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In short order, we see that Tremaine is no lady she spits out her stepdaughter’s name as a cruel, cackling curse. Ella’s mother (Hayley Atwell) succumbs to the sort of genteel movie disease that deprives her of life but not of luster, instructing the child to “Have courage and be kind.” Father (Ben Chaplin), hoping to give Ella another mother and two new sisters her own age, marries the widow Tremaine, then dies while on a business trip. is less a Tower of Terror than an airy aerie.įirst, though, the movie has to kill off Ella’s loving parents, with the ruthless efficiency that Disney perfected in such early features as Snow White and the Seven Dwarfs and Bambi. Even the attic to which James’s Ella is consigned by Blanchett’s Lady T. Make that gorgeous: the settings by Dante Ferretti and the gowns by Sandy Powell (each with three Oscar wins) turn the film into a fantasy land that is its own theme park. In the recent Disney tradition of live-action film spun off from classic cartoon features - after Tim Burton’s Alice in Wonderland in 2010 and, last year, the Angelina Jolie Maleficent, from Sleeping Beauty - this Cinderella plays it straight and pretty. The latest version proves that third time’s the charm, with a Cinderella that is not revisionist but plain old visionist. The big drama is again with the critters: Will the mice Jaq and Gus will be able to lug a key up to the attic that imprisons Cinderella? Whatever its appeal to many generations of children, this is one Disney feature that today looks coarse and ill-conceived. (In the duet “So This Is Love,” his singing voice is supplied by future talk-show host Mike Douglas.) He is mainly a pawn in the machinations of his temperamental father the King and a fussy Grand Duke. The Prince is virtually AWOL in the 1950 movie he doesn’t appear until two-thirds of the way through and speaks only a few words. The feline role reversal from the 1922 cartoon may have been Disney’s attempt to mimic the Hanna-Barbera Tom and Jerry cartoons, which won five Oscars for Best Animated Short between 19 - the very prize Walt had previously monopolized with 10 wins between 19. movie is devoted to the shenanigans of the heroine’s closest companions, a quartet of talking mice, and their slapstick battles with Lady Tremaine’s obnoxious cat Lucifer. Cherished for the hit songs “A Dream Is a Wish Your Heart Makes” and “Bibidi-Bobbidi-Boo,” it is also the least faithful to its source. The 1950 version was the studio’s first full animated feature since Bambi eight years earlier, and it rescued the Mouse House from near-bankruptcy. The chase is on the Prince finds her and embraces her, as his dog does her cat. At midnight Cinderella flees, leaving her glass slipper. It’s love at first sight for the Prince they dance the night away to the strains of a Paul Whiteman-like jazz band. A crone-like Fairy Godmother shows up to give the girl a snazzy flapper gown and change a trash can (not a pumpkin) into a Model T the black cat is her chauffeur. The Prince schedules a ball, for “Friday the 13th,” but Cinderella’s stepsisters say she can’t go. The Prince, “a wonderful fellow” whose only friend is his little white dog, is first shown hunting bears by shooting them in the butt (early Disney is a trove of ass gags). The plucky orphan, “whose only friend was a cat,” gets bossed around by “two lazy and homely step sisters” - but no wicked stepmother. 23 sec., Disney’s first Cinderella is the old fable transplanted to the Jazz Age, with physical comedy trumping dreamy romance. 6, 1922, the day after Walt turned 21 - the same age as his invaluable pal Ub Iwerks, who animated and directed the movie (and, later, the first Mickey Mouse cartoon, “Steamboat Willie”). He was just a kid when he made his first Cinderella as a Laugh-O-Gram in his Kanas City studio. The Disney fascination with the sooty heroine, the Prince and the glass slipper goes back to Walt’s earlier days as a cartoon producer. Most of the industry touts are forecasting at least a $60-million opening in North American theaters. All these decades later, the studio expects only good luck from the Friday-the-13th release of a lavish live-action version directed by Kenneth Branagh, adapted by Chris Weitz and starring Lily James as Cinderella and Cate Blanchett as the stepmother Lady Tremaine. Of the hundreds of movie versions, his 1950 animated feature is the most popular and best remembered. But if the Cinderella fable has an owner and chief curator, it’s Walt Disney.