8 Instances Disney Princesses Faced Unfair Treatment in Their Own Films

While the early Disney Princesses are often criticized for their poor characterization, it is essential to note that even the more contemporary princesses face challenges as their inspirational moments get undermined within the confines of their respective stories. This issue extends beyond the typical conflicts with villains, encompassing how allies, villains, and the filmmakers themselves treat these iconic characters.

1. Snow White (Snow White and the Seven Dwarfs, 1937): In the age of Disney Princesses characterized by harmful gender stereotypes, Snow White is portrayed as excessively clueless. At the tender age of 14, she is depicted as overly innocent, engaging in unintelligent actions such as inviting the hag into an empty cottage and accepting food from a stranger. This portrayal creates detrimental associations between femininity and intelligence, contributing to outdated gender norms.
2. Cinderella (Cinderella, 1950): Cinderella’s passive nature has been a longstanding critique. Her failure to stand up for herself or consider leaving her abusive stepfamily is notable. While the live-action remake attempts to justify her passivity with a message of kindness, it underscores a problematic narrative that requires Cinderella to endure mistreatment until rescued by Prince Charming. The remake adds a moment of defiance, but the original story’s perpetuation of subservience remains a concern.
3. Aurora (Sleeping Beauty, 1959): Despite the film being titled “Sleeping Beauty,” Aurora remains a passive character. Others dictate her life, including how long she lives in the forest and when she returns to the palace. Essentially a puppet to Maleficent’s curse, Aurora contributes little to her own narrative, emphasizing the film’s focus on Prince Phillip’s actions rather than her agency.
4. Ursula’s Manipulation of Ariel (The Little Mermaid, 1989): Ursula’s use of “Poor Unfortunate Souls” to pressure Ariel into signing a contract highlights societal expectations. Ursula emphasizes that men on land prefer silent women, reinforcing harmful stereotypes. Ariel’s decision to trade her voice for a chance with Eric perpetuates the notion that sacrificing one’s voice is acceptable for male approval, overlooking Ariel’s potential agency through alternative means of communication.
5. The Diminishing of Tiana’s Career Ambitions (The Princess and the Frog, 2009): Tiana’s character is groundbreaking as a working princess with the ambition of owning a restaurant. However, the film itself undermines her goal when Mama Odie shows her visions, suggesting that love and family are more important. While emphasizing these values is not inherently negative, the movie needlessly belittles Tiana’s career aspirations, perpetuating the notion that a woman’s personal goals should be sacrificed for familial priorities.
6. Gothel’s Gaslighting of Rapunzel (Tangled, 2010): Gothel not only manipulates Rapunzel into believing the world is dangerous, but she also engages in more subtle forms of gaslighting, making derogatory comments about Rapunzel’s intelligence and appearance. While Rapunzel eventually stands up to Gothel, the lingering effects of inferiority may continue to impact her life, emphasizing the psychological toll of emotional abuse.
7. Anna’s Gullibility for Satirical Purposes (Frozen, 2013): Anna’s portrayal as gullible and her engagement with Hans serve as a commentary on traditional Disney Princess storylines. This satirical narrative choice aims to highlight the pitfalls of other princesses who marry individuals they’ve only known for a short time. While this storyline is strong from a meta perspective, it places Anna in a victimized role for the sake of satire, impacting her character development.
8. Elsa’s Empowering Moment Diminished (Frozen, 2013): Elsa’s empowering song “Let It Go” is a powerful moment in Frozen, marking her liberation from societal constraints. However, the subsequent events in the story diminish the impact of this moment. Elsa remains burdened with concerns about her powers posing a threat to Anna and Arendelle, and she returns to the role of queen. While Frozen 2 addresses these issues by having Elsa abdicate, the empowering essence of “Let It Go” is retrospectively diminished by the narrative choices in the first film.

These instances underscore the complexity of portraying strong, empowering female characters in Disney Princess films, as the narratives sometimes inadvertently undermine the agency and strengths of these heroines. It is a reminder that even in modern storytelling, challenges persist in creating narratives that fully empower and reflect the agency of Disney Princesses.

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