Tangled as Political Allegory
The 2010 Disney animated feature Tangled tells the story of Rapunzel in a version much better
than the original.
The original had only one gimmick – the hair of the girl in the tower that the evil
pretend mother and also the lover climb up to see her – but was otherwise not very
interesting by comparison to the re-release.
Rapunzel, who was not a peasant as in the original, but rather a lost princess, does
a hilarious rendering of the conflicted girl who wants to cling to the mother, but also
wants to see the world.
The boy is not a prince, but rather a bandit named Flynn Rider, and it takes him a very
long time to decide to give up his ruffian ways to finally fall in love.
And the story mercifully leaves out some very strange aspects of the original Brothers Grimm,
including the wildly implausible idea that a husband would give up child-rearing rights
to his wife's child in exchange for free access to the neighbor's lettuce patch.
Of course, the original is in the public domain by now, just as with all the great Disney
blockbusters.
Not all are improvements on the original, but this film certainly is.
Sometimes 2.0 is just much better than 1.0, and here we see the big problem with intellectual
property protection.
It freezes the first release as the only release for up to several generations.
Improving and adapting are made against the law.
This is not a problem if you use a story that is old enough, but why should society have
to wait a hundred years to get a better version of the original?
Why should we have laws that artificially slow the pace of progress?
But back to the movie.
I saw it because a Facebook friend, Matt Zitzke, suggested that the entire movie might be seen
as an allegory of, quote, government oppression and tactics to hold themselves as rulers over
the people.
The idea here is that the evil witch Gothel, who is really old and decrepit, but uses magic
to look 40-something is a stand-in for the state.
Let's see how this works out.
Gothel.
She sneaks into the home of the wealthy aristocrats to steal their child.
Government.
It sneaks into our bank accounts to steal money, steals purchasing power by depreciating
the currency, and kidnaps children by bribing them and drafting them into captive military
service.
Gothel pretends she is young, pretty and has the best interests of Rapunzel in mind, whereas
she is really old, ugly, vain, and holds Rapunzel in a tower to sustain the spell that keeps
reality at bay.
Government pretends that it is representing us to provide collective goods in our own
interests, whereas it is really serving itself and providing for special interests at our
expense.
Gothel makes up constant lies to keep Rapunzel from finding a way out of the tower, all based
on the idea that the world outside is really full of evil people who mean to do her harm.
Government makes up constant lies to keep us whipped up in a nationalist frenzy, all
based on the idea that the world outside is really full of evil people who mean to do
us harm.
Gothel flatters Rapunzel and makes her a much-vaunted hazelnut soup to keep her placated and less
dissatisfied with her imprisonment.
Government flatters the population and gives us much-vaunted benefits, health care, retirement
income, roads, to keep us placated and less dissatisfied with despotism.
Gothel makes Rapunzel afraid of her freedom and unconscious of her true identity as the
lost princess so that she won't run away.
Government makes the population afraid of freedom and unconscious of our true human
rights so that we won't demand them.
Gothel sustains herself like a parasite, so long as Rapunzel doesn't cut her hair, which
she could do at any time, Gothel will still look presentable in a size 9.
– Sustains itself like a parasite and builds monuments to itself.
So long as we don't stop obeying and paying, which we could do at any time, government
officials and bureaucrats can have the high life.
Gothel falls to her death once Rapunzel's hair is cut and the spell is broken.
As a final note, this film is absolutely gorgeous in every way.
The musical score, perhaps unwittingly, is a hilarious caricature of modern Broadway
show tunes.
In both respects, the film ends up embodying the best of the new, in the context of a story
about Enslavement, which is the perpetual and universal issue that every generation must
fight against.