That seemed to be the only story on offer.

Your goodies were good, and your baddies were downright evil, there was no context or grey areas. Female jealousy seemed to be enough to turn a queen into a witch. The villains in early Disney were quite often women. Jealous and catty, sure, but so powerful. Rich and assured of themselves. What a great aspiration for the young girls of the 40s and 50s. Their employment opportunities were terrible, but they felt confident they could rock a cape and pair of horns.

Nowadays, the offerings from Disney are more progressive, and much more representative. Encanto (2021), Luca (2021), Strange World (2022) and Turning Red (2022) certainly explored complex and diverse storylines and characters, especially when compared to the studio’s earlier offerings. And while modern Disney princesses are still often found in ballgowns, young audiences are well-accustomed to them being adorned with weaponry as well.

So, what does a child with a decidedly modern palate make of Snow White and the Seven Dwarfs (1937), Cinderella (1950) and Sleeping Beauty (1959)? While they continue to be favourites for many Disney fans, it is easy to argue that there isn’t much about them for a feminist… or a nine-year-old who’s being raised by a feminist (let’s call her E).

Up until this point, E hasn’t seen these particular films because there just seemed a bit too much cleaning up after men, falling head over heels with them before anyone’s got to know anyone properly, and getting kissed while unable to give consent for it, to be a suitable tale for a 21^st Century lass.

Will the films prove E’s mother wrong? Or will they be the heteronormative, stereotype-riddled dinosaurs she suspects them to be? Will E be swept along by the romance of it all and demand to watch on repeat forever more?

Snow White and the Seven Dwarfs (1937)

Snow White and Seven Dwarfs Review

When Disney released Snow White in 1937, it became an instant classic, and to this day it remains critically acclaimed and revered as one of the greatest animated films of all time. Snow White became lore and left ripples of influence through every Disney film that followed.

‘You can tell that’s drawn,’ was the first thing E had to say about Snow White (1937). This is actually a selling point of the movie, the incredible feat of the animators who crafted each image (up to twenty-four for every second of film) and created that beautiful, dreamlike effect. But for a kid whose first Disney experience at the cinema was Inside Out (2015), Snow White might as well be carved in stone.

The second thing the modern miss could not get her head around was the clipped affected tones of a 1930s Hollywood starlet. In fact, the story of Adriana Caselotti’s employment is particularly unfeminist too. Disney blocked her from other voice work so not to disrupt the illusion of Snow White. E struggled so much with the willowy wisp of her voice that subtitles had to be employed. The explanation that some women used to make themselves sound like that to be more appealing just didn’t compute.

‘But why?’

One extremely troublesome line in the film is ‘I’m so ashamed of the fuss I’ve made.’ This is uttered immediately after someone our heroine trusted has attempted to murder her. Fortunately, E was still so concerned about the voice that she hadn’t quite focused in on what was being said yet. It is hard to imagine Esmeralda or Anna saying anything quite as timid.

Snow White is at least proportionately realistic for a thirteen-year-old girl, which in a world of Barbies, Auroras, Belles and Elsas, is definitely worth something. Snow’s sensible eyes should get a mention here too, something the later princesses lack. It’s a wonder that Rapunzel can keep her head up, quite frankly.

In films that followed after, the magic of true love’s kiss is acknowledged, it’s mentioned, it’s prescribed. Because Snow White was the first, that means that Prince Charming, apropos of nothing, went out for a stroll and snogged a girl he thought was dead. How romantic.

Because E has seen those subsequent films, she knows that true love’s kiss will wake you from a poison apple coma (duh), so she wasn’t too perturbed by the notion of the prince kissing Snow. Her mother still doesn’t like it though.

The thing that struck E was that there were lots of boys in it, ‘even though it’s for girls.’ She has obviously never been told that Snow White is for girls, but she has been in Primark, she knows the boy section doesn’t have hoodies with Snow White, Cinderella or Sleeping Beauty on them, so she knows it’s not for them…

Cinderella (1950)

Cinderella (1950) is another film where the leading lady falls head over implausibly-tiny-heels in love with her guy within moments of meeting him. But at least she speaks to him before he shoves his tongue down her throat. To be fair, he seems equally besotted.

Cinderella is far sassier than Snow White, but does the film fare any better under the watchful eye of E and her reluctant mother?

While Cinderella is vocal about her unhappiness, she is entirely dependent on whether the men in her life can rescue her. Whether that’s a prince, a mouse or a dog. Cinderella has little autonomy besides deciding whether to change Anastasia’s sheets before Drizella’s, or not. But that is something.

Actually, E didn’t really see the sexist stereotypes at play in Cinderella (1950). Maybe this is because she has been raised in a house that constantly refutes them, or simply because she has had the choice to see Disney women lead armies across China, fight ice monsters, choose not to marry, or break family curses through sheer stubbornness. Watching a woman in a domestic role is a rarity for her, so it literally can’t be a stereotype.

She didn’t see the mouse saying ‘leave the sewing for the women’ as problematic, only that those women must be better at sewing than those particular men. Her mother felt Gus Gus could probably have had a crack at it – he would’ve probably still been better than Flora, Fauna or Merryweather.

Sleeping Beauty (1959)

In one of the earlier text versions of Sleeping Beauty, the young woman is actually woken by her baby breastfeeding. Her second baby born since she’d been put to sleep by the curse. While the Disney version of Sleeping Beauty (1959) does have a more PG wake up routine, there is still a palpable lack of consent (unless betrothal counts?). Like Cinderella, at least Aurora had met and spoken briefly to Philip before deciding that he was the one for her. And unlike Snow White’s Charming, Philip is told explicitly that his kiss will wake the princess and restore the kingdom. Slightly less gross. Also, pressure.

E found Sleeping Beauty (1959) ‘a bit too lovey’ and ‘quite boring.’ For children used to ‘Minecraft’ Creepers, and those mind-bending goggles from Incredibles II, Maleficent’s raven doesn’t quite bring the chills it might have done in the sixties. If the main peril doesn’t feel perilous, and the main thing driving the protagonist (falling in love) isn’t exciting enough, then the film is going to fall flat.

On the face of it, Sleeping Beauty (1959), has more to offer. Dragons, sword fights and sarcastic fairies. But, of the three films, Aurora has the least autonomy. Yes, Snow’s choices were bad – never take apples from obviously evil crones in the woods – but they were her own. Whereas Aurora doesn’t decide to be cursed, she doesn’t decide to leave her family home and bunk in the woods for 16 years, she doesn’t decide to prick her finger on a spindle, and she doesn’t even get to decide when she wakes up. The one thing she does decide is that she is madly in love with the first man she ever meets. A 2D character in every sense of the word.

Sleeping Beauty also seems to be the turning point for the animators’ choice to make these teenaged princesses figures hourglass and unattainable. True, Cinders looks smashing in her gown but looks slightly more realistic in her brown smock. Aurora’s forest garb seems to include a corset.

But why?

There is something almost pure about watching early Disney, when the films were the focus. The stories were the only thing on offer. Watching these three films with a modern child was interesting, not that E had particularly nuanced wisdom to share but because they really proved how far Disney has come. E has no interest in watching Snow White or Sleeping Beauty ever again (a damning review), which suggests that they don’t offer what a growing girl needs. It might also suggest that her mother was vindicated in thinking these films were unsuitable.

Nowadays, it’s harder to separate out Disney films from the commercialism that comes with them. Is another Toy Story needed, or is it just an excuse to sell toys? But given that children have got content coming at them from so many sources, the films the studio produces have to be incredible. They have to be capable of grabbing attention that is pulled in many directions. Even with awkward product placement and exorbitant park prices, the stories have developed and continued to be a spectacle (Planes: Fire & Rescue (2014), aside). Not only do the films have to be engaging, they have to be engaged. Modern films have to reflect modern appetites and sentiments.

It’s always good to acknowledge what came before. Cinderella waltzed so that Merida could run. Kids learning to love Disney films today get to access worlds with stories that stretch far beyond romantic love and castles. And that can only be a good thing. Much to E’s mother’s chagrin, Snow White, Cinderella and Aurora will never be fully obsolete. Nostalgia will keep them alive for generations to come. Just perhaps not in E’s house.

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They’ve come in many guises over the years, from the monarchical to the Machiavellian, monsters to muscle men, sorcerers, schemers and step-parents. And they have shown levels of genius, incompetence and everything in between in their efforts to thwart our heroes. But they are always without fail ambitious, self-serving and strangely compelling.

In a world of promoting good virtues to children, good must always triumph over evil. And so, Disney villains can’t be left to return and cause havoc another day (unless it’s in an inconsequential direct-to-video sequel) and so usually meet their maker in one of a variety of inventive and sometimes gruesome ways.

If the Disney Princess is the most merchandisable element of the Disney canon, then the villains are a close second and inspire even more fervour among adult fans, perhaps because they’re usually more flawed and interesting than the heroes and especially when so many are (intentionally or not) queer-coded, fabulously designed and played with gusto by talented voice actors giving it their all. 

For this edition of Ranked, we at The Film Magazine have taken every significant villain to be found in Disney animation and ordered them in terms of wickedness, memorability and the threat they represent to our heroes and heroines. So practice your diabolical laughter, rehearse your evil monologue, dust off your best purple attire and enjoy Animated Disney Villains Ranked. 

Follow @thefilmagazine on X (Twitter).

36. King Candy – Wreck-It Ralph (2012)

The ruler of arcade racing video game Sugar Rush who is actually Turbo, the resentful title character of a long-disconnected game.

Alan Tudyk has been Disney’s good luck charm in recent years and delivers a manic performance here as a mascot-gone-wrong, but the vocals have to do most of the work to enliven a baddie who’s just not interesting enough to match the heroes.

Demise by: Destroyed by the collapse of Diet Cola Mountain with the addition of Mentos.

35. Prince Hans – Frozen (2013)

A seemingly classic Prince Charming who is actually conspiring to eliminate both heirs to the Arendelle throne and claim it for himself.

Hans is a duplicitous, generic British-accented baddie revealed in the film’s final act, who gets some bonus evil points for taking advantage of Princess Anna’s emotions the way he does, purely to advance himself.

Demise by: Survives but is arrested and banished for his treachery.

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34. Alameda Slim – Home on the Range (2004)

An evil cattle rustler and conman who plans to cheat every rancher he can find out of their land.

Randy Quaid’s growling delivery and the character’s hilariously unconvincing Inspector Clouseau-level disguises aside, what makes Alameda Slim stand out is that he’s a rare villain who uses a combination of theft, foreclosure and cow-hypnotising yodelling to get what he wants.

Demise by: Survives, but his schemes and true identity as a rustler are exposed and the reward for his arrest is claimed.

33. Dr Jumba Jookiba – Lilo & Stitch (2002)

An alien mad scientist on the hunt for his dangerous but cute creation on Earth on the orders of the council who imprisoned him for his work.

Dr Jumba is probably the only character who never underestimates the cute blue title character because he was the one who genetically engineered “Experiment 626” and is fully aware of his destructive capabilities. He finds himself lower down this list for being bumbling and for having a late change of heart, eventually helping to protect Stitch when the council’s military arrives to complete his mission with extreme prejudice.

Demise by: Survives to live a fairly happy exile alongside Stitch on Earth.

Cruella (2021)
Director: Craig Gillespie
Screenwriter: Dana Fox, Tony McNamara
Starring: Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser

Given the current Hollywood model of churning out sequels, prequels, remakes and reboots one could be forgiven for looking at 2015’s Cinderella as the first film in Disney’s current line of live-action remakes. However, upon closer inspection it is apparent that the company’s obsession with cashing in on the success of previously successful properties began over ten years ago with the live-action remake of Alice in Wonderland. Though the output was much slower pre-2015’s Cinderella, the studio very obviously were finding out just how much money could be made via adaptations, remakes, reboots, spin-offs, sequels and prequels of already established properties. On top of the healthy box office profits that could be made, these movies also obtained characters, worlds and lore that were already established with audiences, therefore needing much less development on the screen in these areas. Soon after Cinderella came unwelcomed Pirates of the Caribbean sequels, remakes such as The Jungle Book and The Lion King, and perhaps most interestingly Maleficent. 

With Maleficent came the brilliant idea to create live-action pictures from the perspectives of Disney’s greatest villains, creating a sympathetic portrayal of the much loathed “baddies”. Though Maleficent was not a hit critically, there is no denying the creativity behind the idea. Rather surprisingly, Disney made no further attempts at this approach. Until Now.

With Cruella comes the story of Cruella de Vil, the iconic villain from Disney’s classic 1961 animated film One Hundred and One Dalmatians.

In a very clever decision by Disney, Craig Gillespie, the man who made the most hated woman in sports history sympathetic with his movie I, Tonya, was signed on to direct, the logic being that if he could have us sympathising with Tonya Harding then he could make us sympathise with anyone, including a Dalmatian-murdering fashion designer. Sadly, though Gillespie holds up his end of the deal, Disney do not, producing a weak script that almost derails an otherwise promising production.

In order to create sympathy for a character such as Cruella de Vil it must first be made clear how she got to where she is in One Hundred and One Dalmatians. The idea as to why Cruella would detest Dalmatians is effective in its simplest form, creating an understandable reason for Cruella’s evil action towards the animals, but as a fleshed out idea the events that cause Cruella’s hatred of the dogs is… daft. This is made worse by the fact that later in the film the event does not even affect Cruella’s feeling towards Dalmations and by the end of the film she seems to like the dogs more than hate them, leaving us no closer to the Cruella we know and love to hate.

This is just one of the ways the screenplay struggles with Cruella’s arc, offering a descent into evil that feels as Joker-esque as pre-release promotional material had suggested, whilst being unable to offer the same depth. Emma Stone shines, often carrying the movie on her back, but it remains clear throughout that the conceptual quality of this narrative is not strong enough to stand on its own. 

As enjoyable as Stone is in the lead role, it is Emma Thompson who truly steals the show with her own villain Baroness von Hellman. Thompson brings this dastardly character to life with a charismatic performance, one that works to highlight the few outstanding aspects of the screenplay.

It comes as no surprise, then, that when Stone and Thompson share the screen Cruella is at its most irresistible. This is particularly evident in a scene in which Cruella performs a series of publicity stunts over the tune of Blondie’s “One Way Or Another”.

It’s a great moment, but one that highlights the same discrepancies in the film’s soundtrack as those found throughout the rest of the production – it being a mixed bag. Both the soundtrack and the screenplay are filled to the brim with great ideas, but the execution of each remains just short of perfect, each barraging the screen with as much as possible rather than taking a more measured and therefore palatable approach.

Though the soundtrack is far from perfect, it does do a very good job of recreating the 70s setting in which Cruella takes place. The set design also works to create a believable 70s setting whilst also creating eye-catching imagery that makes for a generally quite beautiful film. Perhaps the greatest aspect of Cruella are the costumes however, as not only do they work well to represent the decade in which the film takes place but they also reflect the world of fashion in which Cruella exists. The future is as yet unclear, but Cruella must already be considered amongst the front-runners for production design and costume design at the 2022 Oscars. 

Cruella isn’t perfect, but relative to other Disney remakes and re-imaginings it does feel fresh. It’s fun and imaginative, and whilst it’s far from perfect (and in many ways not very good at all), it maintains a brisk pace and succeeds in offering a hearty cinematic experience. Even the harshest of critics can’t say no to Cruella. 

15/24

Number 30: Hercules becomes a God –Hercules (1997)

‘Hercules’ at 25 – Review

Number 29: Higitus Figitus. Merlin works his magic – The Sword in the Stone (1963)

Number 28: The Evil Queens evil plan – Snow White and the Seven Dwarfs (1937)

Number 27: Pink Elephants on Parade – Dumbo (1941)

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Number 26: Copper saves Todd – The Fox and the Hound (1981)

Number 25: Ohana means family – Lilo and Stich (2002)

Number 24: Mulan gets ready for war – Mulan (1998)

Mulan (1998) Review

Number 23: Ray is united with Evangeline –Princess and the Frog (2009)

Number 22: Pocahontas meets John Smith –Pocahontas (1995)

Number 21: Under the Sea – The Little Mermaid (1989)

Number 20: Alice goes down the rabbit hole – Alice in Wonderland (1951)

Number 19: True love’s kiss – Snow White and the Seven Dwarfs (1937)

Number 18: 101! – 101 Dalmations (1961)

Number 17: Aladdin wishes Genie to be free – Aladdin (1992)

Number 16: Bibbidi Bobbidi Boo – Cinderella (1950)

Number 15: Steamboat Willie – Steamboat Willie (1928)

Number 14: Everybody wants to be a cat – The Aristocats (1970)

Number 13 – I’m a real boy – Pinnochio (1940)

Number 12: The Bare Necessities – The Jungle Book (1967)

Number 11: Bambi goes ice skating – Bambi (1942)

Number 10: Let It go – Frozen (2013)

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Number 9 – The Circle of Life – The Lion King (1994)

Number 8: Ariel gives up her voice – The Little Mermaid (1989)

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Number 7: The Floating Lights – Tangled (2010)

Number 6: Off to Neverland – Peter Pan (1953)

Number 5: Maleficent crashes the party – Sleeping Beauty (1959)

Number 4: Bella Notte – Lady and the Tramp (1955)

Number 3: Mickey’s dancing brooms – Fantasia (1940)

Number 2: Long Live The King – The Lion King (1994)

Number 1: The Dance – Beauty and the Beast (1991)

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What are your favourite Disney moments? Let us know in the comments and be sure to follow us on Facebook and Twitter for updates on more articles like this one.

Number 10: Mulan – Mulan (1998)

Mulan is very different to the rest of the characters on our list. Mulan is all about representing strength and honour, and doing whatever it takes to protect your family. She is by no means the typical beautiful princess in a gown, she is a fighter. Not only is she a representation of strong women, she also represents a culture other than the typical American or English settings that Disney are drawn to.

Mulan (1998) Review

Number 9: Jasmine – Aladdin (1992)

In a similar way to Mulan, Jasmine represents a different culture: she is exotic and she is one of the few princesses that has sex appeal (which is mainly down to her strength). She wants her independence, she wants to make up her own mind and she is not afraid to stand up to those who try to control her. Where as many Disney stories are of normal girls longing for a Prince or to be a Princess, Jasmine is the opposite, she has everything but would give that all up if it meant she could live her own life.

Number 8: Tiana – The Princess and the Frog (2009)

Tiana marks a ground-breaking moment in Disney history as she is the first black princess. She is ambitious and independent, and works hard to achieve her dream. She is a feisty character and in no way a damsel in distress. Despite being turned into a frog, she is the one who takes charge in rectifying their situation. Although she has the beauty of a typical Disney princess, we focus more on her personality as she spends most of her time as a frog, and it is this that we fall in love with.

Number 7: Rapunzel – Tangled (2010)

Rapunzel is a princess who is simply fun, and like many teens growing up is discovering the world for the first time (even though her situation is more on the extreme side). Despite loving her ‘mother’ she wants her own freedom. She is cute, energetic, creative and has hair to die for. Rapunzel, along with Tiana, seemed to have started a new wave of Disney princesses.

Number 6: Elsa – Frozen (2013)

Elsa is the most recent princess on this list, but her impact has been incredible – the popularity of Frozen is something that nobody expected. Even two years after the film’s release, hype still surrounds it. Elsa is the only princess with magical powers on this list, she is an outsider, and her journey to accepting who she really is, is a captivating one.

Number 5: Aurora – Sleeping Beauty (1959)

Aurora is a traditional princess in every sense of the word. Her beauty resembles that of an old Hollywood movie star and she is the typical damsel in distress, dreaming of her Prince to come. She may not be rebellious, or particularly strong or ground-breaking, but she is iconic to the Disney brand: her castle is one the main attractions in the Disney parks. Sleeping Beauty is a true Disney classic.

Number 4: Cinderella – Cinderella (1950)

Much like Aurora, when you think of Cinderella you think of the traditional Disney princess: beautiful, kind and innocent but in a tough situation. Cinderella just longs for one night of happiness and when her wish is granted, she just so happens to meet a Prince and her true love. Whereas she may not be as prominent in setting new ideologies when it comes to being a Disney princess, Cinderella is simply iconic when it comes to Disney.

Number 3: Belle – Beauty and the Beast (1991)

Belle’s kindness and representation of acceptance is what puts her so high on this list. She is beautiful and graceful, but it is also her intelligence and her love of books that make her a good role model for young girls. She is independent and a great judge of character, refusing the likes of Gaston and accepting the kind heart of the Beast. She may also have one of the most memorable wardrobes of all the Disney princesses.

Number 2: Ariel – The Little Mermaid (1989)

Ariel was another princess who seemed to brake the mould when it comes to stereotypical thoughts of a princess, and not only because she is not entirely human. Ariel is rebellious, cool and let’s face it she has hair that any girl would kill for. She is the one that every young girl wants to be, whether in mermaid or human form. Ariel’s strive to want more for her life is something that almost everyone can relate to, and her willingness to give up everything to get it makes her stand out in the Disney universe.

Number 1: Snow White – Snow White and the Seven Dwarfs (1937)

Not only was Snow White the original princess, but she was the one that started everything in Disney’s first feature length film. Snow White is the pioneer of the Disney Princess, and she is probably the most memorable. She embodies everything you think of when you think of a princess: pure innocence, beauty, kindness and grace. This is why she is number one on our list.

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