I will not ask you for forgiveness. What I have done is unforgivable. I was so lost in hatred and revenge. I never dreamed that I could love you so much. You stole what was left of my heart. And now I’ve lost you forever.
While the topic of boundaries and consent has been discussed before, it wasn’t until I re-watched Disney’s Sleeping Beauty that I realized just how much of skeezeball Prince Phillip was in the 1950s version of the story. He grabs Aurora no fewer than three times, ignoring her obvious discomfort, and sneaks up on her as she tries to escape.
I wonder now if the newer scene from Maleficent on the right was deliberately set up to parallel the old one: both take place in the woods on Aurora’s sixteenth birthday. But unlike Phillip, Maleficent respects Aurora’s wish to be left alone and doesn’t chase after her when she runs away.
This idea wasn’t originally mine, but inspired by someone’s observation on Tumblr shortly after Maleficent was released that Maleficent takes over the narrative role of Phillip from Sleeping Beauty in the new film. I went through both movies looking for parallels, and ended up finding so many examples that they don’t all fit in this one post. Here are some of the more compelling ones.
In the re-telling, it’s Maleficent, not Phillip, who looks at baby Aurora and is initially repulsed. Years later, Maleficent is the “familiar” stranger Aurora encounters in the forest. It’s Maleficent whom Aurora plans to tell her fairy aunts about, before the big reveal ruins those plans. Maleficent is the one who embarks on a quest and risks life and limb to rescue Aurora, and in the end, after the battle is won, their respective kingdoms are the ones to be united.