Directed by Nathan Greno and Byron Howard. Voices of Mandy Moore, Zachary Levi, Donna Murphy, Brad Garrett, Jeffrey Tambor, MC Gainey G cert, gen release, 83 min

Disney's Rapunzel is a funny, enchantingly turbo-charged fairytale, writes DONALD CLARKE

THERE HAS been some talk that Tangled– a film that, but for the unwelcome contribution of marketing wonks, would be called Rapunzel – finds Disney following up The Princess and the Frogwith another "traditional animation".

That's not quite true. Presented in 3D, Tangledhas a much less painterly look than the earlier (excellent) entertainment and is less coy about revealing its passage through a Central Processing Unit.

At its heart, however, this enchanting film could not be more agreeably old-fashioned. Featuring crafty sub-Sondheim songs by Alan Menken, unburdened by subtextual snark, the picture looks like the work of film-makers who – overpowered by a spell, perhaps – have been blissfully asleep since 1962 or so. I mean that in a good way.

The story begins with a hideous witch (let’s not get into the dubious gerontophobia of the Brothers Grimm) discovering a flower that has the power to make the wizened eternally youthful. Later, a queen’s servants use the plant to cure their mistress of a life-threatening illness. She then gives birth to a child whose hair retains the plant’s mysterious powers. Witches being witches, the crone grabs the baby and imprisons her in a lofty tower.

Years pass. A raffish thief happens by and, while the rejuvenated villain is out foraging, he escorts Rapunzel on a jaunt. Romance blossoms.

Older viewers will note that, whereas The Princess and the Frogfeatured a variety of luscious palettes, Tangledfavours the PVC pinks of cheap princess playthings. This will not (and should not) bother the target audience one jot.

The word "timeless" is too often bandied around irresponsibly, but Tangled, despite its CGI turbo- charge, really does have the look and feel of an entertainment from Hollywood's great years. The male lead is a better looking Danny Kaye. The female lead bristles like a more empowered Virginia Mayo.

The film even retains the interesting Disney device, exhibited most conspicuously with the Queen in Snow White and the Seven Dwarfs, of allowing only the female villain any degree of grown-up sexuality. Freudians (if any still exist) may wish to ponder this curious situation.