Английская Википедия:Giselle (Disney)

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Giselle is a fictional character from Disney's romantic comedy fantasy film Enchanted (2007) and its sequel Disenchanted (2022). She is both portrayed and voiced by actress Amy Adams. The character first appears in Enchanted as a cheerful maiden from the animated kingdom of Andalasia, whose plans to marry a prince are threatened when an evil queen banishes her to New York City. While trapped there, she meets and charms a cynical divorce lawyer.

Created by screenwriter Bill Kelly and director Kevin Lima, Giselle is both a parody of and homage to classic Disney princess characters, specifically borrowing inspiration from Snow White, Cinderella, Aurora and Ariel. Adams was selected out of approximately 300 actresses who auditioned for the role. Although Lima had always wanted to cast an unknown performer as Giselle, Disney executives were initially hesitant to hire Adams due to her relative obscurity at the time. Giselle's animated sequences were supervised by veteran Disney animator James Baxter, who referenced live-action footage of Adams to ensure the character was a cohesive combination of Adams and the classic Disney princess aesthetic.

Adams' performance was widely acclaimed by film critics, who praised her comedic timing, singing, and commitment to the character. Adams was nominated for a Golden Globe Award for Best Actress – Motion Picture Comedy or Musical, and the role is credited with establishing her as a leading lady in Hollywood. Some publications credit Giselle with reviving Disney's princess films following a period of decline. Due to disagreements over compensating Adams for using her likeness, Disney canceled its initial plans to induct Giselle into the Disney Princess franchise.

Role

Giselle (Amy Adams), a young woman from the animated kingdom of Andalasia, has long fantasized about marrying her true love. She is engaged to be married to Prince Edward (James Marsden), but their plans are jeopardized by Edward's stepmother, Queen Narissa (Susan Sarandon). Viewing Giselle as a threat to her throne, Narissa pushes her down a magic well, inadvertently transporting her to contemporary Manhattan, New York City. Disoriented and homeless in an unfamiliar environment, Giselle meets Robert (Patrick Dempsey), a disillusioned divorce lawyer and single father to his daughter, Morgan (Rachel Covey). Reluctantly, Robert allows Giselle to stay in their apartment, straining his relationship with his fiancé, Nancy (Idina Menzel).

As Giselle begins to change from the complexities of New York, Edward pursues her, determined to bring her back to Andalasia. Meanwhile, Narissa's henchman, Nathaniel (Timothy Spall), plots to sabotage Edward's mission by poisoning Giselle. Despite her devotion to Edward, Giselle begins to develop feelings for Robert the more time they spend together, and Robert is softened by Giselle's positivity in return. Meanwhile, the real world begins to transform Giselle into a rounded human being. When Edward finally locates Giselle, she pleads to spend their last night in New York at The King and Queen's Ball, during which Giselle she shares a romantic dance with Robert. Their moment is interrupted by Narissa, who disguised as an old woman, offers Giselle a magic apple promising that it will erase all memories of her time in New York so she can move on with Edward. However, the apple poisons her and Giselle falls into a deep sleep.

Edward and Nathaniel intervene before Narissa can drag Giselle away. Robert deduces the spell can only be broken by true love's kiss. When Edward's kiss fails to awaken her, he quickly realizes Giselle's true love must be Robert instead. With Edward and Nancy's blessing, Robert kisses Giselle and she is revived. Enraged, Narissa transforms herself into a dragon and kidnaps Robert, dangling him from the top of the Woolworth Building. Giselle pursues them and catches Robert as Narissa falls to her death. In the end, Giselle chooses to stay in New York with Robert and Morgan, and launches her own princess-themed clothing line called "Andalasia Fashions", while Edward returns to Andalasia with Nancy, where they marry each other.

In the sequel Disenchanted, which takes place 15 years later, Giselle, Robert, a teenage Morgan (Gabriella Baldacchino) and their newborn baby Sophia move to the seemingly idyllic town of Monroeville, where Giselle hopes to achieve a more idyllic lifestyle than what she had been experiencing in New York. While clashing with both Morgan and the town's queen bee Malvina Monroe (Maya Rudolph), Giselle discovers she is not adjusting as well as she had hoped and makes a wish for a fairly tale life, that inadvertently turns her into Morgan's wicked stepmother.

Development

Creation

In an original draft of the story, the film's heroine asks to be sent to the "real world" to escape the unrequited advances of a "Prince Charming" character. When Disney acquired the original script for Enchanted, the film had been intended for a much older audience. Screenwriter Bill Kelly had written a scene in which Giselle is mistaken for a stripper upon arriving in New York's red-light district. She is hired for a bachelor party, whose attendees become angry with her once she refuses to strip, prompting Robert to cancel the party and rescue her. Executive producer Doug Short claims the bachelor party was not abandoned exclusively because of its mature tone, but rather the removal of Robert's friends naturally allowed the story to prioritize Giselle and Robert's relationship. By 2005, Disney commissioned Kelly to write a new draft that aligned with the studio's tradition of yearning heroines. Director Kevin Lima revised the script with Kelly to have Giselle arrive in Times Square. The bachelor party idea was ultimately replaced with Giselle hanging from a castle-shaped billboard, where she meets Robert for the first time.

Short said the hardest part of developing Giselle as a character was establishing a balance between her comedic antics and relatability, without simply making her a "fool" or disregarding her happy personality during her evolution. Because she is a parody of and homage to classic Disney princess tropes, the filmmakers borrowed inspiration from several Disney princesses, with Lima describing Giselle as "80% Snow White" with traits of Cinderella and Aurora, combined with Ariel's spunk. Caroline Siede of The A.V. Club observed that the first three lend themselves easier to parody as "the least progressive Disney princess films", whereas Ariel represents a transition towards more empowered heroines. Lima noted Giselle's distinguishing trait is that while her predecessors are largely reactive, Enchanted's contemporary setting forces Giselle to become an active participant in her own fairy tale and rely on her innate ability to adapt to new situations to survive unfamiliar circumstances. Kelly identified Giselle as his favorite character to write for.

As a former Disney animator, producer Barry Josephson described Lima as an expert on Disney's princess characters, which he credited with helping develop Giselle. Similarly, short credits Lima with establishing the proper tone for Giselle's evolution, without resorting to simply making fun of Disney's princess culture. According to Adams, her character's journey is about discovering genuine human emotions and love: "She finds out that life is more complicated than it has appeared so far in her life and that it is not all about happy endings, but can be very exciting”. A significant moment in Giselle's character development is when she experiences the feeling of anger for the first time during an argument with Robert, while noticing his chest hair, a feature typically omitted from animated characters. Some of the creative team heavily debated whether the film warranted a final battle, but Short ultimately decided the moment was needed to complete Giselle's transformation into someone who no longer needs to be rescued. Lima explained that the ending provides a more "contemporarily responsible story" for Giselle, unlike traditional female characters who appear independent until they are rescued at the end of their films. Despite some objection from fans, Lima maintained that separating Giselle from Edward at the end was needed to finalize her growth.

Casting and portrayal

Adam Shankman was one of the early directors attached to the film before Lima; Shankman had expressed interest in offering the lead role to Kate Hudson or Reese Witherspoon. Established actresses such as Cameron Diaz, Renée Zellwegger, Jennifer Garner, and Christina Aguilera had also been considered, but Lima specifically wanted to hire an unknown actress so audiences would not be distracted by her public image, and maintain the illusion of the character's innocence. Approximately 300 actresses auditioned for the part. By the time Adams auditioned in 2005, Lima had already interviewed 250 candidates, and had begun doubting he would find the right actress. Disney was initially hesitant to hire the relatively unknown Adams because they believed they needed an established star to attract audiences.Шаблон:NoteTag However, Lima was instantly impressed by her audition, believing she looked like a Disney princess, and described her as the only auditionee capable of inhabiting the role sincerely without mocking the character’s naivete. Disney chairman Dick Cook relented upon seeing her screen test and cast her immediately, while Josephson said Adams demonstrated the emotional range required for the role. Lima likened hiring Adams to Disney introducing the world to Julie Andrews in Mary Poppins (1964).Шаблон:NoteTag To appease the studio for casting a lesser-known, Lima offered to hire more established actors such as Patrick Dempsey in supporting roles.

Файл:Reese Witherspoon face.jpg

Actress Reese Witherspoon (pictured) was one of several actresses considered for the role of Giselle before Amy Adams was cast.

Giselle was Adams' first leading role, to which she was attracted because of the character's kindness and opportunity for her younger relatives to see her in a family-friendly film. She envisioned Giselle as a strong character despite her sweet nature, explaining that her innocence comes from inexperience as opposed to weakness, and strove to preserve her kindness as she evolves into a human. She did not intentionally watch Disney films to prepare for the role because she had watched them constantly growing up, and wanted to avoid imitating any specific princess in favor of creating her own. At age 19, Adams had unsuccessfully auditioned to play a princess at one of Disney's theme parks. Despite the character being a princess, Adams said she treated Giselle as seriously as she would have done any other role, but felt an added sense of responsibility to maintain a positive image as a potential role model for young girls.

Since the film is a musical, Adams was determined to not have her singing dubbed by another performer and underwent intensive vocal coaching to perform all of her character's songs. She recorded three of the film's original songs for its soundtrack, and listened to earlier Disney princesses to achieve a "softer, more lilting" tone. Despite her musical theatre background, she described the musical, romantic, and action scenes as the most challenging to film because she needed to rely on her imagination to interact with animated and CGI elements. She worked with some live rats and birds to film the "Happy Working Song" sequence, but refused to film with cockroaches. As Enchanted was not filmed in chronological order, Adams paid particular attention to making sure her character's personality and physicality were accurate to the timeline. She took ballroom dance lessons with Dempsey to prepare for the film's ballroom sequence, and found it difficult to learn to dance with a partner despite being a trained dancer.

Giselle's costumes were designed by Mona May. The character begins Enchanted wearing traditional Disney princess attire; her outfits gradually become more modern the longer she remains in New York, to mirror her evolution from an animated princess into a "real woman". Her most elaborate costume, the wedding dress, proved challenging for Adams to move in because it consists of several steel hoops and weighs 45 pounds, preventing her from moving forwards or backwards, or sitting down while wearing the dress. May designed the gown based on Lima's instructions to deliver a distinct contrast to the two-dimensional drawings, sewing several layers of petticoats into the dress to make it as large as possible. Adams fell under its weight several times. Ultimately, she credits it with helping inform how Giselle would move on camera. Giselle's transformation and decision to remain human culminates in a form-fitting evening gown towards the film's climax, the design of which May intentionally kept secret from the audience. May designed Giselle's ballgown to appear as though she could have purchased it from a department store, and based it on dresses worn by actress Ginger Rogers during the 1930s and concept art of Disney princesses.

Design and animation

Early versions of the script did not include any animated sequences, which the filmmakers decided to incorporate once they realized they would be introducing audiences to a new Disney princess for the first time in several years. Short opted for a traditionally animated introduction in the realm of Disney's earliest princess films as opposed to a computer-animated opening to remind viewers that Giselle is not a contemporary Disney princess, and felt it would not have made sense for her to be computer-animated. To establish the environment, Lima wanted the animated characters to appear round, curvy and flower-like, devoid of the straight lines found in New York. Character designer Harald Siepermann drew direct inspiration from the work of artists Alphonse Mucha and Maxfield Parrish for elements such as Giselle's hair, which was drawn to resemble waves. Siepermann used elements of Romanticism and Art Nouveau for Giselle's long, flowing hair and slim dress, which would contrast the large wedding dress she dons later in the film. Siepermann also borrowed inspiration for Giselle's design from Czechoslovakian television adaptations of fairy tales. Both Giselle and Edward's outfits feature puffy shoulders to establish a connection between the love interests.

The animated version of Giselle was animated by James Baxter, who supervised all of the film's animated sequences. He had previously been a supervising animator for Belle in Beauty and the Beast (1991), in addition to working on several other Disney films before migrating to DreamWorks Animation by the time he was hired for Enchanted. Baxter envisioned Giselle as a hybrid of Adams and classic Disney princesses, and referenced classic Disney films to ensure she was unique as her own character despite resembling an archetypical Disney heroine. Giselle's mannerisms and Adams' vocal inflections were mostly based on Snow White. Baxter worked on the character primarily with fellow Disney animators Mark Henn and Robert Domingo. Henn was known for having previously animated several of Disney's leading ladies.

Adams provided live action reference by posing and acting out some of her character's animated scenes, allowing the animators to borrow some of her mannerisms and characteristics, although she felt intimated by the thinness of her animated counterpart's waist compared to her own. To prevent the character from devolving into caricature, Lima shot footage of Adams performing some of Giselle's animated scenes and shared them with the animators to show how Giselle translated to the real world. Specifically, Adams filmed the animated scene in which Giselle arrives for her wedding as though they were shooting a film. Meanwhile, Lima shared some of Baxter's animation tests with Adams, which helped her develop a way of appearing as though she was floating instead of walking. Baxter also visited the live-action set to watch Adams work.

Disenchanted

Adams confirmed an Enchanted sequel was in her contract as early as 2007. The sequel, Disenchanted, remained in development for several years, until production began in 2021. Director Adam Shankman said the idea finally came to fruition once Adams' involvement was confirmed and they discovered the focus of the main story should be Giselle realizing she is now the stepmother in her own fairy tale, raising a grown stepdaughter who no longer believes in magic. Adams also served as a producer on the project. Released in 2022, 15 years after the original, Adams said Disenchanted explores Giselle coming to terms with the realization that she is no longer the young ingenue she once was. Due to aging, Adams worked harder to replicate the lighter singing voice associated with her character. The actress said the sequel's version of Giselle retains her magical qualities from the original film, but has obviously "lived in this world now for a period of time". According to Shankman, Giselle is no longer the story's fish out of water, therefore they aimed to make everyone else the fish out of water. Adams wanted to continue the character 10 years removed from where she evolved by the end of Enchanted, without compromising the "joy, naïveté, innocence and purity that makes Giselle so special". The film's costumes were designed by Joan Bergin, who said Giselle's wardrobe morphs from "day clothes" that "have a little edge all the time", to "spectacular" once she adopts a split personality in her villainous form.

Reception

Critical response

Adams received widespread acclaim for her performance, with critics praising her comedic timing and singing. Prolific film critics including Joe Morgenstern and Christy Lemire declared her work in Enchanted a definitive star-making performance. Comparing her comedic timing to actresses Judy Holliday and Goldie Hawn, The Daily Telegraph's David Gritten praised Adams' potential to become "a great screen comedienne ... Whether or not that happens, hers is the star-making performance of this year". Dana Stevens of Slate and Olly Richards of Empire said Adams delivered one of the best comic performances of 2007. Author Frederica Mathewes-Green said Adams "couldn’t be better in this role". Anvita Singh of The Indian Express called Giselle and Adams' portrayal of her the film's highlight. Tricia Olszewski of the Washington City Paper compared it to her work in Junebug (2005), saying she "once again does an excellent job portraying a young woman whose smarts peep through her gee-gollyness". John Beifuss of The Commercial Appeal predicted "young girls in the audience will fall for her as if she were their dream big sister". Film critic James Berardinelli called Adams "Enchanted's most obvious asset" who "outshines everyone around her". Several critics positively likened her performance to the work of Julie Andrews, with Matt Brunson of Creative Loafing describing her as "practically perfect in every way".Шаблон:NoteTag

Many reviewers, such as Peter Rainer of The Christian Science Monitor, commended Adams for grounding her character's cheeriness with sincerity and authenticity. Film critic Kenneth Turan said Adams "never overdoes the earnestness or even hints at condescending to the role, and it is impossible to think of Enchanted without her". According to Alex Fletcher of Digital Spy, her performance saved Giselle from devolving into a "sickly centre-piece". In a review for The Sydney Morning Herald, Sandra Hall said she "achieves precisely the right degree of wide-eyed wonder as Giselle and, even more importantly, sustains it". Film critic Maitland McDonagh said the actress "manages to make Giselle's relentless optimism seem charming rather than a sign of mental deficiency". Both Kit Bowen of Hollywood.com and Phil Villarreal of the Arizona Daily Star agreed that Adams does her best work when her character starts evolving to become more human, believing the performance could potentially earn her a second Academy Award nomination.

Critics who reviewed Enchanted less positively also complimented Adams. According to Ken Hanke, head film critic for the Mountain Xpress, Enchanted offers "five-stars worth of Amy Adams in four-stars worth of movie", describing the film as "a starring vehicle that’s almost as good as she is". Writing for the Watertown Daily Times, Adam Tobias said she is the sole reason Enchanted is enchanting. Christopher Borelli of The Blade called Adams' earnest performance the only reason to watch Enchanted, an observation shared by Kim Brown of the Tulsa World. News & Review's Jim Lane and Brooke Holgerson of the Boston Phoenix felt the film relies heavily on Adams’ charm. The Guardian film critic Peter Bradshaw said "she's the only decent thing in this overhyped family movie". Kirk Honeycutt of Reuters felt Adams was the only cast member the film used properly.

In a rare mixed review, Joshua Starnes of ComingSoon.net found Adams "a little bland and often the focus of the most saccharine moments". Dorothy Woodend of The Tyee found Giselle to be too infantilized, describing her as having "all the mannerisms of a demented eight-year-old". Writing for Christianity Today, Todd Hertz felt the film's ending and messages weakened Giselle's character arc, who he described as initially "a strong woman, dynamic character, and great role model". Regardless, he praised Adams' performance and predicted Giselle "will become quite popular in Disney lore".

Accolades

Entertainment Weekly ranked Adams' performance among the best of 2007. Several journalists found Adams' work in Enchanted to be deserving of an Academy Award nomination, but Martin A. Grove of The Associated Press felt a nomination would be unlikely due to the Academy of Motion Picture Arts and Sciences' history of rarely rewarding comedic performances. Grove predicted that Adams was more likely to receive a Golden Globe Award nomination for Best Actress – Motion Picture Comedy or Musical, which became the first Golden Globe nomination of her career. Despite not receiving an Academy Award nomination for Enchanted, Adams performed "Happy Working Song" – one of the film's three Oscar-nominated songs – live at the 80th Academy Awards in 2008. In retrospective reviews, some publications have deemed Adams' lack of nomination for Enchanted a snub. Adams won the Saturn Award for Best Actress at the 34th Saturn Awards.

The success of Enchanted established Adams as a bankable film star. Some critics such as Jeff Vice of the Deseret News consider the performance to be her breakout role, despite her previous film success. Abby Norman of Romper described it as one of her most beloved roles. According to Beth Wood of The San Diego Union-Tribune, the role is arguably Adams' most famous, and established a career trajectory of her playing young, naive women.

Impact and legacy

Several journalists have analyzed the character's marketability as a princess character owned by Disney, with Entertainment Weekly's Lisa Schwarzbaum describing her as "specifically engineered to become a 'Disney Princess' superstar". In the weeks leading up to the film's release, Steve Daly of Entertainment Weekly anticipated that Giselle "will be endlessly replicated by performers at Disney theme parks across the globe", expecting the character to be used heavily in Disney's merchandise and tie-in products. Similarly, The Orange County Register's Barry Koltnow noted that, in addition to being featured heavily in Disney's marketing campaign for Enchanted, Adams' character "will no doubt be portrayed by costumed performers at Disney theme parks for years to come", followed by toys, dolls, merchandising, and possible sequels. Adams claims she did not truly understand the impact of being a Disney princess until encountering paparazzi while promoting the film in Europe, who she mistook for Disney's hired photographers.

According to Melissa Marr of The Wall Street Journal, some Disney creatives reported that Enchanted had been exclusively created with the intention of integrating a new princess into the studio's Disney Princess franchise. Following the critical and commercial success of Enchanted, Disney confirmed that Giselle would be inducted into the Disney Princess lineup as an official member and merchandised accordingly, creating their first fashion doll directly based on the appearance of a real person. However, Disney canceled these plans due to the cost of using Adams' likeness in their merchandising. The company continued selling Giselle dolls and dresses that had already been manufactured, but only advertised the animated version of the character in their tie-in products. Some critics and fans consider Giselle to be an honorary or "unofficial" Disney Princess, despite her exclusion from the franchise. A writer for MovieWeb described her as one of Disney's most successful female characters who lack a "princess" title. In 2022, Sydney Bucksbaum of Entertainment Weekly dubbed her the studio's "first live-action Disney princess", despite not being a member of the franchise. Giselle debuted as a cast member at Disney-MGM Studios' Hollywood Holly-Day Parade in November 2007. She has made several parade appearances, but has yet to appear as an official meet and greet character at any Disney theme parks, which some researchers attributed to her resemblance to Adams.

Giselle debuted during a period when Disney had virtually stopped producing princess-themed films due to diminishing returns. Writing for Collider, Elisa Guimarães credits Enchanted with "bringing Disney princesses back to the screens and making them what they are today". According to Caroline Siede of The A.V. Club, the success of "Enchanted helped revitalize interest in the Disney princess genre", eventually leading to successful princess films such as Disney's Frozen (2013) and Moana (2016). Siede wrote that Giselle’s positive influence on Robert and other Enchanted characters delivers a strong argument for appreciating the value of even the most archetypal Disney princesses. According to Tori Brazier of Metro, the character was the first time Disney was willing to mock the princess tropes they had become synonymous with. Olly Richards of Empire noted that Giselle delivered "a kick up the bustled butt and a good shot of cynicism" to Disney's roster of earnest heroines, prior to which the studio rarely made jokes at their own expense. Ellen Walker of Polygon said Disney's satirical yet loving treatment of Giselle greatly influenced how they would use comedy in subsequent films and compete with DreamWorks' Shrek franchise. Simon Brew of Den of Geek believes Giselle introduced a more progressive version of Disney heroines several years before Brave (2012) and Frozen. Maddie Davis of Comic Book Resources called Giselle a feminist role model, believing she provided "a blueprint for strong femme-presenting fairytale characters". Guimarães noted that Giselle's successors began addressing common Disney tropes such as love at first sight and animal sidekicks with similar metatextual humor, namely in The Princess and the Frog (2009), Tangled (2010), Frozen and Moana.