The presence of a new "Cinderella," the latest of a long line of TV and theatrical movies about the fairy-tale lass (and one lad, if you count Jerry Lewis in 1960's "Cinderfella"), caused me to realize that there seems to be a change in the attitudinal wind when it comes to popular entertainment.
The cynical side winks, knowing smirks, throwback references and dead-pan jokes that are hallmarks of post-modern culture are being ever so politely nudged aside by an emerging re-appreciation of old-fashioned sincerity and the pleasures of simply playing it straight.
Basically, warmth is slowly becoming the new cool.
One of the first signs of this turnabout might have been Tim Burton 's approach to last year's " Big Eyes ," a biopic about Margaret Keane, the mid-century kitsch queen of the art world, and her struggle to regain credit for her work from her con-man husband.
Given the inherent creepiness of Keane's waif portraits, many expected Burton's humorously sinister sensibilities to seep into the beatnik-era clash of low art and high drama. But save for a couple "Twilight Zone"-style dream sequences, the filmmaker adhered to telling the true story pretty much as it happened and focused on building sympathy for its main subject.
This apparent sincerity revival went global when it arrived in the form of Lady Gaga 's Oscar-night performance of a medley of Rodgers and Hammerstein songs in honor of "The Sound of Music's" 50th anniversary.
No one would blame anyone for expecting the pop singer, known for such outlandish stunts as donning a meat dress at an MTV awards show, to inject some ironic commentary about the sentimental classic into her performance. A bikini-wearing nun smeared with schnitzel with noodles would not have been out of the question.
Instead, Gaga materialized as a lilting vision of loveliness in a floaty lily-white frock and delivered near-perfect renditions of "The Sound of Music," "My Favorite Things," "Edelweiss" and a soaring "Climb Every Mountain" with an admirably unflinching reverence.
And the Twitter-verse, which has apparently replaced the Gallup Poll as a gauge of public opinion, exploded with thunderous approval.
Into this shifting atmosphere waltzes "Cinderella," Disney's dazzling live-action version of its 1950 animated classic. Other recent retellings of storybook favorites by the studio such as " Alice in Wonderland " and " Maleficent " reshaped the material for 21st century tastes, turning Lewis Carroll's heroine into a pro-active warrior and upgrading the villainous fairy in "Sleeping Beauty" into a misunderstood victim. Even the recent " Into the Woods " featured a disillusioned Cinderella played by Anna Kendrick .
But director Kenneth Branagh , the Shakespearean actor who successfully launched the comic-book-inspired " Thor " franchise, eschews any such shadings in his story of the abused orphaned girl who wins the heart of a handsome prince. No dark themes or disturbing notions. No blatant attempts at inserting a mega dose of girlish empowerment or the slapping on of a feminist message. Besides, the " Frozen " phenom—the basis of the amusing spinoff short, "Frozen Fever," that plays before "Cinderella"—has pretty much covered all those revisionist princess bases.
Instead of letting go of the essence of "Cinderella," Branagh boldly chose to embrace every familiar detail of this romantic fantasy: the hearth cinders that give Ella her nickname; the pumpkin that turns into a carriage; Cinderella's rodent best friends; and, of course, the glass slippers—courtesy of Swarovski. Meanwhile, those who have seen everyone from Brandy in the 1997 TV musical to Anne Hathaway in 2004's " Ella Enchanted " attempt to step into Cinderella's shoes might wonder why more liberties weren't taken in this faithful iteration.
Yes, most of us will know exactly where this story is heading, which may lead to some tedium. However, after thinking it over, I realize that Branagh and company are probably making this version not just for us jaded adults but for a generation of children who perhaps never had a chance to see "Cinderella" on a big screen. For them, it will be a brand new adventure. And, because of that, many parents will appreciate this rather faithful retelling.
What is added mostly elevates the magic spell cast by this centuries-old legend. Whether it's Dante Ferretti 's sumptuous production designs in refreshing spring-like hues or Sandy Powell 's eye-popping if anachronistic costumes, "Cinderella" offers an array of lavishly frosted eye pastry at every turn.
Most importantly, Branagh and writer Chris Weitz provide Cinderella, who had barely a wisp of a personality in Disney's cartoon original, with a reason to put up with being reduced to an ill-treated servant in the cherished mansion she once shared with her late parents. She could obviously just run away. But instead she dutifully follows the upbeat mantra that her loving mother passed along to her: "Have courage and be kind."
The handling of the heroine might prove to be the film's most controversial detail. Some might find this Cinderella, whose belief in kindness is meant to be her super power and the key to overcoming those who stand in her way, a little too lacking in spunk and ambition. A goody-two-slippers, as it were. Yet her compassion for others is what makes her special and saves her from simply being a victim in need of rescue.
Casting makes a great deal of difference, too, and Branagh has recruited the winningly winsome British beauty Lily James to bring Cinderella to vivid life. As forward-thinking Lady Rose on TV's "Downton Abbey," James has capably brought out the best in the sometimes headstrong though charming young woman who nonetheless can look out for herself. And the actress relies on some of that same female fortitude here as well.
As for her prince, Scottish actor Richard Madden (best known as Robb Stark on "Game of Thrones") certainly has the dashing royal looks and boyish smile to pull off his part, despite having to don some unfortunate tight trousers. One key addition to the story is that Cinderella and the prince meet cute—he pretends to be a palace apprentice named Kit—long before the fateful ball, which means they at least fall in love on second sight.
And one cannot say enough about the contributions of Blue Jasmine herself, Cate Blanchett , who slyly and subtly subverts the notion of the evil stepmother so the audience can summon at least some sympathy for this fabulous she-devil. Another plus: You can't wait to see what gasp-inducing, gorgeous, ‘40s-style glamour-queen ensemble she will show up in next. Her Lady Tremaine is not just a fashion plate. She is a fashion platter.
Counteracting her lack of parental concern is an unexpectedly wonderful portrayal by the great Derek Jacobi as the ailing king, who provides this wise counsel to Madden's prince: "You must not marry for advantage. You must marry for love." As for Helena Bonham Carter as the slightly loopy Fairy Godmother—I mean, come on, who else could you possibly cast?
The biggest crinkles among all these tasty crumpets, however, are the portrayals of Cinderella's stepsisters, Anastasia ( Holliday Grainger ) and Drisella ( Sophie McShera ). They are written as such annoyingly clueless ninnies that whatever comic relief they are supposed to provide too often falls flat—a problem not helped by the fact that McShera (a delight on "Downton Abbey" as kitchen maid Daisy) could do with some crisper diction.
Still, you can't fault a family entertainment extravaganza too much if it actually goes out of its way to integrate the ensemble of a fairy tale in an Old World European setting with a diverse array of supporting players. Branagh deserves an extra bravo just for that. And we mean it sincerely.
Susan Wloszczyna
Susan Wloszczyna spent much of her nearly thirty years at USA TODAY as a senior entertainment reporter. Now unchained from the grind of daily journalism, she is ready to view the world of movies with fresh eyes.
- Stellan Skarsgård as Grand Duke
- Cate Blanchett as Lady Tremaine
- Lily James as Cinderella
- Ben Chaplin as Cinderella's Father
- Hayley Atwell as Cinderella's Mother
- Nonso Anozie as Captain
- Sophie McShera as Drizella
- Helena Bonham-Carter as Fairy Godmother
- Richard Madden as Prince "Kit" Charming
- Holliday Grainger as Anastasia
- Derek Jacobi as The King
- Aline Brosh McKenna
- Chris Weitz
Cinematography
- Haris Zambarloukos
- Kenneth Branagh
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The “Cinderella” Film Directed by Kenneth Branagh Essay
For my analysis, I have chosen the film Cinderella directed by Kenneth Branagh. This story, familiar to everyone from a young age, is equipped with bright romantic coloring. It raises important themes of humanity, such as inequality, justice, and loyalty. This adaptation is very meaningful, as all the images are conveyed in it with high accuracy. In Cinderella , a viewer can trace the relationships between the characters and relate them to the concept of conflict, maintaining relationships, and reducing uncertainty.
The film begins with the story of a girl, Ella, who lives happily with her parents. After her mother dies, her father finds a new wife to care for the household and help raise his daughter properly. The stepmother arrives not alone but with her two daughters; together, they quickly take over the house, and the father dies on one of his travels (Walt Disney Pictures, 2015). The new mistresses chase the servants away, and Ella takes over all the housework. So she works for them until word spreads in the town of a ball at which the kingdom prince must choose his bride (Walt Disney Pictures, 2015). Kenneth Branagh is not the most obvious director’s choice in bringing the most classic of all fairy tales to the movie screen. He is known for worshipping Shakespeare and has been very reverent about transferring each of his works to the cinematic language. In this case, the director had the chance to show the well-known story from a different angle while retaining all the key moments. Ella is inwardly free but with reverence for her parents, subtle and educated, but not alienated and hard physical labor, gentle, reverent, but also brave and determined. Humorous girl, but without sarcasm, kind and forgiving, and able to rebuff at the right time with all sorts of villains (Walt Disney Pictures, 2015). Self-confident but without impudence, she and equality in marriage take not as a privilege but as an obligation.
The main novelty of the film was that the screenwriter told the backstory of the stepmother, who, like most Disney villains, turns out to be a victim of circumstances. Much attention is paid to the details and parallels between the new “Cinderella” and those projects that viewers may have seen before. The house, the palace, and the animals (the mice are the most memorable characters of the fairy tale), though excessively drawn, the general cartoonishness – all this, in an incredible way, picks up the spirit of the original Disney cartoon. At the same time, the authors, thanks to modern trends, found very earthy protagonists – Lily James and Richard Madden do not shine with the pompous beauty of drawn characters; they are not perfect, but nice, charming, and very suitable for each other.
The concept of conflict plays a very important role in this film. It includes identifying the opposing parties, the causes of the conflict, the modes of conflict, and the evaluation of possible outcomes. The opposing parties are Cinderella and her stepmother. Man is designed to defend his point of view, but sometimes this struggle takes serious forms, and there is a conflict. Conflict is inevitable if a person does not know how to give in. Psychology defines conflict as a lack of agreement between two or more parties. In the case of interpersonal conflict, the parties are individuals or groups, and in the case of intrapersonal conflict, one subject’s attitudes, values, and ideas. At the story’s beginning, Ella is willing to make concessions, but as time passes, she begins confronting the angry woman, thus creating conflict in the film (Walt Disney Pictures, 2015). However, this conflict made it clear to the girl that she should not obey. It shaped her as a person and set her on the right path.
Uncertainty reduction theory is a communication theory that looks at the initial stages of interpersonal communication. The theory assumes that in initial communication, people experience insecurity, which they seek to reduce by obtaining information about the interlocutor (Yan & Gong, 2023). Thus, the social consequence of communication is reducing uncertainty due to receiving information. The more information interlocutors have about each other, the better they predict their behavior and actions. It is also present in this film, and it occurs when the stepmother is so sure that Ella will do all her errands that when she refuses, there is no limit to the woman’s indignation (Walt Disney Pictures, 2015). She does not expect Ella’s usual pattern of behavior to be changed.
The next concept to be found in the movie Cinderella is relationship maintenance. Interpersonal relationships are the subjectively experienced, personally meaningful, emotionally-cognitive reflection of people on each other in interpersonal interaction. In other words, interpersonal relationships are connections between people through emotions, feelings, and judgments. Maintaining them is what an individual is willing to do to maintain the relationship. Cinderella submits to her stepmother, even though she does not like it (Walt Disney Pictures, 2015). She transcends her pride to care for the house and does not abandon her “family.”
Thus, the movie Cinderella is a great example of how concepts apply to interpersonal relationships. It has many characters whose personalities are revealed by the director. This film projects many current themes of humanity and relationship psychology in particular. The viewer can draw a lot of knowledge and conclusions from this film. The film’s director has done a tremendous job, which is why the film is worthy of attention.
Walt Disney Pictures. (2015). Cinderella . United Kingdom. Web.
Yan, R., & Gong, X. (2023). Mitigating property quality uncertainty and property fit uncertainty in online peer-to-peer accommodation platforms: An uncertainty reduction theory perspective. International Journal of Contemporary Hospitality Management , 35 (1), 302-320.
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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.
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'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 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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