Welcome to the Legion!

Cinderella splash

From a feminist standpoint, Cinderella has always been a problematic story. Cinderella herself has always lacked, by necessity, any agency in her own story (a story that goes back to the 17th century). She is defined less by her actions and ability to rise above, as she is by her shining scrupulous goodness and endearing tenacity in the face of unjust oppression. She will not undo the oppression, but will bear it bravely like a rich-hearted martyr. She is saved not by her resolve, but by a magical Fairy Godmother who provides her with the means to attract the attention of a rich man who will eventually save her from her dire circumstances.

There was a scene cut from Disney’s famous 1950 animated version of Cinderella that had one of our heroine’s talking rodent friends inquiring as to why she simply doesn’t run away from her wicked stepmother and spoiled stepsisters. Her reply is that there’s too much to do around the house. This reveals that Cinderella has no intention of rising above, and is happy to remain oppressed, only unconcerned because she is just so darned good-natured. Her blissful devotion to domesticity is her quiet sacrifice to the world, and perhaps represents the mindset of the suburban housewife in 1950.

Cinderella Charming

It is now 2015, and we’ve seen dozens upon dozens of Cinderella stories over the years, from cheap TV movies to high-profile theatrical features (Andy Tennant’s famed 1998 film Ever After, a feminist spin on the original tale, is perhaps one of the better ones). This new version, directed by Kenneth Branagh, is essentially a live-action remake of the 1950 version, complete with common character names, visual cues, and even cutesy animal sidekicks (the talking mice are now chittering CGI creations). And while Cinderella herself (played by the pretty and placid Lily James) is still depicted as a quiet feminist martyr, the film as a whole is a lot more colorful and spirited than you might expect. The problems with the story are still present – this is most certainly not a feminist polemic – but one can’t help but be caught up in Branagh’s theatrical spirit.

As the film opens, Ella is being raised in a tiny obscure British kingdom, happy to raised by her ill mother (Hayley Atwell) and doting father (Ben Chaplin). Through the usual circumstances, mother dies, father remarries, father dies, and poor Ella finds herself in the company (and eventual servitude) of her wicked, wealth-mongering stepmother and two bratty, idiotic stepsisters. Cate Blanchett plays the wicked stepmother in a performance that seems largely informed by the attitudes and mannerisms of Joan Crawford. Her campy performance brings much life to the proceedings. When she appears in a doorway, wearing a leopard-print robe, whining that breakfast is not yet prepared, you will have to stifle a giggle.

Cinderella Blanchett

Other notable actors appear: Branagh regular Derek Jacobi plays the king, Stellan Skarsgård plays one of the king’s aides, and Richard Madden plays Prince Charming. Well, he’s not named Prince Charming. He’s named Kit. In true Branagh fashion, the men laugh and banter as if they’re old friends. I have a feeling that Branagh enjoyed shooting the men more than he did the women. Helena Bonham Carter plays the narrator/Fairy Godmother as a ditzy blonde.

But the real star here is Kenneth Branagh himself, who finally feels invested in the material; Branagh’s last few films (Jack Ryan: Shadow Recruit, and Thor) felt like bland commercial departures from the director’s usual bombastic theatricality. Branagh has stuffed his film with electric blues, vibrant greens, and glimmering forest-scapes that feel like they’re halfway between reality and a storybook. Cinderella is immensely visually appealing, which is a welcome change from the butt-ugly CGI messes of Alice in Wonderland and Maleficent, the two films in a nascent Disney subgenre of live-action remakes of their animated hits (Beauty and the Beast and Dumbo are next in line).

Cinderella slippers

Branagh also allows his camera to swirl and move more freely this time around. Branagh seems more comfortable when he’s not playing safely, and speaking in the language of the stage. He wants big speeches, he wants warm male camaraderie, he wants giant musical scores (this time provided wonderfully by Patrick Doyle), and he understands that Cinderella’s dramatic appeal is not her strength or feminist power, but her beauty and her virtue. She deserves her rewards because she is so kind. And that, too, can be a healthy message for little girls.

Like most critics, I am put off by the recent trend of pop culture plundering, and I don’t need to reiterate for the 100th time how tiresome remakes and adaptations have become, so I have to admit a bit of critical weariness when it comes to talking about Cinderella. But for a Disney über-product, I sense small bits of sincerity leaking through, and I was dazzled by the colorful visuals. I can assure you that Cinderella will become a regular staple of slumber parties everywhere.


Witney Seibold has been a film critic for many years, and is currently the co-host of The B-Movies Podcast on CraveOnline. You can contact him on Twitter at @WitneySeibold

About author View all posts

Witney Seibold