Film Name: 白雪公主之神秘爸爸 / Snow White: The Mysterious Father
Snow White: The Mysterious Father represents a significant leap forward from last year’s predecessor, Snow White: The Power of Dwarfs. If this film serves as the series’ inaugural installment, it holds promise for establishing the franchise’s brand identity.
The film unfolds under the theme of “I want to find my dad, I’ll go anywhere to find my dad,” progressing through a road trip narrative reminiscent of The Wonderful Adventures of Nils. Behind the main storyline of little Hannah searching for her father, two additional familial threads intertwine: Snow White and her father the old king, and Ruby the puppy and her father Old Ruby. This ultimately enriches the heartwarming theme of family.
Ruby stands out as a particularly compelling character. He’s multifaceted—a braggart yet cowardly—who ultimately gains courage from his father. It’s worth noting that in the first film, he was the villain’s pet, much like Gru’s Minion, Az. This backstory enriches the conflicts between Ruby and other characters. Through this installment’s development, Ruby has clearly become a pet with spin-off potential.
In contrast, the two main protagonists—the little girl and Snow White—feel far more one-dimensional and uninteresting. The little girl comes across solely as someone searching for her father, with no exploration of her unique personality. Snow White, meanwhile, is portrayed as a flawless, high-minded archetype—kind-hearted, wise, and ever-helpful. Yet her perfection creates a sense of distance for the audience. The film even depicts Snow White scaling over 100 meters of rock face single-handedly—holding the divine bird in one arm while continuously pulling herself up with the other, clutching a rope dangling from the cliff top, all without using her legs. Such portrayals are increasingly rare in modern animated films, where protagonists must grapple with their own missions, crises, and emotional arcs.
The father’s appearance, especially when he emerges with snow-white hair, is deeply moving for parents in the audience. As the song goes, “Where has all the time gone? Before we could savor youth, we’ve grown old.” Though the film doesn’t dwell on their life of mutual reliance to heighten the emotional impact of their reunion, the sight of that white hair and the walls covered in murals is touching enough.
The plot, though simple, unfolds clearly with generally sound logic. Dialogue occasionally veers into overly lyrical or didactic territory, straying from everyday speech—though this artistic license remains acceptable. Production quality shows marked improvement over the first film in character and environment modeling, delivering a satisfying visual experience.
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