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Every historical trait of American populism — its anti-intellectualism, xenophobia, distrust of expertise, hatred of so-called elites, rural and small-town mythologizing, suspicion of institutions, paranoid-conspiratorial world view, unfocused anger and faith in panaceas — fits the psychology of the current Republican base like a glove, at least when its characteristics are adapted to the schizophrenic quality of contemporary American culture.

But somehow, the writer-director, who grew up in agriculture villages like the ones in her film, makes that coincidence count in terms of small-town authenticity — of course, everyone’s connected — and the dramatic stakes that go with impulses and shortcuts.

Citrus groves, historic landmarks and small-town charm.

The scene of middle-aged restraint last week was a contrast to the rock-star excess that greeted Papa Roach in 2000 when its song “Last Resort” — a bruising rap-rock anthem about suicidal ideation — exploded on the radio and MTV, propelling the band from small-town Northern California to a Grammy nomination for best new artist and to triple-platinum sales of its album “Infest.”

“It's somewhat bittersweet to me to meet people like that, because they say, in a sense, they're frozen in time,” said Mike Bonifer, a poet and a storyteller who, in his role as a publicist for Disney in the 1980s and ‘90s, produced several specials that incorporated Caselotti. His own love for “Snow White” dates back to his mother taking him to a small-town movie theater to see it when he was five.