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.
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| 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.
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.
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.
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.
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.
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.
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| 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.
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| 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.
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.
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| Paramount Pictures. 2013. Movie Poster. |
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.
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.
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| 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.”
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