Cinema: Caperucitas, Cappuccettos, LRRHs, Rotkäppchen et al.

Film
taken from surlalunefairytales.com/ridinghood

To learn more about these films, please visit the
Internet Movie Database.

Little Red Riding Hood (1922). Walt Disney, director.

ANIMATED SHORT: "Mother is making donuts: She throws up a circle of dough, and a cat shoots a hole in it. Later, he fishes them out of the oil with a fishing line; he eats one, and loses all 9 lives. Mother puts together a basket for Red to take to granny. Red uses her cart, which is pushed by her little dog; the cart gets a flat tire, and she inflates a donut to replace it. A wolf (a human lothario) drives by in a flivver, and dashes off to grandma's house, where he finds a note saying she's gone to the movies. He shrinks his car and stashes it in his pocket, then waits for Red, who stopped to watch a dancing flower. Red arrives, and they go into the house, where he attempts to have his way with her. The dog rushes off and gets help from an airplane pilot, who uses a skyhook to remove the house and, ultimately, lift the wolf in his car and drop him in the lake." (IMDB.com)

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Dizzy Red Riding Hood (1931). Dave Fleischer, director.
Buy the movie on VHS.

ANIMATED SHORT: A Betty Boop interpretation of Little Red Riding Hood. Betty Boop goes to Grandma's through the woods despite warnings about wolves. Bimbo follows and gives the old story a new twist.

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The Big Bad Wolf (1934). Burt Gillett, director. Walt Disney, producer.
Buy the movie on DVD.

ANIMATED SHORT: "The two foolish little pigs escort Red Riding Hood on a short cut through the woods, against the advice of their bricklayer brother. When they encounter the wolf, Red runs ahead to granny's house and the pigs run home. The wolf gets to granny's house first and scares her into a closet, then dresses as granny. Alerted by his brothers, the smart pig arrives just as granny has pulled Red into the closet with her and takes care of the wolf with the help of some hot coals and popcorn."(IMDB.com)

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The Trial of Mr. Wolf (1941). Friz Freleng, director.

Cast:
Mel Blanc .... Mr. Wolf (voice)

ANIMATED SHORT: A fractured fairy tale perhaps best remembered for Mel Blanc's vocal appearance. "The Big Bad Wolf, villain of children's stories for years, is on trial for crimes committed against Little Red Riding Hood and her grandmother. When given a chance to speak in his defense, Mr. Wolf explains the supposed real story behind the fairy tale, in which he is the victim and Red and her grandma are the ones to blame. Will the jury buy his story?" (IMDB.com)

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Red Riding Hood Rides Again (1941). Sid Marcus, director.

ANIMATED SHORT: "This satirical version of "Red Riding Hood" was, especially the ending, very topical when released in 1941, as the US had instituted a draft lottery long before Pearl Harbor (December 7,1941.) The wolf convinces Red he is a police dog and he hastily beats a path to Grandma's house with intentions of making a meal of her. But Grandma's boyfriend shows up and takes her dancing. He then plans on eating Red, but the postman arrives with his draft induction notice." (IMDB.com)

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Goldilocks and the Jivin' Bears (1944). Friz Freleng, director.

Cast:
Mel Blanc .... Big Bad Wolf (uncredited)
Ruby Dandridge .... Grandmother (uncredited)

ANIMATED SHORT: "An all-black cast, featuring the Three Bears as a jazz combo, combines the stories of Goldilocks and the Three Bears and Little Red Riding Hood." (IMDB.com)

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The Wolf's Pardon (1947). Eddie Donnelly, director.

ANIMATED SHORT: "In the last 10 years, much has changed in the world of Mother Goose. Little Boy Blue is now a hot jazz trumpeter; Little Tommy Tucker is a crooner; Tom Tom the Piper's Son is a cop; and the Big Bad Wolf is about to be paroled. He visits the three little pigs, but they're bigger than him now and run a construction company. Finally, he goes after Little Red Riding Hood; as expected, she's all grown up now, and as he approaches from behind, she's playing the piano, singing beautifully, and looks great until she turns around, wearing glasses, buck teeth, and looking just plain ugly. She's also man crazy, and chases after the wolf, who finally escapes into a soda shoppe where he's smothered with kisses from all the girls there." (IMDB.com)

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Little Red Rodent Hood (1952). Friz Freleng, director.

Cast:
Mel Blanc .... Sylvester (voice)

ANIMATED SHORT: "An elderly mouse tells the bedtime story of Little Red Riding Hood to her grandson, who visualizes the tale in cat-and-mouse terms, with himself as Red and Sylvester as the Big Bad Wolf." (IMDB.com)

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Red Riding Hoodwinked (1955). Friz Freleng, director.
Buy the movie on VHS.

Cast:
Mel Blanc .... Sylvester (voice)

ANIMATED SHORT: "Red Riding Hood is on her way from the city to the country and to her grandmother's house, and along the way she meets the Big Bad Wolf. Her grandmother is Granny, and she is bringing Tweety Bird to Granny as a gift, which attracts Sylvester's attention. Sylvester and the Big Bad Wolf join forces; he wants to eat Tweety; Big Bad wants to eat Red. But Granny is a match for them both! " (IMDB.com)

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Fractured Fairy Tales: Little Red Riding Hood (1959-60) (TV). In Rocky and Bullwinkle. Jay Ward Productions.
Buy the collection on DVD.

ANIMATED SHORT: The Fractured Fairy Tales segment became a popular part of the first season of the Rocky and Bullwinkle Show (known under various names through the years) that premiered in the fall of 1959. They have remained in syndication ever since. Little Red Riding Hood originally aired in Episode 26 of Season 1.

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The Dangerous Christmas of Red Riding Hood (1965) (TV). Sid Smith, director.

Cast:
Liza Minnelli .... Little Red Riding Hood
Cyril Ritchard .... Big Bad Wolf
Vic Damone .... Woodsman

"This revisionist fairy tale is told from the Wolf's point of view. He was minding his business when along came this precocious little girl, Red Riding Hood. "And the nerve of that cowardly woodsman, daring to hint that I was attacking her", the wolf cries. Naturally, the animals of the forest do not believe him." (IMDB.com)

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Rough Riding Hood (1966). Sid Marcus, director.

ANIMATED SHORT: "Woody Woodpecker is reading the tale of Little Red Riding Hood and soon finds himself living the fable when a sobbing Red confronts him, telling him how a mean wolf has been bullying her on her entire trip to Grandma's. Woody plans to get even with the fiendish (and totally stupid) wolf by swapping places with her and going to HIS Grandma's. The wolf stops Woody carrying an apple pie and demands, "Let me have it" (Needless to say, he gets it alright!). Woody then offers the wolf a plum pudding (actually a beehive). The wolf takes a "shortcut" to get to Granny's first but Woody is on to his scheme leading him into several nasty spots (a water geyser, an eagle's nest, and a phone booth which blasts into orbit like a rocket). Woody arrives at Granny's and takes Granny's place finally getting rid of the wolf at last. Alas, when he tells Granny they're rid of that wolf, she angrily tells him, "For thirty years, I've been trying to MARRY that wolf" and gives the woodpecker a good spanking!" (IMDB.com)

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Pro Krasnuyu Shapochku (1977). Leonid Nechayev, director. USSR. USA Title: About the Little Red Riding Hood.

Cast:
Yevgeni Yevstigneyev .... Star Counter
Yana Poplavskaya .... Little Red Riding Hood
Rina Zelyonaya .... Grandma
Vladimir Basov .... Big Wolf

A sequel to the well-known story about a Little Red Riding Hood. This time, a family of a slain wolf decides to avenge his death. So they falsely inform Little Red Riding Hood that her grandma is sick and prepare to eat her on her way.

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Shelley Duvall's Faerie Tale Theatre: Little Red Riding Hood (1983) (TV).
Amazon.com: Buy the series on DVD.

Cast:
Malcolm McDowell ... Big Bad Wolf
Mary Steenburgen ... Little Red Riding Hood
Frances Bay ... Granny
Diane Ladd ... Mother
Darrell larsen ... Chris
John Vernon ... Father

This television series originally aired on Showtime for six seasons and a total of 27 episodes. To see a full episode list, go to Shelley Duvall's Faerie Tale Theatre.

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The Company of Wolves (1984). Neil Jordan, director.
Buy the movie on DVD. or Buy the movie on VHS.

Cast:
Angela Lansbury .... Granny
David Warner .... Father
Graham Crowden .... Old Priest
Brian Glover .... Amorous Boy's father
Kathryn Pogson .... Young Bride
Stephen Rea .... Young Groom

Not for kids! Based on the story by Angela Carter. "This movie is in fact a magical bag full of symbolic folklore about werewolves, or, rather, their sexual connotation. Grandmother Angela Lansbury tells her granddaughter Sarah Patterson strange, disturbing tales about innocent maidens falling in love with handsome, heavily eyebrowed strangers with a smouldering look in their eyes; about sudden disappearances of spouses when the moon is round & the wolves are howling in the woods; about babies found inside stork eggs, in a stork nest high up a tree; etc., etc. Of course the story of Little Red Ridinghood is also present, with a very handsome he-wolf! (And of course this he-wolf consumes Grandmother, but 'consumes' Little Red Ridinghood). All the stories are somehow reducable to loss of innocence, and fear of/hunger for (a newly acquired sense of) sexuality; their Freudian character is mirrored in their dreamlike shapes. This movie is not really a horror movie; it's more a multiple tale about growing up into adolescence." (IMDB.com)

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Cannon Movie Tales: Red Riding Hood (1987). Adam Brooks, director.
Buy the movie on DVD. or Buy the movie on VHS.

Cast:
Amelia Curtis .... Linet
Amelia Shankley .... Linet
Isabella Rossellini .... Lady Jean
Craig T. Nelson .... Godfrey/Percival

"The high spirited daughter of the village lord and her mother have been living in the forest for seven years near her wise grandmother. They wait for her father to come home, meanwhile, her literally heartless uncle rules. He sells his soul for the aid of an enchanted wolf who turns himself human in order to spy. As the tyranical lord begins to see his niece as a threat, he sends the wolf to deal with her." (IMDB.com) To see a full list of Cannon Movie Tales, go to Cannon Movie Tales.

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Into the Woods (1991) (TV). James Lapine, director.
Buy the movie on VHS. or Buy the movie on DVD.

Cast:
Bernadette Peters .... The Witch
Chip Zien .... Baker
Joanna Gleason .... Baker's wife
Tom Aldredge .... Narrator/Mysterious Man
Robert Westenberg .... Wolf/Cinderella's Prince
Kim Crosby .... Cinderella
Danielle Ferland .... Little Red Riding Hood
Ben Wright .... Jack
Barbara Bryne .... Jack's mother
Merle Louise .... Grandmother/Cinderella's Mother/Giant
Chuck Wagner .... Rapunzel's Prince
Pamela Winslow .... Rapunzel

FILM OF ORIGINAL BROADWAY CAST PRODUCTION: A baker and his wife journey into the woods in search of a cow, a red cape, a pair of golden slippers and some magic beans to lift a curse that has kept them childless. Tony Award winners Bernadette Peters, Joanna Gleason and the rest of the original Broadway cast weave their magic spell over you in Stephen Sondheim's masterpiece, directed by James Lapine, a seamless fusion of fairy tale characters and what happens after "happily ever after." With oft-recorded songs such as "Children Will Listen," "No One is Alone," and "Into the Woods" is a music lover's delight from start to finish--and will forever cement Stephen Sondheim's unparalleled position as the giant of the American musical theater.

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The Trial of Red Riding Hood (1992) (TV). Eric Till, director.

Cast:
Elizabeth Manley .... Red Riding Hood
Andrea Martin .... Grandma
Paul Martini .... The Woodsman

Red Riding Hood is tried for the murder of The Wolf.

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Freeway (1996). Matthew Bright, director.
Buy the movie on DVD. or Buy the movie on VHS.

Cast:
Kiefer Sutherland .... Bob Wolverton
Reese Witherspoon .... Vanessa Lutz
Wolfgang Bodison .... Detective Mike Breer
Dan Hedaya .... Detective Garnet Wallace
Amanda Plummer .... Ramona Lutz
Brooke Shields .... Mimi Wolverton

Modern, street-savvy Riding Hood. Not for kids!

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Redux Riding Hood (1997). Steve Moore, director.

ANIMATED SHORT: Years after failing to catch Little Red Riding Hood, the obsessed Wolf tries again.

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Little Red Riding Hood (1997). David Kaplan, director.

Cast:
Christina Ricci .... Little Red Riding Hood
Timour Bourtasenkov .... The Wolf
Evelyn Solann .... Grandmother
Quentin Crisp .... Narrator

SHORT FILM: A film short which has made its rounds in the independent film festival circuit. It has also aired on the Sundance Channel. Not for kids!

"This quite short film is a little masterpiece of a fairy tale. There are only three characters. The scene opens with a very sexy-looking wolf stalking Red Riding Hood through the wood on her way to dear Grandma's cottage. By the time she reaches her destination the wolf has already digested Grandma apart from a few entrails which he has reserved in a bowl for little Red Riding Hood. The wolf with lathering lips waits expectantly in bed for the innocent young maiden. "Take off your clothes" he murmurs "Throw them in the fire. You won't be needing them any more". Puzzled she complies and then into bed beside the hairy body. Quentin Crisp's oily voice seems just right for the narration...very persuasive, very sexy. We are held in suspense waiting for the wolf's next move. Poor little Red Riding Hood, we think, she is only a little girl and completely at his mercy. How can she possibly outwit this monster? But this Red Riding Hood, bred and brought up in the country is no simpleton. Her big round eyes have seen many things and she has learnt from Nature. She soon realises that all is not as it seems. The conclusion to the film is as interesting as its beginning and the music selected adds a lovely freshness to the scenes." (IMDB.com)

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Jin-Roh:The Wolf Brigade (1998). Hiroyuki Okiura, director.
Buy the movie on DVD.

ANIME: Amazon.com description: Written by Mamoru Oshii (the director of the cult favorite Ghost in the Shell) and directed by Hiroyuki Okiura (a key animator on Akira), Jin-Roh: The Wolf Brigade offers a violent but compelling vision in animation. The story is set in a fictionalized version of the recent past, when a repressive Japanese government is battling the Sect, a violent revolutionary organization that uses adolescent girls they call "Red Riding Hoods" as couriers. During a raid, Capitol Police Constable Kazuki Fuse (pronounced "foo-seh," voice by Michael Dobson) balks at killing Nanami Agawa (Maggie Blue O'Hare), one of the Red Riding Hoods. She commits suicide with a powerful bomb. While Fuse undergoes retraining, he meets Nanami's older sister, Kei (Moneca Stori), and initiates an odd romance. Soon both characters are caught in a web of plots and counterplots that center on the possibility that Fuse may be a "wolf," a member of a secret cabal within the Capitol Police. Suitable for ages 18 and up: considerable violence, profanity, and tobacco use.

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The 10th Kingdom (2000) (TV). David Carson and Herbert Wise, directors.
Buy the movie on VHS. or Buy the movie on DVD.

Cast:
Kimberly Williams .... Virginia Lewis
Scott Cohen .... Wolf
John Larroquette .... Antony 'Tony' Lewis
Dianne Wiest .... The Evil Queen/Christine Lewis
Camryn Manheim .... Snow White
Ann-Margret .... Queen Cinderella

This epic 10-hour miniseries was a ratings bust on television Kimberly Williams is Virginia, a waitress who still lives with her janitor father (John Larroquette) and yearns for something exciting to happen to her. Her wish comes true when she and her father are transported from New York City into the nine kingdoms populated by characters from fairy tales of yore. They team up with a dog who's really a prince--Wendell, grandson of Snow White--changed into canine form by the evil Queen (Dianne Wiest), who plots to usurp Wendell's throne. Father, daughter, and his royal dogness are relentlessly pursued through the nine kingdoms by the Troll King (Ed O'Neill) and his three bumbling and horrible children, and the conflicted Wolf (Scott Cohen), who is allied with the Queen but tames his inner beast and falls in love with Virginia. The 10th Kingdom is a special effects extravaganza. There is indeed, as one character marvels, magic to behold here. But despite the Hallmark brand name and the presence of a grown-up Snow White (Camryn Manheim) and Cinderella (Ann-Margret), bewitched animals, magic mirrors, and trolls, this is not kid's stuff. It can get scary, surprisingly violent, and quite intense; you know, just like real fairy tales.

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Falsehood (2001). Kenneth Lui, director.

Cast:
Anne Welles .... Little Bo Peep
Mark Irvingsen .... The Big Bad Wolf
Marie Noelle Marquis .... Little Red Riding Hood
Erynn Dana Dalton .... Rapunzel
Nancy Hasenmayer .... Grandma
Cathy King .... Cinderella
Stuart Proffitt .... The Hunter
Ariadne Shaffer .... Snow White Charming

SHORT FILM: "Once upon a time, Little Bo Peep lost her sheep and was forced into early retirement. She blamed The Wolf for the slaughter of her sheep and was never allowed to tend sheep ever again. After that traumatic event, Bo Peep eventually grew up and became the best public defense lawyer in the land. Now she faces the most difficult case of her entire career: defending The Wolf in the infamous Red Riding Hood rape trial. Every pig, witch and princess anticipates the outcome of what has turned into the most controversial trial of all time." (IMDB.com)

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Red Riding Hood (2003). Giacomo Cimini, director. Italy/USA.
Amazon.com: Buy the movie on DVD.

Cast:
Kathleen Archebald .... Rose McKenzie
Robert Purvis .... Thomas Hunt
Henry Cavill .... The Hunter
Joey Fatone .... Big Bad Wolf

Not for kids! Horror film with violent scenes and horrible reviews. Only adding here to be complete. Rated R (USA).

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DysEnchanted (2003). Terri Miller, director.

Cast:
Laura Kightlinger .... Cinderella
Sarah Wynter .... Sleeping Beauty
Alexis Bledel .... Goldilocks
Jaime Bergman .... Alice
K.D. Aubert .... Little Red Riding Hood
Shiva Rose McDermott .... Snow White
Amy Pietz .... Clara
Jill Small .... Dorothy
James Belushi .... Doctor (The Shrink)

SHORT FILM: "Storybook characters Cinderella, Sleeping Beauty, Snow White, Goldilocks, Alice, Dorothy, and Red Riding Hood are in group therapy dishing and dealing with what comes after "happily ever after." When Clara, a New Jersey divorcee, joins the group, she finds out that while life is no fairy tale, it doesn't mean her dysenchantment has to be terminal." (IMDB.com)

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Red Riding Hood (2004). Randal Kleiser, director. USA.
Amazon.com: Buy the movie on DVD.

Cast:
Andrea Bowen .... Ashley #2
Henry Cavill .... The Hunter
Joey Fatone .... Big Bad Wolf
Steve Fogel .... Shopkeeper
Bob Glouberman .... Scoutmaster
David Kaufman .... Hunter's Dad
Lainie Kazan .... Grandma
Suzanne Kent .... Gypsy Woman
Debi Mazar .... Red's Mom
Ashley Rose Orr .... Ashley #1

MUSICAL: "An adolescent girl, Red, is tasked by her mother with delivering a package to her grandmother who lives deep in the magic Forest. What she doesn't know is that her mission masks an even greater task: to carry on the age old fairy tale legacy and become Red Riding Hood. However, before she can become the legendary maiden in red, Red must overcome her fears to ultimately outwit and defeat the Big, Bad Wolf." Rated PG (USA).

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Hoodwinked (2005). Cory Edwards and Todd Edwards, directors.
Amazon.com: Buy the movie on DVD.

ANIMATION: From the studio: "Everyone knows the story of Little Red Riding Hood . . . or so they think. That’s all about to change because no one has ever seen their favorite fairy tale quite like this -- turned upside-down, inside-out and reinvented as a computer-animated caper comedy that at last reveals the shocking true-crime investigation behind the legend. At last, the full story can be revealed of how Red (ANNE HATHAWAY), Granny (GLENN CLOSE), The Woodsman (JIM BELUSHI) and the Wolf (PATRICK WARBURTON) all came together as criminal suspects in a case that almost HOODWINKED the law. With inventive story telling, spunk and wit, filmmakers Cory & Todd and Tony Leech bring to the screen a story for the young, the young at heart and everyone in between." Rated PG (USA).

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Rotkäppchen: The Blood of Red Riding Hood (2009). Harry Sparks, director. USA.

Amazon.com: Buy the movie on DVD.

HORROR: Not all fairy tales are for children. From director Harry Sparks comes this modern update of a classic fairy tale unlike any you have seen before. Rotkäppchen: The Blood of Red Riding Hood is the story of a German teenage girl named Rose who is brought to America by her mother to stay with her Grandmother. Soon, Rose discovers that she just does not fit in at her new school and retreats into her own fantasy world of her favorite childhood story. Shot on location in Germany, Italy, Austria, Switzerland and the United States, Rotkäppchen: The Blood of Red Riding Hood is an exciting, suspenseful, erotic fantasy that is sure to keep you entertained. Starring Stefanie Geils, Sativa Verte, Nicole Leigh Vuono, Phil Gibson, Chris O'Brocki, Betty Biehler, Debbie D, and Angelina Leigh.

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Theatre

LRRH: annotations

Source

The following is an annotated version of the fairy tale. I recommend reading the entire story before exploring the annotations, especially if you have not read the tale recently.

Since this version is most likely not the one you are most familiar with, you might also want to read the more popular version by the Grimms at Little Red Cap.

 

ONCE upon a time there lived in a certain village a little country girl, the prettiest creature who was ever seen. Her mother was excessively fond of her; and her grandmother doted on her still more. This good woman had a little red¹ riding hood made for her. It suited the girl so extremely well that everybody called her Little Red Riding Hood².

One day her mother, having made some cakes, said to her, "Go, my dear, and see how your grandmother is doing³, for I hear she has been very ill. Take her a cake, and this little pot of butter."⁴

Little Red Riding Hood set out immediately to go to her grandmother, who lived in another village.

As she was going through the wood, she met with a wolf,⁵ who had a very great mind to eat her up, but he dared not, because of some woodcutters working nearby in the forest. He asked her where she was going. The poor child, who did not know that it was dangerous to stay and talk to a wolf, said to him, "I am going to see my grandmother and carry her a cake and a little pot of butter from my mother."

"Does she live far off?" said the wolf

"Oh I say," answered Little Red Riding Hood; "it is beyond that mill you see there, at the first house in the village."

"Well," said the wolf, "and I'll go and see her too. I'll go this way and go you that, and we shall see who will be there first."

The wolf ran as fast as he could, taking the shortest path, and the little girl took a roundabout way, entertaining herself by gathering nuts, running after butterflies, and gathering bouquets of little flowers. It was not long before the wolf arrived at the old woman's house. He knocked at the door: tap, tap.

"Who's there?"

"Your grandchild, Little Red Riding Hood," replied the wolf, counterfeiting her voice; "who has brought you a cake and a little pot of butter sent you by mother."

The good grandmother, who was in bed, because she was somewhat ill, cried out, "Pull the bobbin, and the latch will go up."

The wolf pulled the bobbin, and the door opened, and then he immediately fell upon the good woman and ate her up in a moment,⁶ for it been more than three days since he had eaten. He then shut the door and got into the grandmother's bed, expecting Little Red Riding Hood, who came some time afterwards and knocked at the door: tap, tap.

"Who's there?"

Little Red Riding Hood, hearing the big voice of the wolf, was at first afraid; but believing her grandmother had a cold and was hoarse, answered, "It is your grandchild Little Red Riding Hood, who has brought you a cake and a little pot of butter mother sends you."

The wolf cried out to her, softening his voice as much as he could, "Pull the bobbin, and the latch will go up."

Little Red Riding Hood pulled the bobbin, and the door opened.

The wolf, seeing her come in, said to her, hiding himself under the bedclothes, "Put the cake and the little pot of butter upon the stool, and come get into bed with me."⁷

Little Red Riding Hood took off her clothes and got into bed. She was greatly amazed to see how her grandmother looked in her nightclothes, and said to her, "Grandmother, what big arms you have!"⁸

"All the better to hug you with, my dear."

"Grandmother, what big legs you have!"

"All the better to run with, my child."

"Grandmother, what big ears you have!"

"All the better to hear with, my child."

"Grandmother, what big eyes you have!"

"All the better to see with, my child."

"Grandmother, what big teeth you have got!"

"All the better to eat you up with."

And, saying these words, this wicked wolf fell upon Little Red Riding Hood, and ate her all up.⁹

Moral: Children, especially attractive, well bred young ladies, should never talk to strangers, for if they should do so, they may well provide dinner for a wolf. I say "wolf," but there are various kinds of wolves. There are also those who are charming, quiet, polite, unassuming, complacent, and sweet, who pursue young women at home and in the streets. And unfortunately, it is these gentle wolves who are the most dangerous ones of all.

by Charles Perrault

Lang, Andrew, ed. "Little Red Riding Hood." The Blue Fairy Book. New York: Dover, 1965. (Original published 1889.) 

 

 1. Red: Scarlet or red is a sexually vibrant and suggestive color. At one time, it was not worn by morally upright women thanks to its sinful symbolism. It is also the color of blood with all of its connotations. Perrault introduced the color red to the tale when he first wrote it.

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2. Little Red Riding Hood: The red riding hood is a popular and familiar symbol to much of Europe and North America. In the height of portraiture in the nineteenth century, many young daughters of wealthy families were painted wearing red capes or hoods. Today, some little girls still want to wear red capes for Halloween or other imaginative play.

Some scholars, such as Erich Fromm consider the hood to symbolize menustration and the approaching puberty of the young character who wears it.

Scholars also debate whether the red garment is a hood or a cap according to the earliest versions which more closely translate from the French and German to "cap."

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3. Go, my dear, and see how your grandmother is doing: In Charles Perrault's version of the tale, the mother simply instructs the young girl to take the items to her grandmother. The Grimms, however, added an admonition from the mother to not stray from the path, adding a moral message to children. Perrault adds the moral to "not talk to strangers" at the end of the tale. Through the moralizing of both Perrault and Grimms', critics explain that the tale moved away from its obvious sexual and horrific tones, to more closely resemble a fable or cautionary tale (Tatar 1992). You can read the Grimms' version here: Little Red Cap.

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4. Cake, and this little pot of butter: These are the food items originally described by Charles Perrault. Later versions have included other food items, most often a bottle of wine.

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5. Wolf: The wolf has become a popular image in fairy tales thanks to this tale and The Tale of the Three Little Pigs. The wolf is a common predator in the forest and thus is a natural choice for the story unlike the witch, ogre or troll found in other tales. The wolf is often a metaphor for a sexually predatory man.

The wolf also figures prominently in other parts of British folklore, such as the traditional children's game, "What's the Time, Mr. Wolf?"

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6. Ate her up in a moment: In some versions of the tale, the wolf swallows the grandmother whole, foreshadowing her rescue by a huntsman later.

In feminist criticism of the tale, the eating of the grandmother and Little Red Riding Hood is seen as a metaphor for rape. This interpretation has led to the story's frequent reinterpretation by authors, both male and female, in poetry, fiction, and film.

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7. Come get into bed with me: Most of the later versions of the tale omit this element of the story due to its sexual connotations. However, one of the most famous illustrations of the tale by Gustave Dore shows Little Red Riding Hood in bed with the wolf. A study from the illustration is in the upper right hand corner of this page. The full illustration can be seen here Gustave Dore's Little Red Riding Hood.

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8. "Grandmother, what big arms you have!": These exclamations are a favorite story element for tellers and listeners. They are an excellent storybuilding tool, creating anticipation and horror for the listener/reader as Little Red Riding Hood realizes she is not talking to her grandmother. Many oral versions of the story add extra body parts to increase the bawdiness of the story. The list inevitably ends with the teeth however.

Marina Warner considers Little Red Riding Hood's initial failure to distinguish the wolf from her grandmother to be a crucial element of the story. She explains that the wolf and the grandmother (as a crone character) are related as forest dwellers needing nourishment (Warner 1994).

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9. Ate her all up: In Perrault's version, Little Red Riding Hood is not rescued but actually dies at the end of the story. The terrifying ending makes the story more realistic and solidifies his advice to not talk to strangers. Bruno Bettelheim is especially critical of Perrault's version since it "deliberately threatens the child with its anxiety-producing ending" (Bettelheim 1976).

The Grimms offer a different ending in which a huntsman happens by and rescues the grandmother and Little Red Riding Hood by disemboweling the wolf. The two females escape from the wolf unharmed, like Jonah from the belly of the whale. The huntsman then sews rocks back into the wolf's stomach for punishment. The huntsman in this version represents patriarchal protection and physical superiority.

Yet another version of the tale--the French "The Story of Grandmother"--has Little Red Riding Hood rescuing herself. After she is fed a piece of her grandmother by the wolf, she announces that she needs to go to the bathroom. Since this activity is done outside--this is before the common appearance of indoor bathrooms--she goes outside and then runs away.

While the interpretations are almost unanimously dismissed today, early scholars considered the tale to symbolize death and rebirth specifically with Little Red Riding Hood as the sun or dawn and the wolf as night (Dundes 1988).

Both Roald Dahl's poem of the tale and Stephen Sondheim's musical, Into the Woods, have Red Riding Hood overcome the wolf and later appear wearing a fur coat made of the wolf's fur, instead of the identifying red cloak.

But perhaps my favorite version of the tale comes from James Thurber's "The Little Girl and the Wolf." Red Riding Hood is not fooled by the wolf, but takes a gun from her basket and shoots him. Thurber explains, "It is not so easy to fool little girls nowadays as it used to be." You can find full bibliographic references for this short story and the others mentioned in these notes on the Modern Interpretations of Little Red Riding Hood Page.

Return to place in story.

No puede cocinar,

pero tiene otras virtudes...
Kate Beckinsale Can’t Cook But She Knows How To….

Heidi Montag y sus melones

Checking the real melons
Needs to get nailed [Necesita que la pongan en uñas]

Todo un icono popular

Fuente

«Érase una vez...». Póster norteamericano de 1939.
redridinghoodcostume.net/

Caperucita Roja es todo un icono de la cultura popular y, en muchas ocasiones, ha influido en la sociedad urbana la creencia de que los lobos son peligrosos para los seres humanos. Al contrario que otras obras y mitos como el de Rómulo y Remo¹ o El libro de la selva,² donde son las lobas las que cuidan de los niños, los protegen y les dan calor hasta que pueden valerse por sí mismos, este cuento nos presenta a un lobo inteligente y cruel, o al menos eso parece intentar, porque muchos autores y artistas no se han podido resistir a realizar ciertas interpretaciones de situaciones extrañas. Se han señalado algunas quizá fuera del contexto en que se escribió:

• ¿Qué tipo de mujer era su madre que, conociendo los peligros que acechan en el bosque, mandara sola a su hija?

• ¿Cómo el lobo, siendo el dueño y señor del bosque, no ataca a la niña en sus dominios sino que la espera metido en la cama?

• ¿Cómo se explica que la muchacha no sea capaz de reconocer las diferencias, que sí nota, entre su abuela y una bestia disfrazada?

• Quizá la más sarcástica es la que hace hincapié en las continuas preguntas de la niña al lobo sobre el tamaño de su cuerpo o, al menos, el gran tamaño de algunas partes de su cuerpo.

Kate Beckinsale Is The Hottest Little Red Riding Hood Ever

Maquillaje para el lobo no es
necesario ante semejantes caperucis
Analisi e interpretazioni

Fra le fiabe classiche, Cappuccetto Rosso è una di quelle che si prestano di più a un'analisi del sottotesto, ovvero dei messaggi impliciti o nascosti. Già Bruno Bettelheim ha evidenziato come la fiaba si presti a una interpretazione freudiana. Se è evidente la presenza di contenuti sessuali nella storia (si veda il passo di Perrault citato sopra), le interpretazioni discordano sostanzialmente solo su quello che potrebbe essere inteso come significato principale (ovviamente, è soprattutto verosimile che numerosi significati si siano sommati durante l'evoluzione storica della fiaba). La maggior parte delle proposte enfatizza uno di due temi:

• La prostituzione. La fiaba potrebbe essere intesa come un'esortazione a non esercitare il "mestiere". Quella della "giovane donna nel bosco" è uno stereotipo che in molte tradizioni viene metaforicamente associato alla prostituzione; nella Francia del XVII secolo, tra l'altro, la "mantellina rossa" era un segnale esplicito in questo senso.^{[senza fonte]}

• La maturità sessuale. In questa interpretazione, la mantella rossa rappresenta le mestruazioni e l'ingresso nella pubertà, che conduce la bambina nella "profonda e oscura foresta" della femminilità; il lupo, l'uomo (visto come predatore sessuale da cui guardarsi).^{[senza fonte]}

Antropofagia. Altre interpretazioni si focalizzano sull'elemento antropofago: la fiaba ha origine nel contesto di un'Europa periodicamente flagellata da terribili carestie durante le quali si segnalarono diversi casi di cannibalismo (siano d’esempio il caso della carestia francese del X secolo e della Grande carestia del 1315-1317). Il fatto che nelle versioni più antiche della fiaba la figura antropofaga fosse interpretata un'orchessa, un elemento mostruoso ma antropomorfo e di sesso femminile, anziché da un lupo (un animale di sesso maschile, la cui antropofagia, pur connotata negativamente, rientra nell’ordine naturale delle cose) danno supporto a queste interpretazioni ed al fatto che la fiaba, nella sua forma orale, si sia evoluta nel corso del tempo, per andare a rispondere a diverse esigenze formative.

Adattamenti cinematografici 

Cinema

• In compagnia dei lupi (The Company of Wolves), 1984, film di Neil Jordan tratto dai racconti neri ispirati alla fiaba raccolti nell'antologia La camera di sangue di Angela Carter.
• Cappuccetto Rosso (Red Riding Hood), 1988, film di Adam Brooks con Isabella Rossellini e Craig T. Nelson.
• Cappuccetto Rosso (Red Riding Hood), 2004, film di Randal Kleiser con Morgan Thompson e Henry Cavill.
• Cappuccetto rosso sangue (Red Riding Hood), 2011, film di Catherine Hardwicke con Amanda Seyfried e Gary Oldman

Caperucita feroz de Orquestra Mondragón

Hola, mi amor, yo soy el lobo, quiero tenerte cerca para oírte mejor. Hola, mi amor, soy yo, tu lobo, quiero tenerte cerca para verte mejor. Hola, mi amor, yo soy el lobo, quiero tenerte cerca para oirte mejor. Hola, mi amor, soy yo, tu lobo, quiero tenerte cerca para olerte mejor. Si con tus garras me quisieras abrazar si con tus dientes me quisieras tú besar. Hola, mi amor, yo soy el lobo, quiero tenerte cerca para olerte mejor. Hola, mi amor, soy yo, tu lobo, quiero tenerte cerca para hablarte mejor. Hola, mi amor, yo soy el lobo, quiero tenerte cerca para olerte mejor. Hola, mi amor, yo soy el lobo, quiero tenerte cerca para olerte mejor. Hola, mi amor, soy yo, tu lobo, quiero tenerte cerca para hablarte mejor. Yo, lo que quiero, es tu cuerpo tan brutal y lo que adoro es tu fuerza de animal. Si con tus garras me quisieras abrazar y con tus dientes me quisieras tú besar. Hola, mi amor, yo soy el lobo, te compraría un anillo, un pastel, un collar. Hola, mi amor, soy yo, tu lobo, quiero bailar contigo un lindo rock´n´roll. (bis) Yo sólo quiero una noche sin final en la que ambos nos podamos devorar.

Wafa Sultan: SinCaperuza ataca al Lobo islámico tras 1400 años

Entrevista de Wafa Sultan TV Al Yazeera (Qatar) por Elisoft
En 2006 Wafa Sultan fue nominada en Time Magazine en la lista de las 100 personas mas influyentes del mundo "cuyo poder, talento o ejemplo moral está transformando el mundo."^{9 10} "Time" dijo que "la influencia de las corrientes de su voluntad de expresar abiertamente opiniones críticas sobre el extremismo islámico que son ampliamente compartidos, pero rara vez dadas a conocer por otros musulmanes."⁹

Fuente
Por descontado, su intervención no ha pasado inadvertida entre los defensores de los derechos humanos a la islámica moda, y Sultan ha recibido desde entonces varias amenazas de muerte. No se piense que es retórica la frase anterior: existe, desde 1990, una declaración alternativa a la más famosa y universalmente reconocida Declaración Universal de los Derechos Humanos de Naciones Unidas, adoptada por la Asamblea General de esta misma organización en 1990 (U. N. Doc. A/CONF.157/PC/62/Add.18), con la intención declarada de establecer un código paralelo, dictado desde la perspectiva y los intereses de los países islámicos. Su artículo primero no tiene desperdicio: donde la declaración de 1948 de Naciones Unidas reza: "Todos los seres humanos nacen libres e iguales en dignidad y derechos y, dotados como están de razón y conciencia, deben comportarse fraternalmente los unos con los otros", el nuevo decálogo de la Alianza de Civilizaciones islámicas dice: "Todos los seres humanos integran una sola familia, cuyos miembros están unidos por su subordinación a Alá y descienden de Adán".

De todas las denuncias de Sultan, la de más calado tiene que ver con este punto, no precisamente doctrinal sino de principios: el Islam oprime desde hace siglos a sus súbditos, pero lo hace no sólo porque sea una religión ferozmente excluyente de los infieles, sino porque aspira a imponerse como ley única y universal. De hecho, según Sultan, lo que diferencia a las democracias occidentales de los países musulmanes (especialmente, en su opinión, los árabes) es que en éstos no hay separación entre Estado y religión. No es una observación novedosa, pero Sultan insiste en este punto, en un momento en que muchos de sus contemporáneos le sacan el cuerpo para evitar ser acusados de defender las tesis de Samuel Huntington, que han sido caricaturizadas como sulfurosas manifestaciones de racismo antiislámico por la progresía occidental. En una entrevista publicada a fines de 2007 en FrontPage, a la pregunta de si el Islam y la democracia son compatibles, la respuesta de Sultan no dejaba lugar a dudas: "Por el momento, no lo son". Y explicaba por qué:

Las sociedades democráticas liberales reconocen y otorgan los mismos derechos a todos, independientemente de la religión, el sexo y la raza. Son sociedades que separan la religión del Estado. El Islam es a la vez religión y Estado.

En lo que respecta a los seres humanos, las mujeres no son iguales a los hombres. Los no musulmanes no son iguales a los musulmanes. En un mundo dominado por el Islam, los no musulmanes serán considerados y tratados como dhimmies, como ciudadanos de segunda clase sometidos a leyes específicas.

No menos vehemente (y emotiva) se muestra Sultan al denunciar las violencias que padecen las mujeres en nombre del respeto a las diversas variantes de la sharia. Ha tratado profesionalmente algunos de estos casos, pero también ha vivido de cerca, en su propia familia, las trágicas consecuencias de los matrimonios de honor, práctica común en todo el orbe islámico. Pero el valor de Sultan, en los dos sentidos de la palabra, trasciende el asunto de la lucha por el reconocimiento de los derechos de las mujeres sometidas a leyes islámicas. Como el mejor Voltaire, el del caso Calas, Sultan procura basar sus denuncias en casos con nombre y apellidos, pero no pierde nunca de vista lo esencial: que el Islam es un peligro para todos, hombres y mujeres, sean o no musulmanes, porque sus cultores lo consideran no sólo una religión, sino una ideología política.

El mensaje radicalmente incorrecto de esta mujer, que no se limita a hablar en nombre de otras mujeres ni sólo de las violaciones de derechos humanos en países musulmanes, está dirigido sobre todo a quienes hemos nacido y vivimos en democracias. Y que tan fácilmente olvidamos lo que está en juego.

Para empezar, hemos de reconocer que el Islam es considerado por la mayoría de musulmanes creyentes no sólo una religión, sino una ideología de dominación política. Por lo tanto, Occidente no debe tratar al Islam únicamente como una religión. (...) Hasta febrero de 2006, cuando tuvo lugar mi entrevista en Al Yazira, sentía la necesidad de hacer pedagogía sólo con el público árabe, con el que compartía mis reflexiones sobre el Islam. Pero después de esa entrevista (...) he descubierto que por desgracia también los occidentales son poco conscientes de las realidades del islamismo. (...) La ignorancia no es una opción ante [estas realidades]. Occidente tiene que darse cuenta de que el islamismo no tiene cabida en las democracias liberales y las sociedades abiertas.

Analista política

Sultan describe en su tesis que "el Islam pierde en una batalla entre la modernidad y la barbarie". Ha recibido amenazas telefónicas,⁴ pero también elogios de los reformistas. Entre sus comentarios, señaló que "ningún judío se explotó a sí mismo en un restaurante alemán".

Sultan considera que "El problema con el Islam está profundamente arraigado en sus enseñanzas. El Islam no es sólo una religión. Islam es también una ideología política que predica la violencia y su programa se aplica por la fuerza."⁵ En un debate con Ahmad bin Muhammad, dijo: "Se que estas enseñanzas distorsionadas terrorista y matarán a la humanidad".⁶

Sultan declaró que se sintió conmocionada por el secularismo da las atrocidades cometidas en 1979 por extremistas islámicos de la Hermandad Musulmana contra personas inocentes en Siria, incluyendo el asesinato con ametralladora de su profesor, Yusef al Yusef,⁷ un oftalmólogo de fama internacional, en su aula ante sus ojos en la Universidad de Alepo, donde estudiaba medicina. "Dispararon cientos de balas sobre él, gritando, 'Alá es grande! En ese momento, perdí mi confianza en su dios y empecé a cuestionar todas nuestras enseñanzas. Fue el punto de inflexión de mi vida, y me ha llevado a este presente. Tuve que parar. Tuve que buscar otro dios."8

Entrevistas y conferencias (Ver los siguiente vínculos!)

• Duras criticas al Islam por una ex-musulmana
      
• Wafa Sultan: NO EXISTE islam moderado. Los verdaderos musulmanes, según mahoma y el coran, son los jihadistas
• Wafa Sultan: Deber de frenar al Islam - La lucha contra el Islam - Es tiempo de actuar
• Wafa Sultan discusses the effect of the Muhammad Cartoons and the freeing of Muslims
• MEMRI TV interview clip
  A Clash between the Mentality of the Middle Ages and That of the 21st Century - #1 clip. (MEMRI transcript
  )

• Complete English transcript of 2006-02-23 appearance, courtesy of Aqoul.com
• Who Are The Muslim Brotherhood Trying To Fool?
  - Sultan essay
• YouTube video clips of al-Jazeera interview: Wafa Sultan (1
  ); Ibrahim al-Khouly (1
  , 2
  )
• The #1 Interview from the Al Jazeera site
  . (Transcript of the Full Version of the #1 interview in Arabic Language from the Al Jazeera site
  ) (en árabe)
• Listen to the #2 Interview from the Al Jazeera site
  . (Transcript of the Full Version of the #2 interview in Arabic Language from the Al Jazeera site
  ) (en árabe)
• Dr. Wafa Sultan Articles on the The Website of United Copts
  (en árabe)
• Video Clip of Doctor Wafaa Sultan's speech about the Human Rights Charter
  (en árabe)
• [1]
  . Wafa Sultan on the Danish cartoons with Tala't Rmeih. Complete episode as shown on Al Jazeera on 4 March 2008. (en árabe)

Opiniones

• Heroes & Pioneers; Wafa Sultan - A Daring Voice Calls For a New Islam
  TIME 100: The People Who Shape Our World
• New York Times article

Opiniones críticas

• "Wafa Sultan: Reformist or Opportunist?"
• "Dr. Wafa Sultan: A Lost Opportunity"
• "Islam's Ann Coulter: The seductive and blinkered belligerence of Wafa Sultan"
• Original script of the interview that was on MEMRI TV
• "How to be a Muslim reformer"
• Islam's refuseniks

El fin de la inocencia

Fuente

Nunca abandones el sendero, nunca comas una manzana tirada por el viento y nunca te fíes de un hombre cuyas cejas se junten -Abuelita

Una inquietante y bellísima partitura de George Fenton acompaña la carrera de un perro lobo a través de un umbrío bosque mientras surgen todo tipo de animales —cuervos, ranas, conejos…todos ellos sospechosos habituales de cuentos y leyendas— a su paso. Paralelamente, un coche llega a una casa en medio de un bosque. La edificación guarda un ensoñador parecido con una casa de muñecas. Una joven corre hacia ella en un virginal vestido de gasa blanca. Mientras, en el interior, otra chica duerme sacudida por pesadillas. ¿Es todo un sueño? ¿Hay algo real? El comienzo de este film nos prepara para la narración como niños ante el fuego a los que se les va a contar un cuento.

Hay películas en las que la atmósfera es fundamental para que el espectador entre de lleno en la historia que se nos pretende contar. ‘En compañía de lobos’ (‘The Company Of Wolves’, Neil Jordan, 1984) juega fuerte. Es un film que reedita varios cuentos clásicos en clave perversa y para un espectador adulto. Nos encontramos en el mundo de las leyendas, de la imaginación, por lo que sus imágenes necesitan de la complicidad y la fe del público mucho más que otras propuestas. ¿Lo consigue? Madre mía si lo consigue. De paso, Neil Jordan nos deja una Obra Maestra absoluta del cine fantástico. Atentos, así se crea un peliculón:

El realizador irlandés Neil Jordan ha protagonizado una de las carreras más erráticas e inclasificables en el mundo del cine. Tras debutar con un interesante film noir con el telón de fondo del conflicto del IRA (‘Danny Boy’, 1980), su segunda película, ‘En compañía de lobos’, sería también su cima. Pero ojo, el resto de la carrera del señor Jordan es cualquier cosa menos despreciable, como atestiguan títulos incontestables como ‘Juego de lágrimas’ (‘The Crying Game, 1992) o ‘Entrevista con el vampìro’ (‘Interview With The Vampire: The Vampire Chronicles’, 1994). El resto, bandazos sin control que a veces llegaban a buen puerto y otras se estrellaban contra el muro de la incomprensión de buena parte del público. Hoy sobrevive como soldado de fortuna realizando capítulos para la serie histórica ‘Los Borgia’.

La película se basa en un libro de cuentos de la escritora inglesa Ángela Carter, “La cámara sangrienta”. Una de las historias entrelazaba varias narraciones con un denominador común: los lobos. Pero al igual que en el film, las lecturas son múltiples. La chica que sueña es una preadolescente, en el crucial, extraño y mágico paso de la infancia a la juventud con todos los temores y deseos que eso conlleva. La película, una ensoñación de la protagonista, es un sueño dentro de otro sueño, en un fascinante juego de cajas chinas y con una estructura que bebe de “Las mil y una noches”, entre otros clásicos, donde los personajes se cuentan relatos en los que viven otros relatos y la niña que escucha se convierte a su vez en narradora. Esa niña, que juega a pintarse como una mujer, sueña que su hermana, ya en plena adolescencia, se pierde en el bosque de los cuentos, entre muñecas y peluches que cobran aterradora vida —ecos de Jan Svanjmaker— hasta que los lobos se la llevan. Podríamos decir que estamos en el sueño de la fase REM, aún hay elementos reales, tangibles dentro de él. Una vez desaparecida su hermana/rival —sí, el de los sueños es un mundo cruel—, la durmiente entra en un sueño más profundo.

Un maravilloso plano consistente en un trávelling hacia afuera en parte similar al de ‘Mar adentro’, va desde la ventana de la habitación de la soñadora hacia el tenebroso bosque exterior. Con este elegante gesto, repetido varias veces a lo largo del metraje, nos introducimos en el territorio de las leyendas. Estamos en una pequeña y piadosa aldea, en una época indeterminada. Nuestra protagonista asiste al funeral de su hermana, asesinada por los lobos. Los sueños se funden y dan paso unos a otros. Rosaleen, interpretada por una perfecta Sarah Patterson , tiene una abuela —espléndida Angela Lansbury— que le teje primorosamente una caperuza de color rojo. Familiar, ¿verdad? Los cuentos clásicos de autores como Perrault se retuercen y adquieren un claro componente sexual. Los hermanos Grimm se juntan con Freud y Jung. Bruno Bettelheim lo explicaba maravillosamente en su “Psicoanálisis de los cuentos de hadas”

La abuela de Rosaleen le cuenta oscuras historias sobre hombres lobo con pelo por dentro que te arrastran al infierno si te muerden. Algunas de estas narraciones se visualizan, como la pieza de orfebrería en la que la esposa de un viajante descubre que éste es un hombre lobo, o el joven que hace un pacto con el demonio, que llega en un coche conducido por la ropia Rosaleen. Los tiempos y las épocas se confunden. Nos arrebujamos tras las mantas mientras oímos evocadoras frases como “...esperó y esperó y luego volvió a esperar”. Los efectos especiales son más artesanales que los de ‘Un hombre lobo americano en Londres’ (‘An American Werewolf At London’ John Landis, 1981), pero le sientan maravillosamente bien a esta película y aguantan con firmeza el paso del tiempo. Como ya dije, la atmósfera del film es vital, y el pequeño pueblo que vive bajo la constante amenaza del lobo está espléndidamente retratado: los niños juegan en corrillos mientras cantan “lobo, lobo, no puedes cogerme”; el sermón del cura habla de la connivencia de hombres y bestias; huevos de cuervo eclosionan y dan a luz a pequeños bebés; animales disecados vuelven a la vida mientras los adultos copulan y la pequeña Rosaleen insiste en alejarse del sendero, con el peligro que ello conlleva.

Como es de esperar, Caperucita acabará encontrándose con el lobo, un hipersexual aristócrata, con el que establecerá juegos nada inocentes. Pero aunque sus dientes son grandes, será él el desamparado en manos del poder de una joven, dueña de su vida y de su sexualidad. El cazador cazado. Al final, la niña se convierte también en narradora, pero es demasiado tarde: los lobos traspasan el umbral del sueño, y como en el cuento de Neil Gaiman y Dave McKean, atraviesan las paredes. Una película de inagotables lecturas e inextinguible capacidad de fascinación termina.

Bienvenidas a la edad adulta.

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