There have been a lot — some would say too many — fairytale reimaginings over the last few years. Snow White and the Huntsman, Mirror Mirror, Red Riding Hood, Hansel and Gretel: Witch Hunters, Beastly, Jack the Giant Slayer, Maleficent, just to name a few.
Kenneth Brannagh’s Cinderella, I’m glad to say, is not like any of those movies. It’s a return to roots; a reminder that such stories don’t necessarily need a makeover, and that perhaps keeping them the way they are might be for the best. It’s basically the studio reminding us — and let’s face it, they’re right — that reimaginings might not be as good the originals.
That’s not to say Cinderella is merely a lazy live-action remake of the old 1950s Disney animated film. Brannagh and writer Chris Weitz (The Golden Compass, About a Boy, and soon, Star Wars Anthology: Rogue One) manage to inject new life into the story with some subtle but welcome variations while maintaining the overall structure and spirit or the original tale. The humour is light and Brannagh-ish, and the special effects and costumes are pretty but not overwhelming. Fuelled by solid performances, this is an authentic and charming adaptation. Notwithstanding how straightforward it is, the results are surprisingly effective and strangely refreshing.
You know the story already so there’s no point in giving a proper overview. Skinny-waisted Lily James from Downton Abbey plays the titular heroine, who is left to the mercy of her stepmother (Cate Blanchett) and two stepsisters (Sophie McShera and Holliday Grainger) after her parents (Hayley Atwell and Ben Chaplin) pass away. Richard Madden (holy crap I just realised he’s Robb Stark!!!) plays the Prince, Derek Jacobi plays his father the King, Stellan Skarsgard plays the Grand Duke, and Helena Bonham Carter is of course the Fairy Godmother.
However, rather than just being about a pretty girl who falls for and gets rescued from poverty and slavery by a stud muffin — with the help of some magic — this adaptation tries to add some workable dimensions and cover up flaws of the original story.
Cate Blanchett’s stepmother character, for instance, isn’t just evil for the sake of being evil. We’re given glimpses of her genuine concerns, which helps us understand why she has become the way she is. Plus Blanchett is really good in the role, as she seems to be relishing the opportunity to play a devilish, multi-faceted villain.
Recurring themes include kindness and forgiveness, duty and love, and a lot is said about economic and social status. Bear in mind most of it is just on the surface, but kudos to Brannagh for at least trying to insert some layers and depth into what is still ultimately a fairytale. I don’t agree with criticisms that it’s not “feminist enough.” This Cinderella is progressive; not every woman wants to go full Joan of Arc like Kristen Stewart in Snow White and the Huntsman.
Despite Brannagh’s efforts, there are still some things that a live-action movie adaptation of a flawed story cannot work around. The whole glass slipper thing — you know, getting every girl in the kingdom to try it out when they know what she looks like — still makes no sense.
Quibbles notwithstanding, Cinderella is a strong film, one that is suitable for children and adults alike. Humour, romance, magic and a good lesson or two, it’s a feel-good experience the whole family can enjoy. I’d rank it just behind my second-favourite Cinderella film, Ever After, and there’s no shame in that.
3.75 stars out of 5