The Shrek films were always tied to the British panto tradition of musical comedy theater, with its fractured fairy-tale milieu, double-entendres, cross-dressing and so forth. Michael or the Virgin of Guadalupe could exist in the Shrekverse if they weren’t implicit in Antonio Banderas’ very accent. Shrek was too detached, too ironic, too postmodern a character for bourgeois piety - he was an ogre, after all.Īnd I’m not sure that St. So there could be a generic church, if the plot needed it, but it’s hard to imagine reverence or respect for the Church as a defining or redeeming trait. When the original Shrek ended with a climactic church wedding, it was one of those stereotyped scenes with the villain forcing the heroine to marry him and the hero arriving at the last minute - smashing through a stained-glass window riding a dragon, no less. If this is the Shrekverse, it’s suddenly become a more complicated place than four Shrek films led us to believe. “The orphanage has just received a donation of silver candlesticks,” a patron offers. Our hero shakes his head firmly: “I do not steal from churches.” Michael has just put up a golden statue of the Virgin of Guadalupe,” volunteers the tremulous tavern keeper.
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