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Plot: One year after her parents are cursed and become literal monsters, Princess Eilian ventures into the Dark Forest of Eternal Darkness to find a cure that brings her parents back to their rightful forms before the kingdom discovers their secret.
Review: Princess-led animated films are a dime-a-dozen. Since 1937, when Snow White shacked up with seven dwarves and introduced the concept of a spell-breaking “true love kiss” to the masses, we’ve met many beauties in various states of distress and self-discovery. As Father Time has marched through ticks and tocks, his aging bones quivering inside his loosening skin, princesses evolved, gaining grace and agency in the face of mediocre princes and opportunistic father figures. Today, the Elsas, Meridas, Tianas, and Mulans of the world help redefine the princess in fiction and the eyes of adoring young women. We’ve reached a point when a princess can be a conduit for aspirations beyond wishing for a happy ending, even if that means the lesson is harsh. In Spellbound, Princess Eilian, too, breaks the shackles of outdated tropes, bringing a different concept of familial love to the stage.
Skydance Animation‘s Spellbound centers on Princess Eilian, a 15-year-old who shoulders the weight of her kingdom after her parents mysteriously transform into literal monsters. Eilian, tired of waiting for a miracle, ventures into the Dark Forest of Eternal Darkness (I love this name) to rekindle her parents’ light, thus turning them back into their former selves. While the plot sounds standard, there’s more bubbling beneath the surface of Eilian’s journey and the reason for her parents’ transformation.
It’s important to remember that Eilian is just a child. She wants to be a normal kid with everyday problems, not risking life and limb in an enchanted jungle. Despite her royal position, it’s unfair to expect the world of her. To salvage her childhood and bring her parents back, she must face the unknown and confront disheartening truths before setting things right. Thankfully, Rachel Zegler understands the assignment well and perfectly plays Eilian with enthusiasm, determination, and humility as her core characteristics. Zegler’s performance is awe-inspiring given that her work on Spellbound began seven years ago before she starred in films like West Side Story and The Hunger Games: The Ballad of Songbirds and Snakes. Cutting your teeth on animated musicals is challenging, yet Zegler shines throughout.
Another fun performance in Spellbound hails from John Lithgow, who voiced Lord Farquad in Vicky Jenson’s feature directorial debut, Shrek. While Lithgow’s self-absorbed Bolinar is a hoot in his human-like form, his transformation into another creature of the kingdom yields his best moments. Few actors portray petulantness, like Lithgow, and Spellbound allows him to whine his way into our hearts. In contrast, Jennifer Lewis delivers a commanding performance as Nazara, an aid to the royal family managing the fallout of the King and Queen’s monstrous circumstances. Together, Lithgow and Lewis perform one of the film’s best songs, “Step by Step,” a spirited number displaying their frustration and not-so-brilliant plot to replace the King and Queen with their daughter, Princess Eilian.
Other delightful performances come from Nathan Lane and Tituss Burgess, who play Luno – the Oracle of the Moon, and Sunny – the Oracle of the Sun, respectively. The “coded” couple delivers lots of laughs with their Oscar and Felix Unger-like dynamic, and their song, “Look for the Light,” composed by Alan Menkin with lyrics by Glenn Slater, is an adorable ray of… well, light, in dark times. The Oracles never outstay their welcome, bringing comedy and charming banter to the stage.
Finally, Nicole Kidman and Javier Bardem are Queen Ellsmere and King Solon, respectively. Despite spending a portion of the film as snarling beasts, the duo eventually speaks monosyllabically throughout much of the film. Kidman’s performance is enchanting and adorable on all fronts. I imagine her in the recording booth and smile at the thought of her growling and searching for words. Bardem’s timbre adds an impressive amount of character and gravitas to his character, making the couple a highlight of Spellbound‘s endearing vocal performances.
While the kingdom of Lumbria is a picturesque fantasyland of gushing waterfalls, brightly colored flower fields, and craggy cliffsides, one aspect of the world fails to touch the light: the citizens. As a critical-thinking adult, I found aspects of Lumbria’s population increasingly frustrating. No one and I mean no one, puts two and two together when Eilian attempts to explain her parents’ condition. The General (Olga Merediz) jumps to conclusions and, as a result, endangers the royal family’s lives.
Before I go any further, I understand that ignoring Eilian’s pleas and explanations is essential to the film. Adults rarely listen to children. They often dismiss their explanations as stories and make matters worse by not taking the time to listen. While I appreciate this aspect of the plot and where it’s coming from, ignoring Eilian’s petitions makes the General and her guard wholly inept at their jobs. Adding to this, the second they realize what’s happening, they’re immediately on board, and all their efforts to imprison the monsters and force Eilian out of the kingdom become forgotten. While five-year-olds will look past this repeated display of maladroitness, I could not resolve my frustration with the guard’s lack of smarts and their unaccountability. Am I being ridiculous? Perhaps.
Moreover, the rules of Spellbound‘s world could use some clarification. If negativity, malice, and arguments bring about life-altering consequences, why aren’t other monsters like the King and Queen in Lumbria’s history? Are we to believe no one harbors resentment in a wide-spread kingdom of diverse individuals? Has no one done anything to warrant a similar transformation, thus making the King and Queen’s predicament familiar? Are the General and her guard unaware of how the Dark Forest functions on the outskirts of the kingdom? Again, the target demographic might wave these factors away with ease. However, I needed clarification on the unfamiliarity of the kingdom’s ordinances. Do I need to switch to decaf? Never. How dare you.
Hyper-specific and questionable hang-ups aside, Spellbound is a joy to behold. The film proudly wears its musical roots, offering audiences emotionally charged songs that service the plot, build character quirks, and add to the atmosphere of an animated movie overflowing with personality. Eilian is a terrific character with depth, and the final act offers a unique spin on the “happy ending” formula that’s mature and satisfying. Parents could find themselves needing to explain adult relationship dynamics and how love between two people can change with time to their young ones, but better them than someone else. I applaud Spellbound for delving into such shaky territory, offering something unconventional and thought-provoking to young minds, and hitting adults with an alternate perspective regarding how their actions and behavior extend throughout the family unit. Spellbound is a story worth telling. I hope that people will listen.
