Disney saw fit to precede Kenneth Branagh's live-action retelling of Cinderella with a short film "sequel' to their animated hit, Frozen. It's a union that works perfectly in just about every way because Cinderella, like Frozen, isn't really looking to reinvent the wheel. It's there telling a sweet and inspiring princess story full of charming princes, evil stepmothers, and magical powers. For once, Disney has decided to forego reimaginings and unnecessary attempts to soften iconic characters (hello Maleficent) and stuck with elegant, well-told simplicity, and the approach fits like a glass slipper.
Steeped in a dazzling array of confectionary colors and sparkling magical whimsy that compares beautifully to the 1950 animated classic, Cinderella makes a strong case to be first in our thoughts. While screenwriter Chris Weitz largely sticks to the story beats we've all known since childhood, the few changes he does make actually streamline and improve the tale in small but noticeable ways. It begins with an opening sequence setting up the loving relationship between young Ella and her sweet and caring parents (an unrecognizable Hayley Atwell and Ben Chaplin) who instill in her a kindness that can move mountains. "Have courage and be kind" her mother tells her early and often, becoming a mantra that sticks with the girl even as tragedy strikes.
It all threatens to become a little too sweet until the arrival of Cate Blanchett, dripping with venom and faux gracefulness as Lady Tremaine, Ella's new stepmother when her birth mother dies suddenly. Sporting a variety of garish, hideous, and totally evil costumes (one actually looks like something Loki would wear); Tremaine is a total cooz right from the start. Along with her equally nasty daughters, Anastasia and Drizella (Holliday Grainger and Sophie McShera), they may Ella's life a living Hell, especially when her father also perishes while away on business. From there the film plays out by the book, with Ella's kindness being twisted and used against her. Rather quickly she becomes the maid of the house because certainly Tremaine and her daughters can't be bothered with such a thing. But their treatment of her is as something less than human, and certainly not like part of the family.
While we do learn more about what motivates Tremaine to be so ugly, she never becomes a character we want to sympathize with. In fact, we may hate her more after learning what her deal really is. Blanchett, beautiful and fearsome in shimmering satin, gives the character more humanity than she deserves, and that she's able to accomplish it basically in two scenes speaks volumes. In her we see a mother's fear for her children's future and a jealousy towards the youthful. "She too had known grief, but she wore it wonderfully well", we're told by the exuberant narrator, who turns out to be Helena Bonham Carter as the Fairy Godmother. She bounces around delightfully in only one extended scene, but a film like this wouldn't feel right without Carter being in it somewhere. She fits the role perfectly as a counterpoint to Blanchett's ugliness.
Blanchett pretty much steals the film like any true villainess should, but she doesn't completely overshadow James' endearing performance as Cinderella. Innocence and warmth come off her in waves, but also a true sense of wonder when magical forces begin working in her favor. Effectively charming as Prince Charming is Game of Thrones' Richard Madden, who seems designed for exactly this kind of role with his big blue eyes and wide, toothy smile. Although it's tough to get past how unexciting his character is when compared to Chris Pine's conceited Prince in Into the Woods. Speaking of which, those looking for a bevy of musical numbers will be disappointed, although I was more than happy at the lack of them. Too many songs can be stifling and Cinderella has a nice flow that doesn't need to be broken up.
The Cinderella story is, let's face it, a little bit silly when one actually stops and thinks about it. A glass slipper that only one girl can fit? To Weitz's credit he embraces many of the less believable aspects and has fun with them without parody or irony. He even holds on to what can be considered Cinderella's less-than-progressive message, which doesn't inspire women to be more than just some rich guy's wife. It's a fairy tale in just about every way imaginable. Be as pretty on the inside as on the outside and you'll get yourself a prince. It would have been nice to see Cinderella take a more active role in her happiness, but that's not really part of her story.
Branagh has had a rough couple of years as a director lately. His Thor was arguably Marvel's weakest film, and Jack Ryan: Shadow Recruit was the blandest action movie of the last couple of years. He's fared better with Shakespearean efforts, but Cinderella is the first time he's indulged us with colorful, dazzling eye candy. This is the best-looking film Branagh has ever done, and he seems inspired by the freedom of a world this fantastical to play around in. Not all of the CGI quite lives up to his imagination, however. Cinderella's little rodent friends are more annoying than anything, and the visual effects during the pumpkin carriage scene are...well, a total pumpkin.Disney may have a new generation of fairy tale princesses with Tangled, Frozen, and even Pixar's Brave, but Cinderella proves that the classics still have a story worth telling.
Rating: 3.5 out of 5
