March 13, 2015 by Hope W.
There are movies that I like, movies I love, and movies I *love*. The first are movies I think are good and will watch again, maybe once, at the most twice, such as Kingsman: The Secret Service, Birdman, The Divergent Series: Insurgent. (Anything else is overkill.) The second are movies I’ll gladly watch a few more times, like The Lego Movie and Whiplash, though I need some distance between each viewing. The last category belongs to the films that have won my heart and mind entirely, the ones which after I finished watching them for the first time in the cinema, I immediately wanted to go back in and rewatch them a second, third, fourth time. Cinderella belongs squarely in the last.
(Whether the movie is good or bad is irrelevant. There are movies that I think are great but I can’t exactly say that I “like”, and I’m perfectly fine if I never watch them again.)
Partly because I love the 1950 animated movie. (Which girl who grew up on Disney movies *doesn’t*?) But more importantly, this live-action version starring Downton Abbey‘s Lady Rose MacClare (Lily James) and Game of Thrones’ poor, doomed Robb Stark (Richard Madden) adapts the well-loved classic so faithfully, with negligible differences, down to Gus and Jaq the “talking” mice, that I cannot find a single fault with it. (Ok, maybe one or two.) It’s just magical and romantic and a wish fulfillment fantasy that’s lovely to escape into for two hours. The prince is handsome and sweet, her ball gown so swishy and beautiful (though it’s a wonder she can walk in it), her wedding gown a dream, and Cinderella is saved because her prince was there and he heard her singing through a window. Typical Disney stuff.
Which is *exactly* what I want a live action adaptation of a Disney animated movie to be. Some people will — and some critics have — pick a bone with the fact that there’s not a spark of originality in this retelling; but sue me for wanting films associated with fond childhood memories to stay the same. I would embrace edgy remakes if they were any good, but Alice in Wonderland and Maleficent weren’t; I don’t care how much money they made, I never want to watch them again. They had better treat the upcoming live-action Beauty and the Beast — with Emma Watson as Belle and Dan Stevens as the Beast — right. (If “Tale as Old as Time” isn’t heard somehow, somewhere in the ballroom scene when Belle and the Beast are dancing, I will be up in arms.)
Though sometimes Ella’s “oh look, I’m just a humble country girl, why is everyone looking at me” act is a bit hard to swallow — when she arrives last at the ball, she walks down the ballroom stairs like the attention grabber she *clearly* knew she was, while pretending she wasn’t. I could also do without the 500 reiterations of “have courage and be kind”. But these are minor eye-rolling quibbles. I love the movie.
The supporting cast is equally delightful. Cate Blanchett is such a glamorous and commanding presence as the wicked stepmother, you can’t help but enjoy every moment she’s on screen, though you feel indignant on Ella’s behalf of course. Her bold makeup, imperiously coiffed hair and dark and heavy dresses makes her look like the quintessential golden age Hollywood villainess. Anastasia (Holliday Grainger) and Drisella (Sophie McShera), Ella’s two ugly stepsisters, are as quarrelsome, airheaded and ugly stepsister-y as you expect them to be. (Sophie McShera also hails from Downton Abbey, though in a role reversal as kitchen maid Daisy.) The Grand Duke is a scheming figure rather than the bumbling comic relief he was in the animated movie, but he’s played by Stellan Skarsgård, so I like him. Director Kenneth Branagh’s fellow Shakespearean thespian Derek Jacobi is a more loving King and father than the animated movie’s plump though cute old man who just wants grandbabies, no matter where they come from.
The original animated movie’s songs such as “A Dream is a Wish Your Heart Makes” and “So This is Love” didn’t make it in, but they managed to fit in a single spoken “bibbidi-bobbidi-boo” by Helena Bonham Carter’s amusing fairy godmother, first seen in unrecognisable aged makeup, and then bright and sparkly in another of the film’s numerous impractical though lavish dresses.
Speaking of bright, sparkly and lavish: that is the theme du jour of the film’s production design and costumes. There is an entire scene dedicated to Cinderella and the Prince’s first dance in the grand ballroom, which was choreographed to maximum “swish effect” of the Dress. It was dazzling to behold.
Sure, Cinderella (and plenty of Disney’s older movies) promotes unhealthy fantasies of “someday my dreams will come true” and backwards notions of women being saved by men. (No matter how much they couch it as Ella being saved because she “ha[d] courage and [was] kind” — she would still be stuck in the attic if her prince didn’t happen to be there.) But sometimes, you just have to take movies as they are and bask in their glow. I’m floating on a cloud of fluffy dreams now. Don’t pull me down, thanks.