11/5: âShrekâ, and how the movie pertains to the Kresge theme of âPower and Representationâ:
First of all, Iâd just like to mention that âShrekâ joined 799 other movies in being preserved by the National Film Registry for being culturally significant. That was definitely important to mention here. âShrekâ is such a ubiquitous part of our society that I canât even talk to a person for an hour without âShrekâ coming up in some form or another. I have a friend with whom our mutual friendship is based on our combined love of the series, we watch the movie on a regular basis. âShrekâ appeals to kids and adults alike, and that has a lot to do with the pseudo-fairytale storyline and the soundtrack, but thatâs not what this is supposed to be about.
âShrekâ has a LOT to do with power and representation. From Farquaad causing a housing crisis, to the idea that ogres are these superficially disgusting, heartless creatures. Starting at the beginning of the movie, with the hunt for fairytale creatures, where we meet Donkey, it is evident who has the power over the swamp. Despite the fact that these fairytale creatures have lived within the swamp for years, Lord Farquaad finds it necessary to take over more of the grasslands and forest leading up to Shrekâs swamp, and relocating the fairytale creatures to a small patch of swampland and kicking them out of their natural habitats and homes. The only reason Shrek takes initiative and goes to Farquaad to campaign for his land and to move the fairytale creatures is initially out of self-interest. Shrek is a homebody who prides himself in his scariness and his public image as a fear-inducing, disgusting ogre, and he likes his solitude. He wants to go back to being alone, hence his initial quest to get his swamp back under his ownership. But upon his arrival and subsequent victories in Duloc, he ends up being rerouted, with the promise that once he rescues and brings Princess Fiona from the dragonâs keep, he will get his swamp back. The whole reason Shrek gets rerouted is because Lord Farquaadâs desire to gain further power as Dulocâs dictator, but he believes himself to be too important to go rescue the princess himself. Even Fiona comments on this after she realizes Shrek is not a prince, but an ogre.Â
Itâs initially believed that Fiona reacts like this because she, like most people, thinks ogres are gross, disgusting, and vile, but as more is revealed, it is noted that she is cursed to become an ogre upon nightfall, and that when she kisses her true love, she is supposed to permanently remain as the same creature as her true love, hence her desire to fall in love with a human being, due to the internalized and widespread belief that ogres are vile, disgusting, and incapable creatures. However, over the course of the movieâs story, Fiona discovers her love for Shrek, and while she initially feels guilt and denial over her love for Shrek, with time and introspection, she realizes that it doesnât matter, but by this point, it is too late. Shrek has brought Farquaad and his miniature army to bring Princess Fiona back to Duloc, and appears to have regressed from the internal progress he made as an ogre during his atypical heroâs journey. After a conversation with Donkey that clarifies the situation Shrek and Fiona are in, Donkey and Shrek, with the help of Dragon (who Iâll get back to in a bit), make it back to Duloc in time for Fiona and Farquaadâs wedding. Shrek objects to their marriage, stating the truth, that Farquaad solely wants to marry Fiona to become a king and gain more power, and that Farquaad doesnât care about her like he (Shrek) does. They kiss, and Fiona takes her true loveâs true form, which, as Shrek is an ogre, is her ogre form. Farquaad then becomes enraged, and continues with his plan to achieve maximum power and control over Duloc, having Shrek and Fiona taken away by guards, but Shrek whistles for Donkey and Dragon, who then take care of Farquaad and his thirst for power. From there on, the movie ends with Shrek and Fionaâs wedding, and thatâs where the first movie ends: with the message that being yourself is more important and powerful than anything else.
Further on the topic of representation, and as promised, Iâm going to talk about Dragon. Dragon is portrayed throughout the first half of the movie as this ferocious and merciless creature, who would rather kill you than look at you. Sheâs killed multiple men, and guards the tower fairly well. But once Dragon is discovered and Donkey starts talking to her, itâs clear Dragon is misunderstood. For one, it is assumed that because of her ferocious and powerful role in Fionaâs protection that she is actually male, but as Donkey mentions, â. . . [Dragonâs] a girl dragon! I mean, of course youâre a girl dragon. . . youâre just reeking of feminine beautyâ (âShrekâ). Secondly, itâs assumed that Dragon prefers to kill and that Dragon does not like company, but as evidenced by how she treats Donkey, sheâs just lonely. Guarding a tower with a singular princess and multiple annoying stereotypical âmanlyâ men trying to kill you on a regular basis takes its toll, especially when thereâs no one to talk to or fall in love with, and thatâs probably why she seems okay with Fiona getting rescued by Shrek and Donkey. As evidenced towards the end of the first movie and the remainder of the movies, Donkey and Dragon fall in love, and at the end of second movie, it is seen that they have children. Dragon is actually incredibly sad when Donkey leaves, and so when they reunite during the climax of the movie, it plants the seed for the two to fall in love, and have Donkey see Dragon for who she really is.
I could probably write multiple theses on how outstanding âShrekâ is, but Iâll let the accomplishments the movie has attained speak for themselves. In conclusion, âShrekâ is an extraordinary movie with themes of both power and representation weaved into the fabric of the movie with ease.