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Cinderella Is Traditional and Straightforward, but Plenty Charming

By Richard Lawson

Now that Anna and Elsa, the Frozen sisters, have come along and taken over the world, interest in all things royal and Disneyfied is at a renewed peak. So the studio has given us a new Cinderella , a live-action take on the old story that’s firmly traditional and palatable. More traditional than Frozen , even. The film, directed by Kenneth Branagh and written by Twilight: New Moon director Chris Weitz , follows a blond, tiny-waisted (and I mean tiny) Cinderella as she makes her way to her prince in the most expected and linear of fashions.

That’s a major shift from our last big Cinderella story, Ever After , Andy Tennant’s charming, lite-revisionist tale starring Drew Barrymore. When that movie opened in 1998, the state of the princess was in crisis. Disney’s Mulan had debuted the month before and would be the last of the Mouse House’s princesses for 11 years. The previous year, Fox Animation Studios had tried to horn in on the game with Anastasia , a lovely and memorable attempt, but not a terribly successful one. So, perhaps in response to that dwindling, Barrymore’s Cinderella, “Danielle” she was called in the French-inflected film, was defiantly anti-princess, a reimagining of a fairy-tale cipher as a feminist (well, sorta feminist, anyway) icon. Ever After , in an age of Scream tweaks on horror and teen-movie meta-awareness, fit right in, a spirited, against-the-grain movie for its era. But now that we’re feeling bullish on princesses again, this new Cinderella comes with very few surprises. It’s just Cinderella , straightforward and squarely aimed at the little girls and boys in your life who have Frozen fever.

And you know what? It works. I’d fully expected to find Branagh’s film tedious and uninspired, or, worse still, overwhelmed by a hideous deluge of computer effects, like Disney’s Maleficent , or Disney’s Alice in Wonderland . But something about Branagh’s British reserve, his devotion to Shakespeare’s formal and relatively spare storytelling structure, has rendered his Cinderella familiar but perfectly fanciful, an old tale told well. Weitz’s script is heavy on easy moral lessons—Cinderella, whose Goodness is never quite cloying, repeats her mother’s mantra, “Have courage and be kind,” over and over again—but it’s also plenty spry and sparkling, airy and pretty as spun sugar. Those without a sweet tooth might be turned off by this saccharine-ish movie, but I was won over, seduced by its warmth and good looks, its quaint, modest proportions.

It helps immensely that Cinderella is played by Lily James , a fizzy flower of a thing, bright and piquant and self-possessed. James is best known as the free-spirited Cousin Rose on Downton Abbey , often ruffling the easily ruffled feathers of the lord of the manor. She brings little of that mischievousness to this role, but she’s still a blast of fresh air, a youthful breeze that flows through Branagh’s movie, enlivening it all the while. She’s well matched by Game of Thrones casualty (spoiler? I mean, it’s been almost two years) Richard Madden , whose eyes have had their blueness turned up, his teeth put on full gleam. He makes for a wholly dashing prince, smart and cute and kind and all that good mushy stuff. James and Madden are not the riskiest of casting choices, certainly, but given the task of making a brisk sketch of a courtship have the tenor of true love, I think they succeed pretty well.

The rest of the cast also does commendable work, from Derek Jacobi as the prince’s ailing father (does that make him King Charming?) to Holliday Grainger and Sophie McShera (another Downton regular) as Cindy’s flibbertigibbet step-sisters. But the real draw here, I suspect, is Cate Blanchett , all regal glare and pout as the wicked stepmother, gliding through the movie with a playful ease. Blanchett is a pro of the highest order, but she seems happy to lend her talents to something for the kids when asked. Which isn’t to say she’s phoning it in, she’s present and totally engaging, but there is a sly wink of “Yeah, it’s me” to the grownups in the audience. Oh, and there’s also Helena Bonham Carter , playing Cinderella’s fairy godmother. That she could have gone weird and big and Depp-ian with it but didn’t is a fine example of this film’s restraint; no one is grandstanding here, they’re just here to entertain the children and get the job done.

Where the film does show off is in its luxe designs. The film follows the animated movie’s lead and places the costumes somewhere in the 19th or 18th century; it’s a mix of eras and styles, the ladies in hats and high collars, the gents in boots and military jackets. The royal men are tasked with wearing high-waisted pants that, in the crotch area, too often threaten to give children a lesson about the male anatomy, but otherwise Sandy Powell’s costumes are spot on. Cinderella’s big makeover dress is a riot of blue, almost garish, but worn well by James and lit perfectly by Haris Zambarloukos’s lush cinematography. Only Blanchett’s costumes don’t quite fit the mold—from the waist up, she looks more 1940s than anything else, her hair in nets and her silk blouses bringing to mind Ingrid Bergman. But that’s just fine. She looks ravishing in all her deep jewel-green looks, a true cruel beauty.

Branagh is careful not to drown out the film’s aesthetics with too much CGI. Really, the only major effects scene is the big transformation, when a pumpkin swells to carriage size and mice become horses, lizards footmen. I think it has enough visual pop to satisfy youngsters, but it blessedly doesn’t feel intrusive or used as a means to distract from a wan story. The true stunner of a sequence, really, is one that hardly uses any special effects at all. As the Prince takes Cinderella spinning around the dance floor, all the other guests at the ball looking on in jealousy and awe, Cinderella is genuinely magical. The scene, centered on these two shiny and heartbreakingly attractive people, is giddy and swooning, romantic in the way a child might imagine romance. To dance and be admired, to suddenly find grace in the presence of another person. It might not be the most honest of fantasies, but Cinderella makes a compelling case for not breaking the spell just yet.

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Cinderella review – good-natured and swoony

C ompared to the more consciously empowered female leads of Disney hits such as Frozen and Brave, this live-action Cinderella is a bit trad. But it’s likable in its daft, swoony way, and director Kenneth Branagh gets robust performances, particularly from Cate Blanchett as the evil stepmother. Exquisitely lit and made-up, with nostrils flaring in contempt, she is a cross between a 1940s noir murderess and a highly displeased racehorse. The movie doesn’t, incidentally, deserve the fuss about Cinderella being overly thin – Branagh has denied using CGI. At one stage she is very thin, yet she is not that different from those admired feisty heroines in the above films.

Lily James is Cinders, finding herself in a Freudian nightmare when her mother dies and she gets a hateful stepmother and two awful stepsisters Drisella (Sophie McShera) and Anastasia (Holliday Grainger). A fairy godmother steps in (a slightly typecast Helena Bonham Carter), and after the ball there’s the glass slipper with all its brutally explicit conjugal symbolism. Richard Madden plays the prince: his court attire seems to include very tight and revealing trousers. Here, too, Branagh might have to deny digital enhancement. It’s good-natured and silly, with nice support from Rob Brydon, Nonso Anozie, Derek Jacobi and Katie West.

• Cinderella (2015)
• Family films
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• Cate Blanchett
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Movie Review: Cinderella (2015)

• Dan Gunderman
• Movie Reviews
• 6 responses
• --> March 20, 2015

In case you didn’t know it — Kenneth Branagh is a director who really grasps the magic of the screen. Whether it’s through Shakespearean adaptations like “ Much Ado About Nothing ” and “Hamlet,” or one of the larger tent-poles like “ Thor ” and “ Jack Ryan: Shadow Recruit ,” viewers can be sure of one thing: They’re in for a good time. His directorial touch is pronounced, his characters are always lively and dressed befittingly, and they’re framed and captured from generous angles.

With that in mind, his newest film, Cinderella , retains all of those attributes. Branagh enlivens the story, solidifies our perception of a handful of characters (while pronouncing the perception for others) and marks nearly every scene — with the help from his long-time collaborator, Haris Zambarloukos — with luminous watercolors. The kingdom they conjure up is so romantic that every child will surely carry vivid images of it with them for years.

It’s best to note, however, like most recent fairy tale productions of late (“ Jack The Giant Slayer ,” “ Hansel & Gretel: Witch Hunters ,” “ Snow White and the Huntsman ”), there are some updates to the Cinderella folk lore and the iconic 1950 animated feature that we’ve all grown to accept as truth (it’s tame compared to the aforementioned titles, though). Cinderella is still the unjustly oppressed girl she was, but now an intricate plot threatens her outcome and wider attention is given to and a backstory developed for the evil stepmother, Lady Tremaine (Cate Blanchett, “ The Monuments Men ”), offering an explanation as to why she is so austere (similar to but not quite to the level of “ Maleficent ”).

Blanchett delights in this expanded role as much as screenwriter Chris Weitz was apparently delighted in penning it. She is appropriately cunning and cruel as a woman who desperately wants her and her vapid daughters (Sophie McShera and Holliday Grainger) to remain affixed to the top of the list of snooty aristocrats. Likewise, although in a criminally small part, Helena Bonham Carter (“ The Lone Ranger ”) absolutely chews through her lines as the Fairy Godmother. She is sarcastic, witty and bubbly — all the best characteristics of a wand-wielding fairy.

Lily James (“ Wrath of the Titans ”) as Ella, too, is up to the task. She begins the picture living a picturesque life on the countryside of a small kingdom (where everyone has British accents). She has loving parents and savors her bonds with the animals on the property. But all that changes when her mother passes away and her dad (Ben Chaplin, “War Book”) desperate to give Cinderella a woman’s touch takes on a new wife. Soon things go from bad to worse when he dies and Lady Tremaine and her brainless, but vicious daughters take over the estate, relegating Ella (now dubbed Cinder-Ella because she cleans the fireplace cinders) to a second-class citizen in her own house.

“Remain kind,” her mother tells her before dying and that’s what Cinderella does although her extended family give her little reason to. And as the story goes, she ultimately encounters The Prince, known as “Kit” Charming (Richard Madden, “ Chatroom ”) while in the woods and they fall madly in love only to be denied by The King (Derek Jacobi, “ My Week with Marilyn ”) and The Grand Duke (Stellan Skarsgård, “ Thor: The Dark World ”). A ball is held, a conspiracy is uncovered, a famous glass slipper is placed upon a foot and the rest, as they say, is history.

All this, while good, however, is secondary to the grandiose production of the film. Set design, costume design, makeup, practical effects are all front and center in bringing the magic to life. Sandy Powell does a splendid job dressing Blanchett and James in wonderful outfits, the sets constructed by Dante Ferretti are intricately detailed, Patrick Doyle’s musical accompaniment is notable and the pumpkin-to-carriage transformation (among others) is a delight to watch.

Although Cinderella is a bit out of my realm, I firmly believe that it is destined to be another Disney classic. The Prince says at one point: “I have to see her again.” It’s true; Cinderella is a great way to see her again and reconnect to this timeless story that encourages hope and forgiveness and kindness. It’s also a great way to expose youngsters to these traits, perhaps for the first time.

Tagged: fairy tale , kingdom , love , princess

Dan is an author, film critic and media professional. He is a former staff writer for the N.Y. Daily News, where he served as a film/TV reviewer with a "Top Critic" designation on Rotten Tomatoes. His debut historical fiction novel, "Synod," was published by an independent press in Jan. 2018, receiving praise among indie book reviewers. His research interests include English, military and political history.

Movie Review: Six Minutes to Midnight (2020) Movie Review: Apocalypse ‘45 (2020) Movie Review: Greyhound (2020) Movie Review: Robert the Bruce (2019) Movie Review: 1917 (2019) Movie Review: Star Wars: The Rise of Skywalker (2019) Movie Review: Ad Astra (2019)

'Movie Review: Cinderella (2015)' have 6 comments

March 20, 2015 @ 2:41 pm Jaffe

This is an unecessary remake capitalizing on the popularity of ‘Frozen.’

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March 20, 2015 @ 5:02 pm TomPaul

That’s obvious since there was a ten-minute “Frozen” short called “Frozen Fever” preceding it.

March 20, 2015 @ 3:13 pm Burtosis

I thought it was tastefully done. Nothing overblown or so changed the source is unrecognizable. Lily James doesn’t wow but was a safe Cinderella, Cate Blanchett was the most fun to watch and gets in some timely laughs.

March 20, 2015 @ 5:15 pm wink

Kind of a *meh* movie for me but it was definitely pretty look at.

March 22, 2015 @ 10:29 pm Howard Schumann

Excellent review, Dan. I was wondering, since you think it will be another Disney classic, why two stars instead of one? What keeps it from being great?

March 25, 2015 @ 12:59 pm Dan Gunderman

Thanks for the note, Howard! Thing is…for as captivating as it is (aesthetically & for narrative purposes), I’ve just become sort of numb to these reboots and fluffy fairytale adaptations. Nonetheless, I think that for a child, it’s really A-grade stuff!

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‘cinderella’: what the critics are saying.

Directed by Kenneth Branagh, Disney's live-action retelling stars Lily James, Richard Madden, Cate Blanchett and Helena Bonham Carter.

By Ashley Lee

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Cinderella is the latest Walt Disney animated classic to get a live-action retelling, following 2014’s box-office hit Maleficent and preceding Beauty and the Beast in 2016.

Directed by Kenneth Branagh , the adaptation of Charles Perrault ‘s fairy tale stars Downton Abbey breakout Lily James as the title character opposite Game of Thrones’ Richard Madden as Prince Charming, Cate Blanchett as stepmother Lady Tremaine and Helena Bonham Carter as the fairy godmother. The film is expected to dance past $65 million in its opening weekend.

See what top critics are saying about Cinderella :

The Hollywood Reporter ‘s David Rooney says, “The color, vibrancy and unabashedly romantic heart explode off the screen,” and “the studio’s opulent update is enhanced by sumptuous physical craftsmanship as well as the limitless possibilities of what CG technology can achieve. Screenwriter Chris Weitz embraces both the magic and the humanity of the classic fairy tale. … Branagh at times forces the humor with a heavy pantomime hand,” and “the stepsisters’ oafish comic antics can wear a bit thin. But the playfulness generally pays off, particularly in the quaint, quintessentially Disney touches.” James “plays the title character with unaffected sweetness” while Blanchett “reinvigorates the textbook villainess both with her delicious cruelty and her gnawing resentment. … [She] pulls off a superb balancing act, making the stepmother archly amusing with her world-weary imperiousness, but also giving her a tang of desperation and tiny hints of a less refined woman beneath all the manufactured poise.”

Additionally, “what’s perhaps more impressive, however, are the lovingly detailed craft contributions, notably maestro Dante Ferretti ‘s eye-popping sets … while Haris Zambarloukos ‘ gliding camera stops just short of going into swooning overdrive. The movie looks dazzling, shot on actual film in anamorphic widescreen. Sandy Powell ‘s mixed-period costumes, with their astonishing range and inventive design flourishes, are up there with Ferretti’s work creating a visual orgy. … Pacing might be a tad leisurely for the youngest audience members here and there, but adults will appreciate the grace and wit of this adaptation. Patrick Doyle ‘s lush score augments the excitement, sadness or romance as required.”

The New Yorker’s Anthony Lane writes, “There is barely a frame of Branagh’s film that would cause Uncle Walt to finger his mustache with disquiet. … At a time when that deconstructive urge is the norm, and in an area of fiction — the fairy tale — that has been trampled by critical theory, Branagh has delivered a construction project so solid, so naive, and so rigorously stripped of irony that it borders on the heroic.” Weitz’s screenplay “will leave [audiences] feeling more badgered than convinced” — and the accompanying animated short Frozen Fever “struck me as sickly and confused” — but “what crowns the movie, flourishing the fullness of its purpose, is color.” Plus, “the movie is granted a broader racial range; the king presides over a multi-ethnic land, and his son’s black sidekick ( Nonso Anozie ) proves crucial to uniting the lovers. … As for the costumes, I imagine that the Academy Award already has Powell’s name on it, and has been shoved in a drawer until she can swing by and pick it up next year.”

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Chicago Tribune ‘s Michael Phillips calls it “satisfying” and “refreshingly free of all snark,” as it “ reveals Branagh to be a workmanlike wrangler of digitized fantasy. The big transformations, notably the pumpkin coach routine, carry some nice details, such as the humanoid goose’s reluctance to take the reins. (‘I can’t drive. I’m a goose.’) Yet the effects are routine. I’d like to see a live-action Disney fairy tale with a little less of that business and a little more practical magic.” Composer Doyle “delivers a persistent dribbling stream of forgettable mood music, and that’s too bad; most of the scenes are acted so well, you don’t want anything competing with them.” Yet James is “a first-rate choice, … the rare young performer who can make consistent goodness interesting.”

The New York Observer ‘s Rex Reed writes, “Let’s be honest. There is no denying the fact that this is the best Cinderella of them all.” Of the cast, “the cherry on top of the cake [is] a sinister and captivating Blanchett as the first malevolent stepmother in history (thanks to the Weitz script) who is also totally three-dimensional. … Scheming, sultry and seductive, her Lady Tremaine shows why she’s disillusioned — widowed by two husbands while still young and left to raise a pair of dumb daughters she doesn’t even like, her resentment of Ella’s beauty and sweetness is only natural. And in the end, there’s a refreshing surprise.”

The Guardian ‘s Guy Lodge notes, “Blanchett is certainly the best thing in Branagh’s perky, pretty, lavender-scented cupcake of a fairy-tale adaptation.” Cinderella is “winsomely embodied by James, but rather wanly conceived in Weitz’s script. … Branagh and Weitz stick lovingly to the legend throughout; and while it might have been nice to see the new-model Cinderella follow Frozen’s progressive, quasi-feminist lead, the film’s naff, preserved-in-amber romanticism is its very charm.”

Cinderella hits theaters March 13.

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Review: In ‘Cinderella,’ no sly asides. Goodness and romance rule

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As pure of heart as its heroine, “Cinderella” floats across the screen like a gossamer confection, full of elegant beauty and quiet grace.

No sly asides, no double entendres and nary a hint of modern-day gender politics dilute this poetically, if not prophetically, imagined storybook fable embraced in toto by director Kenneth Branagh. If you can content yourself with a little enchantment and little enlightenment, “Cinderella” succeeds.

The film stars Lily James, “Downton Abbey’s” Lady Rose, as Cinderella and Richard Madden, “Game of Thrones’” King of the North Robb Stark, as the charming Prince. They make a magnetic couple you root for even knowing the happily ever after is preordained. Indeed the film, written by Oscar-nominated screenwriter Chris Weitz, follows the well-known classic fairy tale chapter and verse.

Branagh, with Oscar nominations for his acumen both in front of and behind the camera, confines himself to the director’s chair this time, and you sense that singular focus; nothing feels an afterthought.

Cate Blanchett is wonderfully wicked as the evil Stepmother — though more turned dark by bitterness and bad breaks than cruel intentions. With a little assist from her nettlesome daughters, Drisella (Sophie McShera) and Anastasia (Holliday Grainger), she stirs up the requisite turbulence.

The film opens in the days before Cinderella, or Ella as she’s called, is orphaned. The death of her mother (Hayley Atwell) and, some years later, her father (Ben Chaplin), bring a twinge of sadness. Otherwise, rarely is there even a cloud in the blue skies above her. And when a major storm does threaten, her Fairy Godmother (Helena Bonham Carter) is there to intervene.

Though the film is live action, there is a good deal of CGI magic by a massive team at MPC, which also did Disney’s “Maleficent.” Patrick Ledda serves as “Cinderella’s” visual effects supervisor. The morphing of a pumpkin into a carriage, the various creatures into horses and coachmen, and a certain sparkling glass slipper are visually sumptuous.

The production design by Dante Ferretti is lush and regal in the palace, country-modest at Ella’s family’s rural estate. The lovely costume creations by Sandy Powell range from the over-the-top crinoline pomp of those hard sisters, Drisella and Anastasia, to the flowing softness of Ella’s everyday rags and her ball gowns, sure to be copied in great numbers come Halloween.

A rich array of ancillary characters populate the film and inject whimsy and energy, along with even more heart. The Prince’s father, the ailing king played by Derek Jacobi; the Prince’s wise, wry Captain (Nonso Anozie) and Bonham’s Fairy Godmother are the best. There are no big guffaws in the film, but there is a sense of humor throughout, the Captain and the Fairy Godmother responsible for most of it.

None of this would have worked, however, if James had slipped up. Whether barefoot, sweeping up cinders or in towering glass slippers, she never stumbles. James makes Ella seem as if the sweet and spirited young maiden is infused with an inner glow. It never feels a fraud and makes Madden’s playing of hopelessly devoted believable, though at times a bit too gobsmacked. Even when Ella’s piqued at her Stepmother’s harsh treatment, James keeps the ire from turning hateful. In other hands, so much goodness would be too good to be true.

Blanchett … what can be said of the Oscar-winning actress, most recently awarded for her deconstructing trophy wife in “Blue Jasmine”? There is apparently nothing she can’t do. And a lot of what the actress does in “Cinderella” is accomplished with little more than the pursing of her blood-red lips and the narrowing of her eyes, though she’s given a tart tongue too.

As to the Prince and the beauty he intends to track down, though their eyes say “love at first sight” every time they lock, the couple’s conversations circle around the idea of courage and goodness and what is best for the kingdom. These are altruists through and through.

Weitz, so deft in his telling of a single mother, her precocious son and Hugh Grant’s self-absorbed playboy in “About a Boy,” trades in the pointed cleverness from “Boy” that earned him an Oscar nomination for a sweet sincerity in “Cinderella.”

It’s a nice change of pace in these cynical times, though it’s hard not to long for more.

There is simply not much emotional depth in this film. There is, however, the lightness we’ve seen in much of Weitz’s work, like the animated “Antz.” It helps keep the movie’s oft-repeated message about choosing to do the right thing even in tough times from turning cloying.

Branagh is the wizard in charge of all this magic, and he uses his wand judiciously, knowing when to effect the dramatic crescendos and when to let his players, well, play. It is to the director’s credit that he takes a tale in which there are no surprises and finds a way to let innocence, goodness and a storybook romance actually carry the day.

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‘Cinderella’

MPAA rating: PG for mild thematic elements

Running time: 1 hour, 52 minutes

Playing: In general release

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Screen Rant

'cinderella' review.

Cinderella plays it overly-safe in transitioning from cartoon-to-live-action but is sure to entertain Disney's go-to juice box crowd.

Cinderella  plays it overly-safe in transitioning from cartoon-to-live-action but is sure to entertain Disney's go-to juice box crowd.

Following years of comfort and familial bliss, kind-hearted pre-teen Ella (Lily James) loses her adoring mother (Hayley Atwell) to unexpected illness. In an effort to move past his despair, Ella's father (Ben Chaplin) remarries - forcing his daughter to co-habitate with a calculating stepmother, Lady Tremaine (Cate Blanchett), as well as a pair of entitled stepsisters (Sophie McShera and Holliday Grainger). After wholeheartedly welcoming and accommodating the Tremaines, Ella quickly becomes the focus of her stepmother's cruelty and jealousy - believing she will forever live in Ella's shadow (not to mention the shadow of Ella's deceased mother).

However, when Ella's father is killed during a merchant trip, Lady Tremaine desperately clings to the family's luxurious lifestyle, dismissing the service men and women to save costs - while demanding that Ella take over the chores and maintain the household. Unwilling to abandon her family home, and without anywhere to go, Ella tries to make the best of her situation - until a chance encounter with the kingdom's prince, "Kit" Charming (Richard Madden), causes Ella to dream bigger (with a little help from a fairy godmother).

Cinderella marks Disney's latest cartoon to live-action adaptation - based on a combination of Charles Perrault's 1697 source story and the studio's iconic animated movie from 1950. Whereas Maleficent attempted to explore the story behind Sleeping Beauty's malevolent baddie and Into the Woods played off musical/fairytale tropes (both with mixed results), Disney has taken a much more straightforward approach in  Cinderella . Indulging limited variation from the classic hand-drawn version, director Kenneth Branagh ( Thor ) creates a kid-friendly, live-action, retelling of the classic tale with minute character flourishes and enhanced visual spectacle (e.g., CGI magic effects). The result is a harmless, albeit often melodramatic, adaptation that should entertain casual filmgoers (especially young girls) but does little to push the boundaries of Cinderella  canon or live-action fantasy cinema.

As indicated, the story endeavors to turn traditionally "evil" characters into slightly more nuanced (read: flawed) antagonists - especially in the case of Stepmother/Lady Tremaine - and, more often than not, Branagh and screenwriter Chris Weitz ( Star Wars: Rogue One ) succeed. Instead of black or white villains and heroes, Cinderella  finds a serviceable balance between cartoon spirit and live-action drama. Children and pre-teens will appreciate the film's colorful pallet and effortless humor - but the filmmakers also inject enough modern sensibility to ensure older viewers receive fresh insights and plot beats to chew on.

This isn't to say that Cinderella is a major reinvention or particularly unique origin tale, since Branagh is still checking off key story staples (Cinder-Ella, etc), but for viewers who want to see Disney's cartoon in vibrant live-action, the director delivers - with the added bonus of slightly more subtle character development. To that end, despite a major focus on Cinderella, Branagh's film is Cate Blanchett's movie. The actress brings a chilling realism to Lady Tremaine and, more than any other player in the movie, provides a new way of looking at the timeless character. Tremaine's initial scenes of introduction and development are on-the-nose but once she is firmly rooted as the home's bitter and unyielding matriarch, Branagh and Blanchett produce a vicious iteration of the "wicked Stepmother" without resorting to animated villain impersonation. The part isn't going to win Blanchett any awards but the actress is crucial in elevating Cinderella above an otherwise standard live-action cash grab.

Lily James ( Downton Abbey ) is also likable in the titular role - carrying a convincing performance, whether bantering with Prince Charming or talking to CGI animals. Still, even though the audience is privy to more of Cinderella's story this time, there's only so much that James can do with the role. Weitz includes wordplay and situations that put Cinderella on a more even playing field with her Prince, rather than a naive damsel in need of rescue (from poverty and a wicked stepfamily); yet, since Branagh's movie is a Mouse House production, the title character is still locked into a pretty standard Disney Princess story arc.

Game of Thrones fans will be excited to see Richard Madden back in medieval wears and, much like James, the actor provides a genial take on stock fairy tale hero Prince Charming. That said, while certain moviegoers may be suffering from Helena Bonham Carter fatigue (after becoming a Tim Burton movie fixture), the actress and her Fairy Godmother are easily one of the most welcome aspects of this Cinderella story. Whereas fairies and magic are relatively simple to depict in animated form, weaving fantasy into a live-action tale of romance and child abuse is slightly more difficult. Fortunately, Bonham Carter's Fairy Godmother is a downright amusing bridge between that heightened reality and full-on fantasy - made even more impressive by stellar (albeit cartoonish) visual effects.

Cinderella  plays it overly-safe in transitioning from cartoon-to-live-action but is sure to entertain Disney's go-to juice box crowd. Parents with fond memories of the 1950 cartoon telling will find some enjoyable homages along with a slightly more nuanced set of main characters. Nevertheless, while this  Cinderella  carries a higher level of cinematic sophistication (thanks to solid performances, rich costume design, and colorful CGI animation), Branagh does little to update the core storyline for modern moviegoers, successfully replicating the source material for live-action - both the good and the bad.

_____________________________________________________________

Cinderella  runs 112 minutes and is Rated PG for mild thematic elements. Now playing in regular and IMAX theaters.

Let us know what you thought of the film in the comment section below.

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Review: In ‘Cinderella,’ Disney Polishes Its Glass Slippers

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Anatomy of a Scene | ‘Cinderella’

Kenneth branagh narrates a sequence from the film..

By Manohla Dargis

• March 12, 2015

Poor Cinderella — she still can’t catch a break. In the 1950 Disney animated musical, her friendly neighborhood mice know the score and give it song : “Night and day, it’s Cinderelly! ‘Make the fire, fix-a breakfast, wash the dishes, do the mopping, and the sweeping and the dusting.’ They always keep her hopping!” In Disney’s latest version, directed by Kenneth Branagh, the mice stick to squeaking and look about as real as most computer-generated rodents. And, fascinatingly, much remains the same, including a fairy tale that opens with clear skies but soon plays the poor-little-girl blues before you-know-who comes along. “Maleficent” and its revisionism are so last year.

Why Cinderella, why now? If you’re the Walt Disney Company the answer can only be: Why not? She may not be a princess (yet!) and the story may have been told innumerable times, but there’s gold in those glass slippers no matter how many miles they have on them. The cinema pioneer Georges Méliès told her story in 1899, perhaps for the first time on screen, and she recently popped up in Disney’s live-action adaptation of Stephen Sondheim’s “Into the Woods.” Disney has further helped stoke the demand for this new movie with two direct-to-video sequels to its 1950 film, “ Cinderella II: Dreams Do Come True ” (2002) and “ Cinderella III: A Twist in Time ” (2007).

Movie Review: ‘Cinderella’

The times critic manohla dargis reviews “cinderella.”.

And here she is again, pretty as a picture, with flowing blond hair, a flashing smile, a fabulous gown — a bewitchingly blue number from the costume wizard Sandy Powell — and that go-good-girl triumphalism. First, though, here’s the once upon a time: “Cinderella” opens in an indeterminate past with long frocks, horse-drawn carriages and no cellphones, in one of those lavish soundstage countries. (The movie was partly shot in the Pinewood Studios in Britain.) There, 10-year-old Ella (Eloise Webb) safely nests in a pocket paradise alongside her homemaker mother (Hayley Atwell) and merchant father (Ben Chaplin), a small menagerie and a clutch of smiling servants. This being a fairy tale, heaven soon gives way to woe so the story can get down to business.

Bruno Bettelheim claimed that “Cinderella” was the most popular fairy tale, so pardon my spoiler: Ella’s mother dies after some discreet coughing, time passes and Lily James takes over the role of the older Ella. A regular on the television series “Downton Abbey,” Ms. James effortlessly holds the big screen, less because of her beauty than the life that both animates and demystifies that beauty, making it seem less other (even a touch aspirational) and her character feel approachable and likable. It’s smart casting because that likability and the smiles it solicits help take the edge off Cinderella’s victimization and because the minute Ella’s father brings home a new wife, Ms. James becomes a wee planet in the orbit of a very bright star known as Cate Blanchett — the Stepmother, of course.

In traditional iteration after iteration, the story of Cinderella is also that of mothers — dead, cruel and magical — who loom over this quintessential dutiful daughter far more than any man. One mother abandons Cinderella, leading the way for a second mother to torment her, who in turn opens the door for a third mother to come to the rescue with a wave of her wand. The prince may eventually find and marry Cinderella, but it’s a mother who truly saves her. It’s a strange matriarchal world, after all, if one still rived with complexities. Here, the screenwriter Chris Weitz adds some dimensionality to the standard conception of the Stepmother (as she’s only known), mostly by referencing the dire prospects for a widow with two children and no income of her own.

Less genuinely wicked than seriously mercenary, this Stepmother can’t help but steal the show. Ms. Blanchett takes some of the credit (or blame), as does the visual design for the character which, from her soignée updos to a leopard-skin dressing gown, suggests a 1940s femme fatale. There certainly is a touch of Joan Crawford’s Mildred Pierce to the Stepmother and her sob-worthy back story (as well as her blood-red lipstick and power shoulders). And when Ms. Blanchett’s pale face emerges from behind a hat, the entrance evokes the likes of Jane Greer “coming out of the sun” in the noir “Out of the Past” so she can destroy Robert Mitchum. Even so, the Stepmother isn’t really evil — she just proves, from her smoky eyes to her enviable green frocks, that bad always sizzles more than good.

Ms. Blanchett, eyes widening and narrowing, and teeth all but gnashing, plays the role at full Cruella de Vil tilt. It’s a divertingly oversize, near-vaudevillian performance ornamented with frozen looks, boogieing brows and rubber-band-like mouth contortions. Mr. Branagh’s ascension into big-budget studio directing largely remains a mystery, and there’s little in “Cinderella” beyond its faces and gowns that captures the eye or the imagination. His one interesting directorial choice is to fold in different performance styles, which tend to fall into exaggerated, almost-burlesque mode or a more familiar naturalistic expressiveness. This suggests that, at least in the case of the Stepmother (if not her nitwit daughters), cruelty sometimes may be more a mask than a question of being.

You know the rest, bibbidi-bobbidi-boo and all that jazz. Helena Bonham Carter toddles in as the Fairy Godmother and Richard Madden (“Game of Thrones”) gallops in as the Prince. Mildly charming and orthodontically dazzling, the Prince first sees Ella taking a very unmaidenly bareback horse ride, a scene that conveys that she remains free despite the home-front misery. Try as the filmmakers might to obscure her victimization, there’s no getting around that this Cinderella has to do time as the classic persecuted woman even if the Disney imperative means that she must also dust herself off, go to the ball and waltz into a happy ending. As tabloids, reality television, countless novels and sometimes the movies suggest, you cannot keep a good woman down, even if it’s fun trying.

“Cinderella” is rated PG (Parental guidance suggested). A mother dies and animals and vegetables are bewitched.

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Lily James (Cinderella) Cate Blanchett (Stepmother) Richard Madden (Prince) Helena Bonham Carter (Fairy Godmother) Nonso Anozie (Captain) Stellan Skarsgård (Grand Duke) Sophie McShera (Drisella) Holliday Grainger (Anastasia) Derek Jacobi (King) Ben Chaplin (Ella's Father)

Kenneth Branagh

When her father unexpectedly dies, young Ella finds herself at the mercy of her cruel stepmother and her scheming stepsisters. Never one to give up hope, Ella's fortunes begin to change after meeting a dashing stranger.

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‘Cinderella’ (2015) Movie Review

By Brad Brevet

Following Alice in Wonderland and last year’s Maleficent , Disney’s latest animated classic-turned-live action feature is Cinderella and the result is surprisingly satisfying, particularly a finale that deviates from the animated feature to give the end result a little more real world heft. Director Kenneth Branaugh has brought together a well-assembled cast and solid behind the scenes crew to bring this world to life as Chris Weitz delivers a screenplay that deviates in all the right ways from the animated classic while keeping its spirit alive.

You all know the story, a young maiden loses her parents and is forced to live with her stepmother and two wicked stepsisters. The prince, in search of a wife, holds a ball inviting all the young maidens of the land to attend and this is where Cinderella ultimately captures his heart, loses her shoe, is eventually found and they live happily ever after. The origins of the story date back as far as 7 BC and things haven’t changed much in that time, and certainly not all that much since Disney’s 1950 adaptation, though there are a couple departures that I personally thought worked quite well.

“Downton Abbey” star Lily James begins her more aggressive move to feature films in the title role, a character originally referred to as Ella until her stepsisters cruelly dub her Cinder ella (get it?) following a night spent sleeping in ash as the last embers of the fire burn out. Cinderella is empowered rather than fueled by any level of anger or frustration she may feel at the hands of her cruel, extended family. She’s also a person unto herself rather than one defined by the man she chooses to marry, creating a distinct line between her and her step-family.

Cate Blanchett plays Lady Tremaine, the wicked stepmother, while Sophie McShera and Holliday Grainger play Drisella and Anastasia respectively. Annoying to the last, all three of them are, but there are wounds Lady Tremaine is hiding that speak to the person she’s become, not to mention the ugly influence she’s had on her two daughters. It’s this ugliness Cinderella overcomes and, in the end, even questions, in the film’s greatest deviation from the, now 65-year-old, animated version.

Richard Madden (“Game of Thrones”) plays what is a rather typical prince charming, accompanied by Nonso Anozie as captain of his army. Anozie, again, relegated to a supporting role, which appears is where his career is likely to remain until someone sees his talent as something greater. And Helena Bonham Carter is her typical wacky self as Cinderella’s Fairy Godmother… Bippity, boo, Zippity, zoo, dibbly, dabbedy, doo…

Bits of magic, wonderful set design and costumes, all turn Cinderella into something just above a typical live-action adaptation of an ageless animated classic. Clocking in at just under two hours, you’re unlikely to find this is a movie that moves you to any great degree, but at the same time, if you paid for a ticket to see Disney’s live-action Cinderella and expected anything more than a live-action telling of Cinderella safely told by the folks at Disney you were fooling yourself. The bonus here is that it actually works, unlike the CG monstrosity that was last year’s Maleficent .

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Flickering Myth

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Movie Review – Cinderella (2015)

March 13, 2015 by Robert Kojder

Cinderella , 2015.

Directed by Kenneth Branagh. Starring Lily James, Cate Blanchett, Richard Madden, Holliday Grainger, Sophie McShera, Helena Bonham Carter, Hayley Atwell, Stellan Skarsgard, Ben Chaplin and Derek Jacobi.

When her father unexpectedly passes away, young Ella finds herself at the mercy of her cruel stepmother and her daughters. Never one to give up hope, Ella’s fortunes begin to change after meeting a dashing stranger.

Lately, there has been a trend to recreate the numerous classic animated Disney films with live-action counterparts (just in the past few years we have had Snow White And The Huntsmen and Maleficent ) but the results haven’t really done much to justify their existence. Snow White was all-around generic and forgettable while Maleficent decided to take liberties and rewrite the entire character into a sympathetic villain. Most importantly, both of those films put me to sleep, so admittedly expectations were low heading into this version of Cinderella .

With that said it’s a pleasant surprise that director Kenneth Branagh has managed to take what feels like nothing more than Disney shamelessly looking for ways to rake in some easy extra cash by pumping out new iterations of their most successful and timeless properties, and create a movie that is actually charming. Cinderella is not totally reinvented here, but rather the animated story we are all familiar with told in live action. And while some may say that there is still no point because you could just go watch the animated classic, what makes Cinderella a good movie isn’t its faithfulness to the Disney source material, it’s the magic that comes from watching it.

The set design and production values are incredibly imaginative and bursting with a wide array of colors. Perhaps most interesting however is that the colors aren’t all bright and pretty, but juxtaposed with washed out colors. As an example , the well-known scene where Cinderella ‘s Fairy Godmother magically creates the blue dress and glass slippers is infinitely more impressive thanks to how colorless her clothes appear beforehand. There are times where you will just want to ignore the dialogue and just immerse yourself in this fantastical world.

The casting is also spot on with memorable performances from everyone involved. Lily James perfectly embodies the characteristic traits of courage and kindness even when facing cruelty and hopeless odds. It is incredibly easy to sympathize with Cinderella and her struggles but its not solely thanks to Lily James; Cate Blanchett makes for a nasty evil stepmother that you hate just as much as her spoiled, self-absorbed, and dimwitted daughters. Meanwhile, Richard Madden makes for a blue-eyed irresistibly good looking Prince Charming. He and Lily have great chemistry together and share a number of romantic scenes that feel natural.

The few problems with Cinderella stem from the fact that despite being a near two-hour live-action adaptation that actively tries to add a little more depth to its traditional characters, it still feels one-dimensional. Even before the death of Cinderella’s father her stepmother is treating her like the dirt beneath her shoe without reason, forcing her to sleep in the attic. Furthermore, the romance itself between Cinderella and Prince Charming may be well acted and alluring, but again, it doesn’t have much complexity. It is just two attractive people falling for each other.

Cinderella aims to treat audiences with a plethora of CGI visual effects and remarkably excellent aesthetic design, hoping that it and some strong acting are enough to hide a thin narrative. For the most part it works; Cinderella is simply magical and joyous to watch.

Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

Robert Kojder – An aficionado of film, wrestling, and gaming. Follow me on Twitter or friend me on Facebook

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Cinderella (2015), common sense media reviewers.

Easy-on-the-eyes fairy tale promotes kindness.

A Lot or a Little?

What you will—and won't—find in this movie.

The movie is intended to entertain, rather than ed

Kindness, bravery, love, empathy, gratitude, and r

Cinderella is smart, well-read, and taught to be k

Prominent scenes of parental death. Cinderella is

Cinderella's parents kiss. Cinderella gasps when t

Lady Tremaine calls her daughters "stupid" and tel

No product placement within the movie, but Cindere

Drinking at a party.

Parents need to know that this non-musical take on Cinderella is true to the classic Disney animated tale, if somewhat more intense given that it's live action instead of a cartoon. As a child, Cinderella ( Downton Abbey 's Lily James) loses her mother; her father dies when she's older. Both are drawn…

Educational Value

The movie is intended to entertain, rather than educate.

Positive Messages

Kindness, bravery, love, empathy, gratitude, and respect are consistent themes. But although Cinderella's intelligence and compassion are clearly valued, she does still end up getting rescued by a prince who's transfixed after meeting her once. And Cinderella's exceedingly tiny waist could raise body image issues.

Positive Role Models

Cinderella is smart, well-read, and taught to be kind and courageous. She looks for the good in everyone, treating all with respect. Her father is also kind, but both of them are pushed around by the evil stepmother. Cinderella doesn't do much to get herself out of a bad situation; instead, she's rewarded for her goodness in the form of magic help from her fairy godmother. Some reasons are given why stepmother Lady Tremaine is so unpleasant, somewhat mitigating her behavior. The stepsisters are rude and dim.

Violence & Scariness

Prominent scenes of parental death. Cinderella is orphaned by her saint-like parents, the stepmother is widowed twice, and the king dies in his son's arms. There's no real scariness except for the stepmother being cold and cruel to Cinderella. There's a chase scene after Cinderella runs away at midnight; later she's locked in the attic. There's a brief plot to get rid of Cinderella. Young kids might be alarmed by the pumpkin turning into and out of a coach.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Cinderella's parents kiss. Cinderella gasps when the prince touches her waist as they dance at the ball.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Lady Tremaine calls her daughters "stupid" and tells them to shut up.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

No product placement within the movie, but Cinderella has been a Disney brand for years, and this movie will help sell lots more tie-in products, from toys to DVDs.

Drinking, Drugs & Smoking

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that this non-musical take on Cinderella is true to the classic Disney animated tale , if somewhat more intense given that it's live action instead of a cartoon. As a child, Cinderella ( Downton Abbey 's Lily James ) loses her mother; her father dies when she's older. Both are drawn-out scenes filled with tears and intense sadness, which could upset younger kids. The prince's father also dies, and Cinderella is a beautiful, kind, and dutiful young woman (albeit one with an unreailstically tiny, corset-cinched waist) who's left to suffer at the hands of her evil stepmother (the divine Cate Blanchett ). Everything about the film is visually stunning -- from the sets to the costumes to the actors -- and being a courageous, kind person is a constant theme. But the prince is transfixed by Cinderella after meeting her just once, and she has no future until he comes and rescues her. The stepmother's cruelty and neglect toward Cinderella could scare some kids. There's a little mild language ("stupid," "shut up") and some background drinking at a party. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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Community Reviews

• Parents say (60)
• Kids say (71)

Based on 60 parent reviews

(Written by wife of user) Ever After used to be my favorite, but now this version is. Let me debunk myths and ease your worries over the PG rating. This is not a redo of the cartoon, it's much better.

A perfect remake of the original, what's the story.

In CINDERELLA, Ella ( Eloise Webb ) is a happy child with loving parents; but then her mother gets sick and dies. Before she passes, Ella's mother urges her to be kind and courageous -- and she does indeed grow up to be a beautiful and sweet young woman ( Lily James ). After Ella's father marries Lady Tremaine (played to perfection by Cate Blanchett ), he dies, the staff is let go, and Ella becomes maid to her stepmother and stepsisters, who dub her Cinderella. One day she meets a handsome prince (Richard Madden) in the woods; he decides to give a ball for all the ladies in the kingdom in the hopes of meeting her again. Ella plans to go, but right before the ball, her stepmother and stepsisters rip her dress and go without her. Her spirit is almost broken when her fairy godmother ( Helena Bonham Carter ) appears and turns Cinderella's mice friends into horses, some lizards into footmen, and a pumpkin into a carriage. She also gives Ella a fabulous ball gown and a pair of glass slippers. Ella's a hit at the ball, but she has to flee before the stroke of midnight (when the magic ends), leaving an intrigued prince -- and one of her glass slippers -- behind.

Is It Any Good?

While the music of the animated original is missed, almost everything about this film is well done. The direction (by Kenneth Branagh ), the sets, and the casting are all spot on, and the visuals are unequivocally gorgeous. As the evil stepmother, Blanchett is fabulous in every scene she's in, even when she says nothing at all. And James is lovely as Cinderella, but her character hasn't really made any progress from the one in Disney's 1950 animated classic : She's all goodness and light, oozing kindness. She does as she's told, works hard, and is rewarded in the end when she's rescued by a rich, handsome prince.

It's quite the contrast between her and another recent version of Cinderella: Anna Kendrick 's far more complex character in Into the Woods . You almost hope that Ella will realize that it's not a good idea to marry someone after meeting him just twice. But Cinderella does marry the prince, and (no surprise) we're told they'll live happily ever after in a world that isn't as it is, but as it should be. But shouldn't Cinderella have some hand in her own fate? For this version to be released on the heels of other notable fairy tale retellings that built out the back stories of some princesses and villains ( Frozen , Maleficent , and Into the Woods ) seems like a missed opportunity to have young fans embrace Cinderella beyond being the belle of the ball.

Talk to Your Kids About ...

Families can talk about how it's possible for Cinderella to see the positive in her situation when she's treated so badly. Do you think you'd be able to do the same in similar circumstances? How does this version of Cinderella compare to the one from the animated movie? Is it equally believable for a real person to always be so happy and good hearted?

Many traditional fairy tales are criticized for having female characters who have to be rescued by a prince/man. Do you think Cinderella could have done anything on her own to better her situation and find happiness? What would have made her a more proactive character? Is it OK for girls to enjoy stories about traditional princesses? How can their tales turn into teaching moments?

Cinderella's mother and father die, but she thinks about them often. Kids: Have you lost anyone close to you? How do you keep their memory alive? If you haven't lost anyone, is it something you're afraid of? (Parents, reassure your kids about any worries they might have on this topic.)

Much has been made of star Lily James' tiny, corset-cinched waist. Do you think it sets unrealistic standards for girls'/women's body image ? Why is it important for Cinderella to be so slender?

What does it mean to be a courageous and kind person? Can you think of anyone in your life who's one -- or both? How do the characters in Cinderella demonstrate empathy , gratitude , and compassion ? Why are these important character strengths ?

Movie Details

• In theaters : March 13, 2015
• On DVD or streaming : September 15, 2015
• Cast : Lily James , Helena Bonham Carter , Cate Blanchett
• Director : Kenneth Branagh
• Inclusion Information : Female actors
• Studio : Walt Disney Studios Motion Pictures
• Genre : Family and Kids
• Topics : Magic and Fantasy , Princesses, Fairies, Mermaids, and More , Book Characters , Fairy Tales
• Character Strengths : Compassion , Empathy , Gratitude
• Run time : 105 minutes
• MPAA rating : PG
• MPAA explanation : mild thematic elements
• Last updated : March 9, 2024

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Cinderella (I) (2015)

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Film Police Reviews

A Philippine-based film site, featuring news, essays, interviews, and the leading PH film podcast, Third World Cinema Club.

The greatest strength of Cinderella is its carefully placed production from naturalistic computer-generated animals; regal headdresses and costumes; to idyllic scenes, majestic castles and interior design, which would be a treat for art history majors, as the era wherein the tale takes place is not explicitly stated. These all play harmoniously, particularly in the laudable scenes of the royal dance, enlivened with endearing choreography and unadultered with cinematic cuts; and of the Fairy Godmother. Seeing Helena Bonham Carter own her singular scene, with her typical eccentricity but with the absolute goodness of a fairy godmother, reminiscent of  Maleficent ‘s powerful yet dim-witted fairies, but elevated to what a fantasy set in reality should be.

The film is not just alluring to the eyes but there is substance in its focused screenplay that plays like a children’s storybook, encouraging kids in the audience to learn more of language and communication. Unfortunately, the lines and narration are a little too much that in scenes of grief or triumph, it did not let its actors linger on to their personal emotions. Facial gestures and raw acting could have be in control of scenes that would give Lily Evans ‘ Cinderella a real person to empathize with.

Cate Blanchett ‘s characterization of Lady Tremaine from outfits and mannerism distinctly, but not too blatantly, tell her sly persona. A scene in the third act reeling into the antagonist’s past and circumstances which led to her present form, reveal the missing dimension that the other main characters have earlier been blessed with. Along with all the other fresh inputs in widening the context and keeping the centuries-old tale relevant, these are all splendidly weaved in to this more socially-relevant adaptation. Sex has a viagra for cheap direct relation with mind and heart. Both http://downtownsault.org/wp-content/uploads/2012/01/01-09-13-DDA-Minutes.doc levitra generika 4T Plus capsules and Mast Mood oil repair and strengthen weak nerves and tissues in the penile region and causes involuntary release of semen. Other typical ED shot treatment are: papaverine hydrochloride and phentolamine. viagra sales online on line cialis Lack of side effect is a main advantage of using herbal remedies. Compared to the recent live-action films from Disney, Alice in Wonderland , and Maleficent , Cinderella keeps the jovial simple theme etched to our childhood memories with its uncluttered comedic scenes and action sequences. The production company must have learned that one does not have to play a different tale to magically touch the hearts of its fans, and still rake in the money. The darkness can be mentioned but not be too overt that it may alienate long-time Disney fans or the escapist audience. As such, Cinderella might be more similar with the recent recent Disney animations, Frozen and Tangled , in displaying love and magic, and how these transform people.

Amidst the progressive nature through an exploration of the underlying reasons of the personalities of the kind-hearted Ella; the calculatingly mean Lady Tremaine; the mischievous, tasteless stepsisters Drizella ( Sophie McShera ) and Anastasia ( Holliday Grainger ); and the conformist Prince Charming ( Richard Madden ), the film distances itself in the end from the themes of monarchy, tradition, and a patriarchal society it has introduced. The values this family film advances, will only work for personal encounters and tribulations but is not enough in enacting social justice, especially when one becomes a ruling leader. Thankfully, this “loophole” is not addressed because this is a tale that ends with happily ever after.

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Cinderella Reviews

There are moments of CGI animal nonsense that seem to exist completely separate from the live-action beauty Branagh has created, and that awkward juxtaposition leaves the entire film feeling uneven, at times admirable, and at others condemnable.

Full Review | Original Score: 2/4 | Jun 21, 2022

Cinderella is the rare film on this list that might improve some aspects of the original film, if only because Cate Blanchett’s wicked stepmother is such a scene stealer.

Full Review | Feb 11, 2022

There really is no other word to describe this film other than enchanting.

Full Review | Original Score: 4/5 | Oct 9, 2021

Ultimately, this is a straight-up adaptation of a childhood classic and its timeless mix of traditional magic and romance should continue to enthrall.

Full Review | Oct 7, 2021

Cinderella is pure magic for me and many my age. We grew up on Disney's animated film and those images come to life, with an added contemporary edge in one glorious package...

Kenneth Branagh's updates on Disney's classic damsel-in-distress scenario are inspiring. Seeing a live-action "Cinderella" on horseback is a true treat.

Besides being a wonderful example of what it means to truly forgive, the film shows how much influence parents have in their children's life.

Full Review | Aug 12, 2021

Cate Blanchett and Helena Bonham Carter give scene-stealing performances in this old-fashioned fantasy film.

Full Review | Original Score: 3.5/5 | May 5, 2021

A classic and beautiful movie that feels like old-fashioned Disney. There's an emphasis on the storytelling and fantasy, on good and evil all supported by sumptuous costumes and set decoration.

Full Review | Original Score: 4/5 | Feb 2, 2021

Blanchett, drawing inspiration from Joan Crawford, hits the comic hgh notes while giving this delicious villian psychological pathos.

Full Review | Original Score: B+ | Dec 28, 2020

Richard Madden stumbles for words and Lily James oftentimes allows the dress to wear her.

Full Review | Original Score: 5/10 | Dec 4, 2020

Lily James is simply marvelous as Ella.

Full Review | Original Score: 3.5/4.0 | Sep 5, 2020

I was completely taken off guard with how much I enjoyed this.

Full Review | Original Score: B+ | Jul 16, 2020

There was no joy, there was no magic.

Full Review | May 27, 2020

It's a bad sign when you're rooting for the evil stepmother.

Full Review | Mar 26, 2020

There's something completely magical about the simplicity of the story, captivated on screen in real life.

Full Review | Feb 5, 2020

Turgid, overly long, and desperate for a reason to exist beyond the boffo box office numbers.

Full Review | Jan 9, 2020

A new classic. A timeless treasure. A pantheon of visual delights plus the delights of romance, the passion and expression of love, and the magic of the movies.

Full Review | Dec 8, 2019

Branagh takes the reigns as director, but the aforementioned technical film professionals chosen for Cinderella represent some of the best artists working in the world today, in any genre.

Full Review | Original Score: 5/5 | Aug 5, 2019

Cinderella is charmingly enjoyable fairy-tale fun with actually likeable romantic leads.

Full Review | Original Score: 3/5 | May 16, 2019

Cinderella Movie Review

Cinderella is a Disney romantic and fantasy film produced in 2015, a screenplay authored by Chris Weitz and directed by Branagh Kenneth. The film’s co-producers consist of Walt Disney Pictures, Beagle Plug Films, Allison Shearmur Productions, and Kinberg Genre. Cinderella bases its storyline on a folktale hence a live-action conceptualization of the animated film that bore the same name that Walt Disney produced in the 1950s. I chose Cinderella,2015 because it portrays how the main character exhibits great values of generosity and kindness and is unwilling to abdicate these values even in the face of adversity even though she is surrounded by cruel people (Walt Disney Studios,2015). The film features the story of a kind and courageous girl whose life as a slave girl in her stepmother’s care is transformed by a bit of glass shoe.

The main character in the story is referred to as Ella. After her mother’s unexpected and unanticipated death, her rich father remarries and travels abroad; hence, she is forced to live with her cruel stepmother, Lady Tremaine, and her naughty stepsisters Drisella and Anastasia, who treat her like a slave. However, her status is transformed when she cannot attend the royal ball where the prince seeks a wife. She is visited by a fairy godmother who transforms her into a princess with glass shoes, which will change her life forever after it falls off while she was leaving the ball. Ella is meant to be an exhibition of humility, courage and kindness, and inner beauty. Cinderella kicks off with Ella as a small girl who, from a very tender age, is taught by her mother to believe that magic exists and that all that is needed to survive is kindness and courage (Walt Disney Studios,2015). Representation in terms of gender portrays women as demeaned by society in numerous aspects. Women are denied the liberty of choice and believe that in life, marriage is the ultimate goal.

Male dominance is exhibited by the royal family when they hold a royal ball, requiring all women to attend to enable Prince Kit to select his well-desired bride. The man is considered stereotypical who is only troubled with finding a beautiful bride. The prince exhibits that in society, a man is only recognized by his wealth which guarantees him independence and a listening ear. Prince Kit was thus desirable by women because he assured security in terms of provision (Walt Disney Studios,2015).

Cinderella is a folktale that speaks of oppression and yields that are triumphant. Women, who are usually belittled by society, are seen to have transformative gains since they end up in powerful positions, in this case, a princess. Cinderella has been described in terms of numerous setups, but the first and most outstanding variant is that of Rhodopids retrieved by a geographer from Greece known as Strabo between 7Bc and AD23. The story demonstrates how a Greek slave gets married to an Egyptian king. However, it is necessary to note that Disney based its report on a tale written by Charles Perrault, whose story revolves around a girl with a cruel stepmother and evil stepsisters force to serve them.

Walt Disney Studios. (September 15,2015). Cinderella. Retrieved from Blu-ray:  http://di.sn/6004BHU1A

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The Cinderella Movie: Sociological Analysis Essay (Movie Review)

“ Cinderella is a 1950 American animated film produced by Walt Disney … based on the fairy tale “ Cinderella ” by Charles Perrault” ( Cinderella (1950 film) , n.d., para. 1). Even though Cinderella was created in the 1950s and the ideas and the story behind the fairytale movie came from that time it is still reproduced nowadays with the latest replica made in 2015. This shows that although the world has changed and it has become more open, the stereotypical ideas shown still exist.

Cinderella’s mother died when she was young. She lived with her father who later got married to a widow because he thought that Cinderella needed a mother. After his death, a girl was treated badly by her stepmother and stepsisters. She was forced to do all the housework. One day every maiden in the village was invited to attend a ball held at the king’s castle aimed at winning the prince’s heart and getting married to him. Because of the jealousy her stepmother had to Cinderella’s beauty and her desire to marry one of her daughters to the Prince, she did not allow Cinderella to attend the ball. However, Cinderella’s fairy godmother helped her to attend the ball making her look stunning. As soon as she made it to the castle and entered the ballroom, the prince went directly to her and asked her for a dance. When the clock struck twelve, Cinderella had to leave because the spell was about to break. In a hurry, she lost her glass slipper. The prince searched the whole town for the lady who would fit the shoe. He finally found Cinderella, they got married and lived happily ever after.

In Cinderella the cartoon, cultural values of that epoch are portrayed, namely beauty, marriage, romantic love, social status, and prestige. First of all, throughout the story one can trace strong presence of the so-called beauty myth. According to it, women should be judged “in terms of physical appearances” (Macionis, 2011, p. 300) rather than inner beauty. As seen in the movie, when Cinderella’s look is ruined by her stepsisters, her stepmother states, “Good heavens, child, you can’t go in that” (Walt Disney, 1950).

This phrase emphasizes how girls are obliged to look good. More emphasis on beauty is portrayed when Cinderella’s fairy godmother transformed her into a princess, and Cinderella mentioned, “It is more than what I have ever hoped for” (Walt Disney, 1950). That shows that looking good is the only thing that matters to girls, and nothing else is important. Another example is when Cinderella entered the castle and the guards stared at her showing that even the unimportant characters with low status admired Cinderella’s beauty.

Furthermore, beauty is exaggerated when the prince goes directly to Cinderella as soon as she sets foot in the ballroom and asks her for a dance and falls in love with her and wants to marry her, although he does not know her neither does he know her name. Hence, this depicts that one’s inner self is not as important as their appearances. The main aspect of why Cinderella is hated by her stepmother and stepsisters is because of her beauty.

What is also portrayed in the movie is the cultural value of marriage that is considered to be a crucial factor and without it girls do for nothing. What is also shown is the interdependency of gender and socialization. Women are expected to act in a certain way that is to carry out certain “gender role” (Macionis, 2011, p. 298). In a cartoon, women are portrayed as lifeless creatures thinking only about beauty and marriage emphasizing that a woman’s only job is to be a housewife that is supposed to clean and raise her children. For instance, during the ball the king says: “I can’t understand it there must be at least one that would be a suitable mother… Wife” (Walt Disney, 1950).

This shows that women are seen only as mothers, and a task and role they should fulfill is give birth to children and raise them. That is their only job and nothing else. Close to the value of marriage is romantic love – “affection and passion for another person” (Macionis, 2011, p. 425) – that is seen as the basis of Cinderella and Prince Charming’s happy marriage as they fall in love with each other at the first sight.

What is more on gender role is that as women are always stereotyped to show emotions immediately, they also should act elegantly when displaying emotions. This is shown in the movie when Cinderella’s stepsisters start to fight, and their mother says, “Girls, your manners” (Walt Disney, 1950). Hence, this resembles that girls directly display emotions however they should show it in a way that is socially acceptable.

Social status and prestige are other cultural values shown in the movie, namely social stratification based on status. In general, according to Max Weber, social stratification is based on class position, status, and power (Macionis, 2011). In the cartoon, it is shown through the clothes, houses, names, and appearances. First, Cinderella’s clothing in comparison to her stepsisters’ is that of a maid consisting of an apron to show that her role is to clean and obey orders. Second, Cinderella’s room located in the attic was not nice and luxurious compared to the ones her stepmother and stepsisters slept in.

Third, the castle the king lives in indicates his status as a king who is strong, powerful and rich. Fourth, appearances and clothing characters with low status have all look the same indicating their roles as guards or servants. Moreover, the look of Cinderella as a princess made everyone question who she was portraying her as the high-status girl. Finally, the representation of the girls when introduced to the prince and their names were called following the name of their fathers, “Daughter of” (Walt Disney, 1950) indicating that each girl ascribed status.

Furthermore, education is the aspect that is neglected throughout the movie. In the past there was a stereotype that women did not have to be well-educated; education was for men (Macionis, 2011). It is shown in the movie that it is not required that girls pursue their dreams in educating themselves but rather in dreaming about marriage, love, and children.

So, Cinderella the movie reflects social conditions of the time portrayed though with some distortions. First of all, being a prince, Prince Charming would not be allowed to marry a girl from different social class, plainly speaking the one who is not a princess, i.e. in the movie the concept of endogamy – “marriage between people of the same social category” (Macionis, 2011, p. 419) – is neglected. The development of characters in society as the whole is shown through social-conflict approach portraying women as those who are to give birth to children, raise them and run the house.

On the other hand, face-to-face relationships between the characters are portrayed through symbolic-interaction approach showing that women should behave themselves in a certain way. The movie portrays such cultural values as beauty, marriage, romantic love, social status, and prestige and shows that education is what was neglected by the women of that epoch. It also sheds light on the problem of a woman in society who is seen exclusively as a mother and housekeeper and should carry out this gender role.

Cinderella (1950 film) . (n.d.). Web.

Macionis, J. J. (2011). Sociology (14th ed.). New York, NY: Pearson Education.

Walt Disney (Producer). (1950). Disney’s Cinderella Full Movie [Video file]. Web.

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IvyPanda. (2024, March 19). The Cinderella Movie: Sociological Analysis. https://ivypanda.com/essays/the-cinderella-movie-sociological-analysis/

"The Cinderella Movie: Sociological Analysis." IvyPanda , 19 Mar. 2024, ivypanda.com/essays/the-cinderella-movie-sociological-analysis/.

IvyPanda . (2024) 'The Cinderella Movie: Sociological Analysis'. 19 March.

IvyPanda . 2024. "The Cinderella Movie: Sociological Analysis." March 19, 2024. https://ivypanda.com/essays/the-cinderella-movie-sociological-analysis/.

1. IvyPanda . "The Cinderella Movie: Sociological Analysis." March 19, 2024. https://ivypanda.com/essays/the-cinderella-movie-sociological-analysis/.

Bibliography

IvyPanda . "The Cinderella Movie: Sociological Analysis." March 19, 2024. https://ivypanda.com/essays/the-cinderella-movie-sociological-analysis/.

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