Netflix’ “Damsel,” starring “Stranger Things’” Millie Bobby Brown as Elodie, is about a stereotypical, at least as far as modern fantasy is concerned, princess who faces off against a dragon. “Damsel” also features Robin Wright of “Princess Bride” fame, subverting her Buttercup role, playing the queen of a nation that the dragon threatens. The story is enjoyable, and the next spoiler-filled paragraphs (if this one has possibly avoided spoilers) are not meant to diminish the mild pleasure the viewer may get from watching Millie Bobby Brown dress up, fight a dragon, and do other things the script required. Instead, they are meant to explore storytelling using two questionable choices the film made. (If you are worried about spoilers, don’t watch the trailer. I’m glad I didn’t see it before I watched the film.)

Accepted Modern Fantasy Story Trope

The princess knows how to use a sword. The whole point of the film lies in its name. “Damsel” is often the word used to denote a young woman, usually helpless. The word is often used with “in distress,” and the woman waits for her prince to rescue her. Over the course of the last 30 or 40 years, Hollywood has subverted this trope. In Disney’s “Hercules,” Meg says, “I’m a Damsel. I’m in distress. I can handle this. Have a nice day,” as she dismisses Hercules. In “Damsel,” Elodie is a damsel in distress, but she’s going to handle it because she has to. The sword use is never set up, but the audience is fine with accepting she knows how to use it.

This contrasts with horse riding. Elodi and her little sister are seen riding horses at the opening of the movie. Later, when the Elodie suggests that she and the prince she is supposed to marry go for a ride, he is taken aback. “Do you know how to ride a horse?” Why was it necessary for the story to point out she can ride a horse? I don’t know. The audience would’ve likely accepted that she could as well as they accept she knows how to use a sword. It’s fantasy. People, especially nobles, know how to ride horses.

Damsel’s Amazing Flaw

The first flaw is really just a dead end. It’s not a tragic flaw. It doesn’t impede the viewer’s joy in the story. It just doesn’t go anywhere in spite of the prominence the movie gives it. Elodie draws labyrinths. In a fantasy setting, books and paper are often difficult to come by. She’s a noble, so her family can sort of afford them. Still, to use a book to draw a labyrinth is a pretty bold statement. It lends importance to her skill, which should lead to some sort of payoff later in the story. If it were only shown once, we could forget about it. However, it comes back when she meets the prince, and he shows her the letter she wrote to him. He asks about the labyrinth she drew on top of an anatomically correct heart. She never uses the skill again. Some may claim that it helps her in the “labyrinth” of the caves, but she never uses her drawing ability there. And the caves aren’t labyrinthine.

Damsel’s Visionary Flaw

The second flaw in the storytelling of “Damsel” is a little more problematic. When Elodie finds a map and the names of princesses who went before her on the cave walls, she has a vision of those princesses doing things. In a fantasy setting, they could be real visions. Maybe she is using some sort of magic to see the past. It’s enough to throw off the audience. She never showed magic powers before; why does she have them now? The other possibility is that we are seeing what she is imagining. However, what she imagines may or may not be the truth. She has more visions later, and they absolutely affect the outcome of the movie. Still, because they are never explained as magic, the audience is left assuming that Elodie’s imagination provides the correct and true version of the past and not the product of some over-active imagination. However, in storytelling, first person perspective can be used to mislead the audience. The viewer can never be sure that the person, whose point of view the story is told from, is telling the truth or even knows what the truth is. Had the movie set up her imagination or her visions in a way that was reflected in the cave, it would have been easier to understand and more productive than the dead end of her labyrinths.