What reason would Disney have for making this live action version of the classic Cinderella story, when they’ve already got a beloved animated version of the tale in their catalog that pretty much everyone considers to be a classic? Likely the reason is that live action versions of fairy tale stories are having a moment right now, so chances are a live action Cinderella is going to make them a ton of money. And, really, when a movie has a talent as strong as Kenneth Branagh in the director’s chair and he’s being backed by a boatload of Disney money, aren’t we going to want to see what he comes up with anyway, even if he’s telling a story we’ve already heard? You don’t just bring in Branagh to make an empty cash grab.
It should be noted that you very much have seen this story before though. What Branagh and his screenwriter, Chris Weitz, have come up with is a dutiful and faithful adaptation of the classic Disney interpretation of the story, just tweaked a little bit to accommodate the switch from animation to live action. Are there singing mice in this movie? No, but Cinderella does hang out with a posse of mice that are not quite anthropomorphized, but certainly personified, and far more intelligent than any group of mice that have ever existed in the real world. The basic story that you’re used to is here, beat for beat, with just a little bit more care taken here or there to ground things in a slightly less heightened, but still fairytale reality, and with a bit more emphasis put on the backstories and motivations of all the main players. If you were expecting something more fresh, that might come as a disappointment, but most people will likely greet this film as comfort food rather than stale bread—Disney’s take on this particular fairy tale is a pretty great one, after all.
The big thing that makes this Cinderella stand apart from those that have come before it, and the thing that justifies the switch from animation over to live action, is how visually rich the film is all the way through. Branagh and his people really spared no expense and cut no corners when it came to bringing the fairytale kingdom of Cinderella to life. The locations used are naturally gorgeous and impeccably shot, the dwellings that the characters call home are expansive, lived-in, and meticulously decorated. One could have a good time just going through this movie with a fine tooth comb and appreciating all of the detail that went into bringing this world to life. Cinderella is no set-bound period drama that feels like it belongs on the stage. It’s a visual story that takes full advantage of the medium of film and that takes place in a vibrant, lush world that feels like it could contain infinite other stories that would also be worth being told. From Shakespeare to super hero stories to Disney fairytales, Branagh seems to have a unique talent for grounding material that’s exaggerated and otherworldly on the page, but that feels perfectly natural and believable once he gets his hands on it.
The biggest question going into the film was probably Lily James, and how she would do as the title character. There’s a lot of responsibility to be wholesome and adorable that comes with being a Disney princess, after all. The good news on that front is that James’ presence is one of the aspects of the film that works best. Up to this point I’d only seen her playing a brat on Downton Abbey, so it was a real revelation to see just how bright and charming and lovable she can be when given the chance. Little girls are going to watch this movie and want to be her and little boys are going to watch it and fall in love with her. You know, assuming traditional gender roles.
The supporting cast is generally pretty strong too. Sophie McShera and Holliday Grainger are delightfully irritating and legitimately funny as Cinderella’s tacky, spoiled, annoying stepsisters, and Cate Blanchett is perfectly cast and near terrifying as the wicked stepmother. She plays ice cold perhaps better than anyone else currently working, and though her portrayal of the wicked stepmother character is as appropriately loathsome and cruel as a fairytale villain should be, Blanchett is also able to hint at a distant pain that lingers behind her eyes. It doesn’t quite make you sympathize with the way she treats Cinderella, but it adds a certain level of humanity to her that helps with that task of making such a fantastical story set is such a fantastical world a little bit more plausible and relatable. Also, Richard Madden is adequately bland as the traditionally bland prince. Charming, my foot.
So, Branagh’s new Cinderella is competently made and competently acted. It’s a perfectly serviceable version of the story that’s fairly beautiful to look at. That still doesn’t quite answer the question of why we needed the classic Disney Cinderella redone when the original is still relevant and available to be watched though. When all is said and done, perhaps the best thing that Branagh can point to as evidence that he’s added to the brand is what an aspirational movie this is. It treats the relationships between the characters with a bit more depth and maturity than the cartoon version. The language in the script is fanciful, wordy, and period-appropriate. At no point does this movie talk down to children. Instead, it asks them to rise up to its level. That’s a virtue that seems to be becoming rarer and rarer in our current culture. One can imagine there will be quite a few little kids who get taken in by the magic of this film and end up watching it over and over again, the way kids do, and the thought that they’re going to be watching a movie that preaches kindness and courage as its core virtues and that might also teach them a fancy new turn of phrase or two is a comforting one. Maybe we can hold out hope that the next generation won’t end up being quite so vile as the current.
