When CT editor Sarah Pulliam Bailey e-mailed Her.meneutics bloggers to ask if anyone would be interested in reviewing The Princess and the Frog, Disney's newest princess film and the first to feature an African American lead, I wrote back right away with a "yes!" I don't see many movies in the theater (or anywhere else, for that matter), but I really wanted to see this one, about Tiana, a girl growing up in the French Quarter of New Orleans who turns into a frog upon kissing Prince Naveen, also a frog.
I started my movie-going planning the way I always do, by asking my husband if he wanted to see the movie with me, or stay home to watch our three small children. "I think this looks more like a girl movie," my husband said, volunteering for parenting duty. So I sent out a few e-mails to see if anyone else wanted to go, and before I knew it, my mom, my aunt, my godmother and her daughter, and four friends were all trying to coordinate their after-Christmas schedules so we could go. We didn't all end up being free at the same time, but it was nevertheless a good-size group of women that poured out of their cars in the freezing rain and convened in the theater.
Laden with concessions, we tromped into the theater to find seats. As the lights fell and the movie began, I reflected on how much of my movie-going experience has nothing to do with the movie itself. I go to the movies to fellowship, swap Christmas stories, gasp at the snack prices, and drink from the short straw on a shared soda.
From the first minute of the film, I was charmed. I knew this New Orleans fairytale was going to be Disney's so-called "triumphant" return to hand-drawn animation, and the result did not disappoint. As Tiana, the heroine, works double shifts to ...1
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