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It has to be said that Shrek the Third has not been received with universal delight. The critics assert that it just offers more of the same formula - clever digital animation, a succession of iconic wise-cracks from Eddie Murphy’s Donkey and an overall politically correct message that the inner ogre is important, not surface appearances. Familiar fairy-tale characters crowd the scene, villains are confronted and everybody lives happily and non-ironically ever after. There is a hint that Shrek moves closer to stereotypical Disney-like cuteness than we would wish. But these caveats perhaps miss the main point. The conventions of fairy stories are based on a familiar tale constantly repeated with happy endings de rigueur. For a queer audience, the attractions of Shrek are perhaps enhanced in this third sequel both in the setting, design and key messages.
The basic plot is a little like the search for the Holy Grail - Shrek is charged with finding the lost heir to the throne when the Frog-King, Fiona’s father, dies. Shrek, Donkey and Puss in Boots go on a voyage to track down Arthur (subsequently known as Artie) and bring him back home. Meanwhile Prince Charming played with vulpine exuberance by Rupert Everett, sick of playing the role of a bit-part actor, plots to take over the kingdom. He is aided in his efforts by a motley crew of fairy tale baddies such as Captain Hook.
Arthur is found, a bullied teenager in a medieval version of an American high school. He reluctantly agrees to return to the land of Far, Far Away. Shrek and his companions arrive back home to confront Charming in a set piece battle on stage. Charming is defeated (natch!), Artie becomes king, Shrek and Fiona return to family life in the swamp.
So why has this tale a gay appeal? Rupert Everett is of course the embodiment of ironic high camp. Drama queens almost fill the screen - particularly Snow White, Rapunzel and Cinderella who are Fiona’s companions at court, offering a combination of the Spice Girls and Footballers’ Wives as the bitching continues non-stop. The theatrical setting when Charming attempts to plunge his sword into Shrek is operatic kitsch gloriously magnified. Every queen loves an audience and an icon.
Admirers of the sultry charms of Antonio Banderas will enjoy his Hispanic characterisation of Puss in Boots and fans of Justin Timberlake will no doubt appreciate his characterisation of sulky teenager Artie who changes from loser to winner. If you like to mock the genre of fantasy films like Lord of the Rings and want to indulge in a satirical take on Harry Potter, then the bumbling Merlin, played by Eric Idle will get your vote. Eddie Murphy’s Donkey offers lots of put downs that every gay bar habitué will envy.
The key message is that we are all entitled to respect, have self-worth and deserve happiness - be it in a palace, school or swamp. Cineastes can easily substitute any persecuted minority for ogre when reading this film. Although it has to be said that a queer interpretation wouldn’t have Shrek and Fiona coping with the demands of parenthood in the final sequence. Yes, this is a stereotypical world in which females play dumb princesses playing the WAG role whilst the boys have fun with derring-do activities.
Somehow we suspect that a queer audience would have more than a sneaking admiration for Prince Charming and all his egotistical plotting rather than with honest, domesticated Shrek. But if it was a case of civil partnership, then perhaps it might be different.
We all want happy endings in our search for relationships. So enjoy a film that has a universal appeal for young and old alike - encompassing slapstick comedy, the vulgarities of vomit and poo, irony by the bucketful and visual excitement. It’s a perfect film for a rainy afternoon in high summer.
Nick Tyldesley
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