers, a captive and shallow (marriage is usually the only goal) in order to deserve that happy ending. On the other end of the scale is the active, physically fit, handsome, independent, wise, aggressive and adventurous male rescuer. The collective body of fairytales by the German scholars suggests to its audience that women are reliant on men and cannot achieve full independence. Those that do achieve autonomy are not entitled to a happy ending because they are guilty of acts that were not inspired by a man’s words which were considered, in themselves, immoral.

Hansel collecting pebbles.
Illustrated by Arthur Rackham, 1909.

In Hansel and Gretel, it may start out with that gender balance but it does not stay that way for long. Hansel is portrayed as the stronger character in comparison to his always doubtful and constantly sobbing sister whose concerns he attempts to soothe on two occasions. It is never mentioned which of the two is older, but simply because of the brother-sister dynamic and his pro-active nature, one gets the impression that Hansel is the older sibling. It is the male protagonist that takes the initiative to collect pebbles the first time and scatter his piece of bread as crumbs the second time. Gretel, in the meanwhile is portrayed as weak and dependent on her brother for support (emotionally, intellectually and physically).

However, it is in the woods that this balance shifts, particularly on the second attempt at abandonment. Hansel becomes dependent on his sister for the first time in the tale when she, being the kind female protagonist that she is, shares her piece of bread with him. She becomes the provider in sense, in a fairytale tradition that typically sees the male character as the provider. This line of deviation continues when they are captured. It is Hansel that suggests they eat the gingerbread house (the real reason they ended up in their predicament at the end of the day) but Gretel that calls out ‘the wind, the wind, the heavenly child’ to reassure the witch when she is first alerted – allowing them to nibble a little longer. For the first time, Gretel takes initiative, although still joining her brother in the poor choice to continue eating. Gretel has become an active character.

Gretel pushing the witch into the oven.
Illustrated by Theodor Hosemann (1807 - 1875)

In the witch’s house, both characters show intelligence – Hansel by sticking out a bony knuckle of a previous captive as opposed to his own finger and Gretel in predicting the witch’s intentions when asked to test the fire. But it is ultimately Gretel who saves them by shoving the witch into the oven. The female protagonist is portrayed as not only active, but pro-active. Also, the female character is given the role of performing an aggressive and violent act not aligned with the stereotype of the women being the softer, gentler, kinder, more passive gender.

And then comes the real kicker. Wilhelm Grimm made the addition of the escape-upon-a-duck’s-back episode. A conscious addition. In this part of the tale, it is Gretel that finds a solution to their dilemma and calls the duck over, asking it to take them across the body of water devoid of bridge or walkway. It is also Gretel that shows wisdom and maturity in indicating that Hansel’s suggestion that she climb upon the duck’s back alongside him would be impractical – the two of them would be too heavy for the duckling so they should cross one at a time. Gretel is portrayed as the wiser of the two – Gretel is the thinker and Hansel the doer. 

Traversing the body of water. Illustrated by Walter Crane, 1882.

It may seem that there is simultaneous development of both characters regardless of gender. Both children achieve a sense of independence through their ordeal in the woods. I say ‘a sense’ because they are portrayed as still dependent on their family, choosing to work their way back home regardless of their parents being the ones that abandoned them in the first place. But did they show equal growth? I do not believe they grow equally, in this tale, as characters at all. Hansel is already identified as a relatively independent character in taking initiative to collect pebbles and taking a protective stance by soothing his sister’s concerns. He is also dependent on his sister more than once – for lunch after having used his bread as an ineffective trail, for rescue from the witch and during the duckling episode. It almost seems as if, his character regresses – from independent pro-active protector to an initiative-devoid dependent, on his sister no less. Gretel, on the other hand, makes a smooth transition from passive dependent emotional wreck to independent pro-active rescuer.

As a whole, this story turns every stereotype about women and their roles on its head. Every female character in the tale is the more dominant one – powerful and independent. The women are more capable than the men. The woodcutter can no longer provide for his family and Hansel takes on the role of the ‘damsel in distress’ when captured and thrown in a cage to be fattened up. It is the witch that is portrayed as capable of providing for the children, albeit for her own devious means. Furthermore, both children return as providers for their family having brought pearls and previous stones from the witch’s gingerbread house. This tale is anomalous in every way possible with regards to gender stereotypes and today’s film industry seems to have fed on it. 

   

Paramount Pictures. 2013. Movie Poster. 

Hansel and Gretel: Witch Hunters has not challenged this anomaly. In contrast, the fact that it is an anomaly makes it an ideal source of inspiration for an audience driven by stronger female lead characters in the fairytale film genre. 

In Hansel and Gretel: Witch Hunters, as in its literary source, Gretel is the thinker and Hansel the doer – Gretel prefers proof before killing a witch, Hansel couldn’t care either way – suspicion is enough motive for him. Gretel (Gemma Arterton) is equally as fierce on the battlefield as Hansel (Jeremy Renner). In fact, it is Hansel who is possibly weaker having been more affected by his stint in the forest than Gretel. He has developed diabetes which not only makes him dependent on his sister on occasion in battle but also less independent as a whole in that he requires regular dosing for his ‘sugar sickness.’

This version of the classic tale, in my opinion, shows a more equal relationship between brother and sister than its literary version, perhaps because of its longer length and more fleshed out storyline. Each had their turn to play captive and to save the other – Hansel as a captive being readied for eating and Gretel as the owner of a heart of a white witch. Both show growth albeit in different fashions. Hansel learns to accept that everything is not always black and white and learns to accept good witches, even losing his heart to one. Gretel discovers something about herself through the uncovering of the true story behind why they were abandoned. She learns to accept a new facet of her identity.

The brother-sister dynamic and associated loyalty remains at the heart of the film though. According to Arterton, ‘Hansel & Gretel have this unstoppable bond but they’re also so different from each other. She’s the brains of the operation. He’s the brawn. He’s the joker and the show-off. She’s more the watcher, the researcher, the one who tries to really understand witchcraft. They have to each play to their strengths.’ They are dependent on one another throughout the film and every dimension of this cinematic re-imagining emphasises this difference in character. 

Defending a woman accused of witchcraft.  Paramount Pictures.  2013.  Slice of movie still-frame.

David Leitch, the stunt co-ordinator for Hansel and Gretel: Witch Hunters claims that the stunts were designed so that each character can display their individuality in their unique fighting styles. In explanation and in his words, ‘Hansel is the kind of guy who leaps before he looks but Gretel’s has more of a plan.’

Even the beautiful array of witch-killing tools of the trade spoke of the characters’ personalities. The weapon’s designer, Simon Boucherie, made his steampunk vision of retro-futuristic weaponry personal to the character toting it. He says, ‘Hansel is the guy who bursts in and tries to take everybody out with a shotgun, but Gretel is more about subtle precision, so she has a double-barrel crossbow that speaks to her character, yet does what she needs.’

Hansel and Gretel: Witch Hunters topped the box office, making $19 million in its opening weekend, despite its largely negative critic reviews. Although suitably gory to appeal to sit comfortably in the horror action category, it falls a bit short on the horror facet - not scary at all. It is rated 16 by the way – something I neglected to take note of when I took my younger brother along with me. No, he is not sixteen but he plays games more violent than what we witnessed. So, are the age restrictions applied still relevant? If parents don’t enforce it at home on their TV screens and game consoles, should cinemas still remain rigid? Though, that’s a discussion for another day.

At heart, this film wasn’t aimed at moralising or socialising its audiences. On the contrary, its director Tommy Wirkola summarizes his vision as a film having a lot of action but with an equally important adventurous and fun feel to it. 

“I wanted the vibe of the original fairy tale but I also wanted to spice it with all the things I love most in movies – comedy, horror and graphic action.”

If you have not yet watched this 2013 blockbuster film, I am sorry to have spoilt it for you, but if it has tweaked your interest, here’s the trailer.

Faerlie Amazing Profile: The creators of the German fairytale tradition

The Brothers Grimm by Elisabeth Jerichau-Baumann, 1855

It is the last day of the month and that means it’s time for a fairytale creator profile. For the month of March, we take a look at the Brothers Grimm and their contribution to the fairytale genre.

Jakob and Wilhelm Grimm were The Brothers Grimm. They were academics, linguistics, cultural researchers, authors and the accidental entertainers responsible for some of the best-known fairytales. Amongst them, Cinderella, Little Red Riding Hood, Snow White, Rumpelstiltskin and Little Briar Rose (better known as Sleeping Beauty). Anything but sweet and soothing bedtime tales in their original publication, their stories have been translated into over 160 languages and have been read worldwide and are loved by audiences of all ages.

The two brothers were born in Hanau, near Frankfurt in Germany to Philipp Wilhelm Grimm, a lawyer serving as Hanau’s town clerk, and Dorothea Grimm, his wife. They were of a large family of nine children – eight boys and one girl, although only six of the nine survived infancy.

Jakob Ludwig Karl Grimm was the second son, born on January 4, 1785. His brother Wilhelm Karl Grimm was born a year later on February 24, 1786. The two were close as children and remained so their entire lives, spending very little time apart, even after Wilhelm’s marriage to Henriette Dorothea Wild in 1825. By the time Jakob had reached age eleven, the most prominent male figures in their lives had passed away, leaving the family in dire straits and forcing them to move from an idyllic countryside lifestyle to an urban settlement. Following their father’s death, the two sons began to pursue careers and educations in law. Instead, they found their niche in linguistics as professors specialising in the history and structure of phonetics in past German languages and their relation to other languages. This later became known as Grimm’s Law.

Their main focus was, thus, linguistics. However, it was through this line of study and work, that they were encouraged by Friedrich von Savigny, one of their University of Marburg professors, to take an interest in past cultures. The famous Grimm’s fairytales were merely a byproduct of their research and what they considered to be their ‘real’ work.

After coming into contact with the linguistic facet of folktales, the two brothers, patriots at heart, were determined to preserve their German heritage through their work with linguistics and folktales. They collected and transcribed tales from peasants but found their richest source of folklore amongst the middle and aristocratic classes who had heard the tales from their servants and nursery maids. The stories were a representation of life in the early 1800’s as generations of central Europeans knew it – unpredictable and often cruel. 

‘Perhaps it was just the right time to record these tales, as those who should have been preserving them are becoming rarer ... All of these tales contain the essence of German myth, which was deemed forever lost.’

- The Brothers Grimm, Preface of Kinder- und Hausmärchen, 1812.

The Brothers Grimm portrait, 1843

It wasn’t until after the first volume of their first edition of their collection titled ‘Kinder- und Hausmärchen’ was published in 1812 that they became aware of the audience their tales had found amongst children. This was not the academic readership that they had envisaged but in response, considering they were living in poverty with only one meal a day at the time of its publishing, the Grimms and numerous editors began purifying the content. The violent and explicit nature of the tales was toned down, becoming less graphic and cruel and more charming, humorous and primly moral. 

Wilhelm’s warmer personality and interest in music and literature made him the ideal character to develop the presentation of their fairytale collection while Jakob, a pedantic workaholic by nature, was more at ease with scholarly work, compiling research and developing their language and grammar theories. However, neither had a head for finances. They soon found themselves being cheated out of earnings by their publisher with little or no course of action available to them due to cleverly composed copyright contracts. Still, they persisted.

They published a second volume of ‘Kinder- und Hausmärchen’ in 1815, taking the number of Grimm's fairytales from 82 to 155. A second edition was released in 1819 with significant changes to the previous edition and an additional five new tales. It was this volume that served as the basis for the first translations of their collection in many languages. This was followed by a third edition in 1837 with seven new fairytales, a fourth edition in 1840 with another ten tales, a fifth edition in 1843 with sixteen new additions and a sixth edition in 1850 with a total of 200 Grimm’s fairytales.

The Grimm Brothers were very much aware that their tales were not entirely German. At the time, the stories existed in similar versions in other European countries that had already produced published fairytale collections. Nevertheless, Jakob and Wilhelm Grimm became the creators of the German fairytale tradition.

Bronze statue of the Brothers Grimm outside
the Rathaus, or city-hall in Kassel, Germany 

Considering their academic and literary output it seems fitting that they spent most of their professional lives as librarians and professors at various universities. A little known fact, however, about these two seemingly reserved devout Christians is that they were fired from the University of Gottingen for political reasons. It was an age of nationalist pride in a country that, at the time, was anything but united. The Holy Roman Empire had barely been dissolved. What we now know as Germany consisted of 39 states that were independently ruled by an assortment of Royal Families, with nothing in common apart from their language. The brothers were relieved from their posts due to them being two of the Gottingen Seven. The new king of Hanover proposed to abolish the constitution granted to Hanover by his predecessor and in response, seven scholars, the Grimms included, refused to swear an oath to King Ernst August and engaged in open protest. Considering the patriotism of the Grimms and the German Romantic spirit with its focus on national culture, that was popular in the late 18th and early 19th centuries, it is understandable why the preservation of Germanic folklore was so important to the two brothers.

In addition to their compendium of fairytales, they also produced several other works. This includes, amongst others, two volumes of German legends (‘Deutsche Sagen’), writings on the history of linguistics and folklore titled ‘Altdeutsche Waelder’ (Old German Forests) and a detailed thirty-two volume German dictionary. They began work on this major undertaking in 1838 and it was completed only in 1960. 

Needless to say, the Grimm Brothers did not live to see its final edition. Both brothers died while working on their dictionary as professors at the University of Berlin. Wilhelm Grimm passed away on December 16, 1859 after completing the letter D, and his brother collapsed at his desk four years later, on September 20, 1863 after completing A, B, C and E - leaving behind a fairytale legacy matched by few others.

The evolution of the fairytale

Most know fairytales as the stories of their childhood. It might interest you to know that the majority of fairytales were not written with a childhood audience in mind. The moralising and socialising role of the fairytale occurred post-publication and through numerous alterations and adaptations in edition after edition.

Various editions of the Grimm Brothers' Kinder- und Hausmärchen

In most cases, the first editions of the childhood tales we know so well were littered with incest, violence, murder, rape, necrophelia and cannibalism amongst other acts frowned upon in today’s mainstream society. For the tales attributed to the Grimm Brothers, this was due the tales being aimed at preserving Germanic folklore.

1925 edition of Il Pentamerone

Another example is Giambattista Basile. For those who think they aren’t familiar with him, he was the author of the earliest known versions of Rapunzel and Sleeping Beauty amongst others. His compilation of collected and written fairytales were meant as a form of adult entertainment, some meant as a mockery of society to a certain extent. His works were published posthumously as Il Pentamerone – the Tale of Tales.

True, Il Pentamerone was presented as a collection of tales for the entertainment of children but were hardly suitable reading material for such an audience and were considered subtly restricted reading material in their time. In other words, in the opinion of publishing houses of that period, for the bourgeoisie who were wise enough to enjoy tales without being influenced by them. The Grimm’s first publication was titled Kinder- und Hausmärchen – Children’s and Household Tales. Their initial content was also unsuitable for youngsters.

Then, along came commercialism and capitalism and the opportunity to tap into another market segment – the kind that was very impressionable. Anyway, these tales were repackaged, and then re-repackaged, and then repackaged some more, until they were deemed suitable for children and that is the form in which they made their journey into the twenty-first century.

In this age of special effects, high-definition imaging and colour that bursts off of your screen (quite literally) to delight the visual senses, fairytales have once again taken on a new face. Recent cinematic adaptations of fairytales were targeted at adults in the form of horror and action films and were very much age restricted. Releases such as Snow White and the Huntsman, Hansel and Gretel: Witch Hunters and Red Riding Hood are perfect examples of this. And this trend is said to continue in 2013.

Dr. Sarah Dunnigan, a senior lecturer in English and Scottish literature at the University of Edinburgh, teaches the honours year Fairy Tales course. According to her, the rise in popularity of fantasy films has unveiled a pre-existing appetite for the fairy tale genre and one that has been moulded to the interests of the ‘Twilight generation’. Beauty, death, desire and horror are the aspects that today’s fairytale film industry are appealing to in this line of audience. As opposed to attempting to moralise, mainstream fairytales are being used to pander to the fancies of a new audience, repackaged and repurposed – once again. 

The pendulum has come full swing. We see the return of some of the original themes in fairytales, even if a tad watered down for the sake of keeping the films blockbuster material. Fairytales are once again being orchestrated for the entertainment of adults, or at the very least, young adults – and once again due to commercialisation and the target market. And they seem to be making their mark on the popular culture industry.

Hansel and Gretel: cinematic re-imaginings of 2013

Hansel and Gretel: Witch Hunters was the first international fairytale film to hit cinemas in 2013.  Here are a number of other films that drew inspiration from this Grimm Brothers' fairytale and were released in the early light of 2013.

Of these, I can honestly say that I have only watched the first on this list. Based on that, I figured it would be better for me to not conjure some half baked story lines out of thin air, for you to read. Hence, the summaries are not mine but sourced from the IMDb website. Check it out at http://www.imdb.com/ for more in-depth film info. 

However, before you rush out to find, view, rent or whatever it is you happen to have in mind for these film adaptations, here is a cautionary note. While these films are loosely based on the Hansel and Gretel fairytale and happen to be on the same list as Hansel and Gretel: Witch Hunters, they are not necessarily of the same calibre in terms of quality, so keep an open mind if you do decide to go on a Hansel and Gretel binge.

Hansel and Gretel: Witch Hunters (2013)

In this spin on the fairy tale, Hansel & Gretel are now bounty hunters who track and kill witches all over the world. As the fabled Blood Moon approaches, the siblings encounter a new form of evil that might hold a secret to their past.

Director: Tommy Wirkola

Stars: Jeremy Renner, Gemma Arterton, Peter Stormare

Hansel and Gretel (2013)

Hansel and Gretel are twins a boy and a girl. In the modern times. As for "The Gingerbread House" is the name of a bakery a kindly old woman Lilith runs with her assistant Gretel, famous for the best donuts, meat pies, pastries, cupcakes, and more. Hansel a video gaming flake gets captured in the woods by a crazed family that cooks people after fattening them up, Gretel trying to save her brother also gets captured and finds out that Lilith is not all she seems, this is a amazing spin on the classic Hansel and Gretel tale with crazed people, police men, guns, gas, and a crazy oven. How do Hansel and Gretel escape do they escape? How does a witch tie into this? And you will never guess all the twist that happen that will keep you on the edge of your seat.

Director: Anthony C. Ferrante

Stars: Brent Lydic, Jonathan Nation, Stephanie Greco

Hansel and Gretel: Warriors of Witchcraft (2013)

Twins discover a coven of witches. The brother is recruited to join while the sister uncovers their heritage as witch slayers. When the brother is supposed to sacrifice his sister they instead team up to destroy the Witch of the Woods.

Director: David DeCouteau

Stars: Eric Roberts, Vanessa Angel, Kathryn Collins

Hansel and Gretel Get Baked(2013)

A brother and sister battle a witch who lures teenagers into her suburban home with her special blend of marijuana where she then proceeds to kill and eat them to maintain her youth and beauty.

Director: Duane Journey

Stars: Molly C. Quinn, Lara Flynn Boyle, Lochlyn Munro

Hansel and Gretel in 3D (2013 - in development)

Okay, so this one has not yet been released but its release date is set for later this year, so I thought I'd throw it in for good measure.

Hansel and Gretel in 3D is an action packed visual FX filled version of the classic Grimm Brothers' fairytale. In addition to the infamous witch in the gingerbread house, the film showcases the legendary creatures of German mythology. These Teutonic beings will be designed by Joseph C. Pepe, the lead character designer from Avatar. The film is live action.

Studio: The Institute

Happy viewing my fellow faerlie accultured creatures.

So much more than just trees and dappled light

‘Lions, tigers and bears, oh my!’

- Judy Garland (The Wizard of Oz, 1939)

The forest has been a prominent and recurring theme in fairytale literature since the dawn of recorded history and not as a coincidence. The woods are laden with symbolic meaning that reach back to Pre-Christian periods.  

However, the bulk of the fairytales to which today’s modern audience responds, has its literary origin in the Middle Ages. In this context, a time when northern and western Europe were rich landscapes of woodland, the woods came to represent the edge of civilization and beginning of the unknown. As the unordered place of society’s outcasts, the dangers were real and sprouted from both mankind and the natural world. Rogues and bandits took up residence in forests and preyed on unsuspecting travellers. It also remains a place in which a natural food chain was present. Therefore, predators, like wolves, were expected.

As a place of the unknown, it is also a place of challenges and trepidation. As such, the forest can be viewed as a place of nourishment, testing and initiation. Hansel and Gretel tells the tale of two children who find nourishment in the form of a house of candy deep in the woods, albeit one that belongs to a cannibalistic witch. It is also in the woods that Snow White finds refuge with the seven dwarves. Testing and initiation takes the form of the witch in Hansel and Gretel and they enter into a state of independence and greater worldly wisdom, having defeated the antagonist in their tale. The characters of fairytales usually benefit from their interactions with the characters in the forest, whether by learning a lesson or receiving help.

So why a forest? It is a place of adventure where the familiar is left behind along with the comfort attached to it. The forest is the realm of challenges and unpredictability. The woods are ungoverned by the laws of man and are the ideal setting for the unimaginable to occur. These landscapes are metaphors for the shadows of the child’s psyche. In an unconstrained setting, individual exploration and self-awareness is encouraged, according to psychologists. Fairytales do, however, somewhat direct this journey towards the light.

Furthermore, most fairytale characters that find themselves wandering into the depths of forest have come to do so due to their being abandoned or being cast out – another recurring theme in fairytales. They themselves become outcasts. Snow White is forced to take to the woods after being cast out by her stepmother. Hansel and Gretel, after being rejected by their parents in favour of their own nourishment, are abandoned in the woods.

The woods are used in fairytales as a stage of inevitable growth for an evolving protagonist. What the tales’ heroes and heroines encounter while journeying through unknown territory is vastly removed from that which they are accustomed to outside of or bordering the forests – what civilization offered. However, these are experiences and discoveries that are necessary for growth and are inevitable as it is civilization (or members thereof) that has cast them out.