Nordling here.
The idea of remaking CINDERELLA, a story that not only has been told, but retold, deconstructed, and parodied over the years, seems futile. There is nothing in the story that hasn’t entered our pop culture DNA at this point. If you go into Kenneth Branagh’s film expecting any radical changes to the story, you’re in for certain disappointment. Branagh and screenwriter Chris Weitz go the opposite direction – they dedicate themselves to the story so completely, faithfully, loyally, and with real spirit, that the old becomes new again. CINDERELLA is great not because the filmmakers tried to reinvent the wheel; instead they made a very strong, beautiful wheel, one that takes us, satisfyingly, to where we want to go.
There is no room for cynicism in the world that Branagh, Weitz, and Dante Ferretti’s incredible production design create here. CINDERELLA is often gorgeous to look at, and it feels almost defiantly old school, with the elaborate set design, costumes, and cinematography on display. CINDERELLA could be dropped into almost any film era and it would fit right in. It’s clear that Branagh wanted to create a movie as timeless as the original animated film, and he has succeeded admirably. I’ve found, in recent years, that Branagh can be either hot or cold, but in CINDERELLA Branagh has embraced the classic nature of the work and ironically has freed himself up as a director in doing so. There is never a dull moment in CINDERELLA, despite us as an audience having tread this ground so thoroughly before. That is what makes CINDERELLA truly remarkable. I love how Branagh and Weitz subvert the standards that we expect from an adaptation of the original Disney cartoon – the mice are fun and charming, but also don’t distract from the verisimilitude of the film. If there is anything I miss from the cartoon, it’s the songs – there are moments that feel like the songs could have fallen right into the movie, but Branagh and Weitz choose to let the beautiful visuals and the score capture those moments instead. This makes CINDERELLA feel even more like a film from years gone by.
Even the performances are daringly non-Method. Cate Blanchett’s Stepmother could have been an utter caricature, but Blanchett brings not only wit, but even sympathy to the character – you can despise what she does to poor Cinderella (Lily James) but you fully understand why she does it. Helena Bonham Carter is funny and terrific as the Fairy Godmother – no Burtonisms here. Instead, she seems to be having a joyful time. It is always a great moment when Derek Jacobi is onscreen, and his work with Prince Kit (Richard Madden) brings much heart and soul to the film. Stellan Skarsgård as the Duke is almost unrecognizable, and he plays the Duke with a charm that underlies his ambitions. Nonzo Anozie as the Captain of the Guard has real empathy for the Prince and this mysterious woman who shows up at the ball, and Anozie adds spirit and humor to the role.
If there are any characters that come across as routine, it would probably be the stepsisters Drisella (Sophie McShera) and Anastasia (Holliday Granger), but that is probably due to writing more than anything else. Weitz makes all the characters feel alive, but the stepsisters have their role to play, and do not stray very far from their assigned duties in the story. I love how Blanchett’s Stepmother is so insistent in marrying them off – not because of their well-being, but because the sooner they are wed, the sooner the Stepmother can get her daughters out of her life. Ben Chaplin and Hayley Atwell, as Ella’s parents, are warm and loving, and during their brief moments onscreen, set the stage very well.
“Have courage, and be kind,” Ella’s mother tells her at the beginning of the story, and Lily James instills into Ella that bravery and heart that in a lesser film would come across as weak, or mawkish. But James pursues her character with deep passion and honesty. Cinderella never feels false as a character, and our sympathy for her grows as her situation becomes more of a struggle. The marvelous costume design of Sandy Powell shines here, especially on Cinderella, but on the other cast members as well. CINDERELLA simply wouldn’t work if Ella and the Prince lacked chemistry together, but Richard Madden instills the Prince with an earnestness and a steadfast honesty that complements what James does with Cinderella. We want nothing but the best for them both – not because that’s how the story is supposed to go, but because we absolutely wish for their well-being and happiness. We like them as characters, which on screen may seem effortless, but Kenneth Branagh fills CINDERELLA with such sincerity and passion that we cannot help but be swept away by the story, no matter how familiar we are to the original story.
That is what makes CINDERELLA work – the commitment. From the sumptuous set design – Dante Ferretti is sure to win another Oscar for the work he does here – to the glorious costumes, and the elegant cinematography by Haris Zambarloukos, CINDERELLA fully embraces its nature, and what could have been clichéd and trite becomes magical and transporting. Instead of cynically commenting on a story that has been told over and over through the years, Branagh and Chris Weitz have built a fairytale world that is graceful and reverent, without feeling cloying or overwhelming. This is a film for all ages, to be shared with those you love, much as the original animated Walt Disney film was. CINDERELLA feels like a miracle in this day and age - an absolute classic.
Nordling, out.
