Fairy Tale and Film

Finding Love and Fulfilling Dreams 
49
disparity between fairy tale fiction and lived experience – we might ask 
how such changes might be discerned in male-led comedies, particu-
larly where male protagonists are set a romantic challenge. Although 
folklorists and feminist critics have often focused on female roles (using 
a select group of tales as reference), it is time to evaluate the models 
given to men, the ideals they aspire to, and assess how the resulting 
narratives might similarly be seen to reflect changing times.

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50
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Curses, Wishes and Amazing 
Transformations: Male Maturation 
Tales
Transformation is at the heart of many fairy tale narratives, whether it 
be charting a protagonist’s journey from ‘rags to riches’, witnessing a 
haughty princess curtail her pride, or seeing an apparent beast return 
to human form: changes that include astonishing makeovers, rapid 
social climbs, dramatic changes of heart and magical enchantments. So 
far, this discussion has confined itself to romantic narratives featuring 
female characters, noting how a number of rom-coms have updated cer-
tain fairy tale motifs. This chapter adopts a contrasting mode of inquiry 
by evaluating romantic concerns from a male perspective; assessing 
how male coming-of-age tales have been depicted on screen, and asking 
how certain fairy tale tropes have accordingly been revised – especially 
in terms of the qualities deemed most desirable in men and the tests 
they are given. For the most part, popular comedies are the main focus 
of discussion, examining the changes characters undergo and highlight-
ing some interesting role reversals. Particularly notable is the fact that 
examples of male pride, vanity and egotism are routinely taken to task 
in what might be considered a male variant of the ‘humbled heroine’ 
motif, while an emphasis on compassion and kindness is overtly fos-
tered as a positive sign of male maturation. Put simply, if Cinderella has 
had a modern makeover in some films, how do male ‘coming-of-age’ 
narratives compare? In what way are changing expectations and gender 
roles evidenced by such films? Are the results a genuine reflection of 
altering male aspirations, and to what extent has this been informed by 
what women want? 
On the whole, male fairy tale characters receive much less critical 
interest than female counterparts, and some scholars even claim that 
they are largely forgettable. In his article ‘The Fairy-Tale Hero: The Image 
of Man in the Fairy Tale’, Max Luthi complains that there is a paucity 

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Transformations and Male Maturation 
51
of memorable male characters in European folklore, asserting ‘we find 
ourselves at a loss when called upon for the names of male protagonists: 
Iron Hans and Tom Thumb perhaps; the Brave Little Tailor, Strong Hans 
and Lucky Hans – but here we are already in the realm of the folktale jest’ 
(1991: 314). Maria Tatar concurs with Luthi on this point, arguing that 
while the most popular Grimm heroines are named, ‘male heroes are 
exceptionally unmemorable in name, if not deed’ (2003: 85) and gener-
ally distinguished by a degree of naïveté – if not outright foolishness.
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Nonetheless, Tatar has unearthed some additional characteristics that 
prove especially significant to this discussion, particularly in detailing 
the qualities exhibited by apparent ‘fools’ that come of age. Drawing 
comparison between approved females in the tale type ‘The Kind 
and Unkind Girls’ (ATU 480), and their lazy or cruel counterparts (a 
variation on ‘The Beautiful and the Ugly Twin Sisters’ (ATU 711)), Tatar 
observes that tales featuring ‘Three Brothers’ (ATU 654) typically imbue 
the youngest son with the same favoured qualities as these girls, often 
proving more caring and considerate than their siblings. In each case, 
irrespective of gender, ‘the protagonists must demonstrate compas-
sion, humility, gratitude and kindness’ (1992: 67) and are accordingly 
rewarded in some way – often with help (usually supernatural or animal 
intervention) that results in their betrothal.
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A similar point was noted 
by Carolyn G. Heilbrun, who argued that women might identify with 
the youngest brother in these stories, perceiving them to have ‘femi-
nine’ virtues, listed as ‘animal loving, generous, affectionate and warm 
to the possibilities of affiliation’ (1993: 150).
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(In fact the ‘youngest son’ 
plot is akin to a male version of ‘Cinderella’, enabling the most down-
trodden of three siblings to triumph, with marriage presented as their 
reward.) Although Heilbrun appears to essentialise what constitutes 
‘feminine’ characteristics, her point is to affirm the progressive implica-
tions of cross-gender identification, applauding a specific male charac-
ter in fairy tales with whom women can identify. Significantly, in all 
the films discussed in this chapter, the same traits tend to be approved, 
asking protagonists to dispense with the self-interest and conceit that 
typifies older siblings in such tales, and prove themselves to be caring 
individuals that women are able to relate to. 
‘Coming-of-age’ in these films does not necessarily occur in adoles-
cence, but later in life, and is demonstrated through becoming a more 
responsible, empathetic and emotionally open man – promoting a