Honing the Story
In film adaptations of novels, it is typical to cut out characters in order to streamline the story and to include just the most important (sometimes, different characters are compiled into one). The action is almost always simplified to create a single narrative plot that centers around action and conflict, with a final resolution that is clear-cut and satisfying. In the case of Shrek, the original children's story has too little action to sustain a feature-length film. It also has too little conflict, as the obstacles in Shrek's way are dealt with rather quickly and easily. Perhaps most significantly, though, the 'prize' at the end is in fact a really ugly woman -- and from a Hollywood point of view, that won't do at all. Even the Shrek character of Steig's tale is too ugly. Let me just put it this way: it's impossible to imagine either of them as plush toys, beanies, or even collectible figures.

Lord Farquuad dreams of his Princess Fiona.

The obvious solution is to complicate the plot and modify the character designs. By inserting the background story of fairy tale characters invading Shrek's territory, the writers have given themselves an almost limitless opportunity to create humorous scenarios, which they've fully exploited. My personal favorite is the spunky gingerbread man who yells, "You're a monster," and, "Bite me," as he refuses to give information to the evil Lord Farquuad. Weaving Princess Fiona into this fairy tale scenario works extremely well, as it solves another plot problem: the u-g-l-y factor. Make her into a beautiful princess who is under a spell and only becomes 'ugly' (in a cute sort of way) at night, when we hardly see her. In fact, she has to hide her ugliness from the other characters, so there is narrative motivation for not showing her ogre manifestation. There are practical reasons why Princess Fiona must be beautiful most of the time: why else would Prince Farquuad want to marry her? He is vain and the bottom line is that he wants to marry a princess, so he can rule the land. Nonetheless, he 'naturally' is taken by her beauty and she becomes his choice.

What about Farquuad? He is the only main character that does not appear in the original story. Farquuad works fantastically as an evil character who provides all the conflict for Shrek that is lacking from Steig's story. First, he moves the characters into Shrek's swamp. Then he makes a deal to move them out if Shrek gets the princess. Finally, he provides conflict when Shrek falls in love with Fiona. Clearly, he is of central importance to the development of the adaptation's plot.

Fiona the Fearless?
Shrek has great fun with traditional characters and storylines of fairy tales. It clearly takes aim at Disney; Farquuad's evil kingdom is unmistakably a deserted main street from Disneyland, complete with Small-Worldesque singers. The story of Fiona seems aimed at Disney animated features, in which a host of lovely princesses have been saved from horrible fates by their knights in shining armor. When Shrek comes to her rescue, she waits expectantly, taking a 'sleeping death' position, for "loves first kiss" (this sets her up for the first of several disappointments). Despite her attempt to fit herself into a fairy tale scenario, we see that Fiona is in fact far from a 'traditional' heroine. She is a skillful fighter, not above eating roasted rats, and known to emit uncouth noises from her body. What kind of princess is that? She looks like a princess, being tall, slender and lovely, but something tells us -- and Shrek -- that this one is different. But how different is she?