Street: This Disney princess whips her "Tangled" hair back and forth

Growing up, pusuing your reams, finding true love — we’ve all seen and heard it before, and “Tangled,” Disney’s 50th animated feature, sees no problem sticking with what works. But however traditional the message, the packaging is refreshingly chic. Taking a half step away from the neoclassical “Princess and the Frog,” the vision here is of computer-generated imagery that looks hand-drawn, possible only through new technological advancement that has ironically nudged animation back toward its analog roots. The result here is lush, Rococo-inspired scenery and characters that are visually dynamic yet familiar.

But of course, “Tangled” is still quintessentially Disney — a Disney Princess film, to be specific — which implies the accompanying troupe of kings and queens, castles, guards and villains. It is in this customary habitat that Rapunzel, the newest of Disney’s royalty, tells her tale. Snatched up by the demonic Mother Gothel shortly after her birth, Rapunzel has spent her whole life holed up in an ivory tower, ostensibly to protect her from the dangers of the outside world (“Men with pointy teeth!”). But her 18th birthday is coming up and, wanting to spread her wings a little, Rapunzel asks if she can see the sights. That ain’t happening, because Rapunzel’s hair is actually a golden fountain of youth — and its magic is the only thing keeping Gothel alive.

Thankfully, the handsome, swashbuckling thief Flynn Rider (Zachary Levi) stumbles upon Rapunzel’s tower after being chased through the forest by the imperial cops. Rapunzel decides to run off with the bad boy, albeit with an intensely bipolar mood that bounces between exuberant liberation and crippling daughter guilt. The pair runs all through the forest and the city, resting once in a while for choral interludes, circle dancing and tender, “Kiss the Girl” moments, all while being pursued by Mother Gothel, thugs, guards and anthropomorphic horses.

And the fun is indeed in the chase. “Tangled” shows off its action scenes, which have usually been the forte of rival animation studios like DreamWorks. Maximus, the obstinate bounty hunter, makes for some cleverly devised and playful slapstick. And the 3D, thankfully, is used sparingly and tastefully only as an accent.

The film’s original title was “Rapunzel,” but it was changed in what appears to be an unapologetically commercial move to sell more tickets to boys, as evidenced by the emphasis on Flynn Rider in the trailers for the film. “Tangled” won’t win any awards for a more modern portrayal of the female, either. Rapunzel is independent-minded, to be sure, but like any other Disney princess, she still needs a man to whisk her away and make her dreams come true.

But who can blame Disney for not messing with the formula? The hallmarks of the Disney princess movie are all here: unforgettable characters, earnest if exaggerated emotion and lots of singing. Donna Murphy is fantastic as Mother Gothel, with just a hint of evil in her voice to preserve the uncomfortable suspension between wicked and benevolent — much like the creepy “Other Mother” of “Coraline.” Mandy Moore breathes a convincing innocence into the wide-eyed Rapunzel, and her beautiful tone is perfect for Disney veteran Alan Menken’s score, which, this time around, is more pop- and folk-rock-influenced than ever.

“Tangled” may not be revolutionary, but it’s a successful first step in updating the Disney princess brand — CGI, but with hand-drawn sensibilities, and an independent, individualistic (sometimes even violent!) leading lady, who is still, in the end, waiting for the prince to come. It’s a worthy addition to the Disney pantheon.

4.5 Paws