According to Warner (2011, 397), the transformation of the characters enables the film to effectively communicate a heightened sense of magic.
In addition, it is also likely that the numerous character transformations have been used to highlight or depict the social changes of the time some of which may include the changing women rights, homosexual issues and increasing transformations regarding birth rights and abortion rights among others (Moritz, 1996, 49). It has also been widely suggested that the transformations may have been used as a satirical anti-Nazi parables. Generally, although the silhouette artforms may have been made to target children, Lotte Reiniger may also have infused social responsibility.
Some of the major characters that have undergone character transformation in the movie include Peri Banu and the African magician. For example, the African magician frees himself from the chains and transforms into a bat and attempts to seek out Ahmed before the Prince chases him back to human form. The first appearance of the African sorcerer/magician shows him slowly unfold in the medium of close up with his fingers undergoing spider like articulations (Moritz, 1996, 48). As he transforms into various creatures, the body of the African Sorcerer can be seen going through a series of contortions. On the other hand, Aladdin and the magician both engage in a fiery magical due each transforming into various creatures (Warner (2011, 401). They, however, soon resume their human form after a while before flinging fireballs at each other. Princess Peri Banu also transforms herself from time to time. In some instances, Peri Banu has a proportionate body with softened mellow and silhouettes with constant grins and smiles while at time the princess appears as an earthly creature with a frontal appearance.
With a lot of plotting; this German animation