Cinderella updates the Walt Disney animated classic this 2015, six and a half decades since the classic animation was released, with an expected elegant production and well-integrated extra dimensions to its characters, which have been previously derided for promoting stereotype passive lasses or damsels-in-distress. The story is inherently the same, of an orphaned upper-middle class lady confined to a life of servitude by her scheming stepmother and stepsisters. Her life changes when she meets the prince, and as all childhood tales come, there are slight setbacks but they will expectedly live happily ever after. This live-action treatment possesses details that surely gives its own identity, through visual and character enrichment, and a real world setting which enlivened the magical transformations and the romantic gestures of dance.
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.
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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.
*As an appetizer, the short but conventionally sweet Frozen Fever is projected prior to the actual film.
