{"id":170366,"date":"2025-04-11T11:00:13","date_gmt":"2025-04-11T15:00:13","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=170366"},"modified":"2025-04-10T12:36:30","modified_gmt":"2025-04-10T16:36:30","slug":"snow-white-is-tired","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2025\/04\/11\/snow-white-is-tired\/","title":{"rendered":"Snow White Is Tired"},"content":{"rendered":"
\"\"

Stanley Schtinter as Robert Walser.<\/p><\/div>\n

\u201cI know the story well,\u201d says the Snow White of Robert Walser\u2019s Schneewittchen,<\/em> \u201cabout the apple, the coffin. Be so kind as to tell me more. Why does nothing else come to mind? Must you hang on to these details? Must you forever draw on them?\u201d In Stanley Schtinter\u2019s 2024 adaptation of Walser\u2019s 1901 dramolette<\/em>, characters from the Grimm fairy tale exhaust themselves and their images in a recounting of the story in which they are inscribed. The film is a complete performance of the English translation of Walser\u2019s text, which picks up where the Grimm tale leaves off. The queen, who has tried to kill Snow White twice, wants her daughter to forget everything. Under her orders, the hunter, her lover and Snow White\u2019s would-be assassin, reenacts the attempt on Snow White\u2019s life. There is discussion of the desire for death, springtime, fresh garden air, kisses, snow, and sleep. The characters chastise each other for telling fairy tales, rehearsing scripts, making use of \u201cgesture and technique.\u201d<\/p>\n

Schneewittchen<\/em> is a shot-for-shot remake of another experimental adaptation of Walser\u2019s text, Jo\u00e3o C\u00e9sar Monteiro\u2019s Branca de Neve<\/em> (2000). As in Monteiro\u2019s version, the drama takes place in complete darkness, against a sonic ambience of rain, wind, and birdsong. We hear, but do not see, the characters. Punctuating the darkness: brief shots of a blue sky, sometimes clouded, sometimes unclouded, blinding in the black theater, scenic breaks in which we find ourselves, with Snow White, \u201cimmaculately watching an immaculate sky.\u201d But Sean Price Williams\u2019s skies are less saturated than Monteiro\u2019s. The environmental sound, by the artist Joshua Bonnetta, is louder in the mix. The flute and piano are gone.<\/p>\n

Schtinter\u2019s version premiered in New York on the occasion of Disney\u2019s 2025 live-action remake of their 1937 animated classic Snow White and the Seven Dwarfs<\/em>. In the spirit of Disney, Schneewittchen<\/em> has also been merchandised<\/a>: at Anthology, Schtinter cheekily offered Schneewittchen <\/em>snow globes (empty) and Schneewittchen <\/em>T-shirts (blank). Like a proper Hollywood remake, Schneewittchen<\/em> has an A-list cast (Julie Christie is the queen; Stacy Martin is Snow White; Hanns Zischler is the hunter; and Toby Jones is the prince). These glossy professionals deliver blocks of dispassionate dialogue as though shrink-wrapped, their high-budget polish contrasting humorously with the film\u2019s starkness.<\/p>\n

Aside from sky and the red curtain of the opening and ending credits, the sixty-seven-minute film contains only two other images. The film opens with a sequence of black-and-white stills of Robert Walser lying dead in the snow outside the Switzerland asylum where he\u2019d been living, a scene originally captured by a police photographer on Christmas, 1956. His unseeing face turned skyward, Walser is the picture of his own Snow White, who \u201clong[s] for that open coffin, laid out as this frozen image.\u201d Where Monteiro uses the widely circulated photographs of Walser\u2019s real corpse, here Schtinter himself plays Walser, restaging the \u201cdear winter scene\u201d on location in Herisau. The effect is slightly comic, Schtinter\u2019s younger figure slightly too photogenic, too clean. Finally, Monteiro\u2019s film closes with a beguiling shot of the director standing in front of a tree; Schtinter shows us only a tree.<\/p>\n

\u201cRather than look, I\u2019d rather hear,\u201d says Snow White. \u201cI\u2019m speechless,\u201d replies the prince, \u201cimageless at such an image.\u201d \u201cWoe unto me that I must hear,\u201d says Snow White. \u201cWoe unto us that I must see,\u201d replies the prince. In his third-order reenactment of the Grimms\u2019 tale, Schtinter joins Monteiro and Walser in questioning our compulsion to endlessly repeat the same story, forever draw on the same details. In such a state of exhaustion, it might be better not to see or hear anything at all. But the film is not a plain negation, a repudiation of the cinematic culture of the remake, and although it participates in what might appear to be the degradation of its sources, it\u2019s not parody. Schtinter remakes with careful ambivalence. He finds for us a place between speechlessness and imagelessness, between empty speech, exhausted image, and the new. In Walser\u2019s text, Snow White ultimately accepts the queen and the hunter\u2019s story. \u201cSay what you want. I believe you.\u201d Refusal or affirmation? Snow in a silent winter world.<\/p>\n

 <\/p>\n

Alec Mapes-Frances is a writer and designer living in New York.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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