studying in the U.S.

Sabalenka and Swiatek have been in contrasting form.Sabalenka has reached

this year, the most for a woman entering Roland-Garros since Serena Williams in 2013.But Swiatek is looking to reach her first final anywhere since winning her third straight French Open title, and fourth overall, a year ago. No woman has won four straight French Opens in the Open era.Asked who was under the most pressure to win this year — her or Swiatek — Sabalenka said, jokingly: “Let’s just leave it on Iga since she won it, what, three times in a row?”

Defending men’s championlabored to a 6-1, 6-3, 4-6, 6-4 win against Damir Dzumhur, meaning the four-time major winner has dropped two sets so far.

No. 4-seeded Jasmine Paolini, last year’s runner-up, beat Ukrainian Yuliia Starodubtseva 6-4, 6-1, and No. 12 Elena Rybakina won against 2017 champion Jelena Ostapenko.

Olympic champion Zheng Qinwen beat 18-year-old qualifierBut like scaffolding that’s been left up too long, the strain of renovation shows in Webb’s film, particularly in its awkward handling of Dopey, Sneezy and company. The seven dwarfs, like the fawns and squirrels, are rendered in CGI. You could argue that this acknowledges the artificiality of a dated and offensive trope. But it also gives “Snow White” an uncanny quality, with all human characters but the dwarfs being played by real people. As if to Band-Aid over this, one of the woodsmen is played by an actor of short stature (George Appleby) whose presence seems like yet another atonement, only one for this “Snow White,” not 1937’s.

You might be thinking: But what about the movie? The problem with “Snow White” is that you never stop thinking about these much-strategized and sometimes superficial efforts to recontextualize the original movie. Erin Cressida Wilson’s screenplay remakes Snow White’s story as less a princess awaiting her Prince Charming (the song “Someday My Prince Will Come” has been jettisoned) than an heir to a throne who loses her gumption. Though taught as a child to be “fair” as a leader by her father king (Hadley Fraser), Snow White has lost any ambition by the time Gadot’s Evil Queen takes over the kingdom.Gadot sinks her teeth into the Evil Queen, a spikey, slinky villain who moves with a metallic rustle (the costumes are by Sandy Powell). But she feels cut off from the movie, without the lines that would elevate her flamboyant performance into something memorable. The prince has been altogether scrubbed; instead Andrew Burnap plays the blandly cocksure bandit Jonathan who encourages Snow White not to wait for her father’s rescue.

Presumably one of the reasons to bring actors into remakes of animated classics would be to add a warm-blooded pulse to these characters. Zegler manages that, but everyone else in “Snow White” — mortal or CGI — is as stiff as could be. You’re left glumly scorekeeping the updates — one win here, a loss there — while pondering why, regardless of the final tally, recapturing the magic of long ago is so elusive.“Snow White,” a Walt Disney Co. release is rated PG by the Motion Picture Association for violence, some peril, thematic elements and brief rude humor. Running time: 109 minutes. Two stars out of four.