Enchanted Peasant Girl

Mannequin Two: On the Move is a dull and lifeless sequel that doesn’t need to exist. As ridiculous as the first Mannequin is, it was successful enough to warrant a sequel. Even though Emmy became real and lived happily ever after with Jonathan. Instead they create a whole new scenario involving a living mannequin that makes even less sense. Kristy Swanson is the lovely peasant girl Jessie who is cursed by an evil sorcerer for 1,000 years. She happens to look like a mannequin and that mannequin happens to end up at the exact same department store from the first movie.

The only returning characters are the lovesick security guard named Andy and Meshach Taylor given way too much screen time as Hollywood. Yet Hollywood’s pink convertible and flamboyant mannerisms are almost subtle compared to the villains. Bernie himself Terry Kiser is the descendant of the evil sorcerer Count Spretzle. He transports the “Enchanted Peasant Girl” using his overly cartoonish German meathead minions. William Ragsdale is the new lead Jason Williamson who is the reincarnated Prince William.

Cynthia Harris is his queen mother who runs a dating service. Stuart Pankin is his boss who continually makes a fool of himself. Jason unknowingly reunites with his long lost love Jessie. The charm of the first movie is lost when Jessie is just a fish out of water who doesn’t freeze when people see her. She only freezes while wearing an enchanted necklace and it takes characters way too long to figure that out. The ending is seriously overblown, but it ends almost the exact same way with a wedding set to “Nothing’s Gonna Stop Us Now.” Mannequin Two: On the Move should’ve been stopped at all costs.

Jessie comes alive in front of Jason

Preceded by: Mannequin

Nothing’s Gonna Stop Us Now

Mannequin is all about the love between a man and his mannequin. Somehow it’s not as weird as it sounds. Mannequin was unsurprisingly written off by critics, but its premise is too ridiculous not to have fun with it. It’s practically an honorary Brat Pack film with Andrew McCarthy and James Spader reuniting after Pretty in Pink. McCarthy is struggling artist Jonathan Switcher who can’t hold down a job. He creates a beautiful mannequin who only comes to life for Jonathan when no one else is looking. Kim Cattrall is plenty of fun as Emmy. She’s actually an Ancient Egyptian woman brought to life as a great work of art.

It doesn’t make sense, but the romance between Jonathan and Emmy is taken very seriously. He gets a job at the Prince & Company department store after he rescues Estelle Getty as the kind owner Claire. He keeps the job when Emmy helps him make eye-catching window displays. You know it’s the 80’s when Meshach Taylor plays an incredibly flamboyant gay co-worker named Hollywood. Though it all sounds very low stakes, Mannequin is filled with cartoonish bad guys trying to sabotage Jonathan. Spader is the jealous store manager Mr. Richard. G. W. Bailey is the store’s security guard Felix who tries to catch the mannequin in action.

Carole Davis is Jonathan’s former girlfriend Roxie who works for the competing store Illustra. Steve Vinovich is her scheming boss B.J. and Christopher Maher is her creep co-worker Armand. Despite Jonathan looking crazy a number of times, Emmy eventually becomes a real girl through the power of love. Not only did Mannequin gain a cult following, it was also Oscar nominated for the 80’s power ballad “Nothing’s Gonna Stop Us Now” by Starship. I’ll bet you didn’t know that song was referring to a mannequin. Mannequin is a perfect display of the 80’s at their most bonkers.

Jonathan rides with Emmy

Followed by: Mannequin Two: On the Move

Be Our Guest

Beauty and the Beast (2017) is the first full blown musical live-action Disney remake. Although The Jungle Book (2016) used only its best songs, it can’t really be labeled a musical. Beauty and the Beast (1991) is easily one of the greatest musicals of all time and a beloved part of my childhood. Although Disney originally considered adapting the 1994 Broadway musical, the French fairy tale nearly got the Snow White and the Huntsman treatment instead. Until Dreamgirls and Twilight Saga director Bill Condon insisted on making an old fashioned musical. It was the right decision since Beauty and the Beast (2017) became the highest grossing live-action Disney remake at the time.

I’ll admit the trailer made me nostalgic the moment I heard the classic Alan Menken score. Beauty and the Beast (2017) is the first live-action remake of a movie from the Disney Renaissance. Unlike previous remakes, Beauty and the Beast (2017) makes a lot less changes to the overall story. Yet the hour and a half animated classic was still somehow expanded to over 2 hours. Aside from fixing plot holes, the remake adds additional songs composed by Menken himself. Like Alice in Wonderland (2010) and The Jungle Book (2016), my mom joined my brother and I to see Beauty and the Beast (2017) in theaters. Although there’s no competing with the first animated Best Picture nominee, there’s plenty to admire about this live-action remake…

Belle dances with the Beast

Beauty and the Beast (2017) manages to be just as visually stunning as the original. It was nominated for 2 Oscars including Best Costume Design and Best Production Design. Though it makes use of powdered wigs and old fashioned French architecture, there’s still plenty of color. Once upon a time, there was a Prince that lived in a magnificent French castle. The remake fills time by showing the Beast’s origin rather than using stained glass. Unlike what we saw in Beauty and the Beast: The Enchanted Christmas, the Prince is a selfish grown man who taxes the kingdom. The beggar woman arrives during a lavish ball and we see him laugh at the Rose she gives him. As she becomes the beautiful Enchantress, the Beast is cursed with the same clawed portrait. This time the curse has lasted for an indeterminate amount of time and we’re given a much needed explanation for why villagers have no memory of their Prince or his enormous castle.

After Aurora and Cinderella, Belle became the next Disney Princess given the live-action treatment. Not only was Emma Watson born in France, she’s already proven herself as a headstrong book worm. After finishing her tenure as Hermione Granger, Beauty and the Beast (2017) became Watson’s most financially successful film since the Harry Potter franchise. Though Watson is a beautiful brunette like Belle, she’s no Paige O’Hara when it comes to vocal range. Her singing voice had to be auto-tuned. She’s still the funny girl in a poor providential town, yet she doesn’t stand out like the original when so many other villagers wear blue. Belle finds her escape through books, but apparently that’s not enough to make her odd. For some reason, Belle is now the family inventor who creates a horse powered laundry barrel. She’s also shunned for teaching a girl how to read.

Since he’s no longer a kooky inventor, Belle’s papa Maurice is a more serious artist who fondly remembers his late wife. It didn’t feel necessary to include an explanation for Belle’s late mother, but Kevin Kline gives a heartfelt performance. Maurice heads off with a music box and promises to bring back a rose just like the original fairy tale. Gaston is still a self-absorbed hunter determined to marry Belle, but now he’s a former member of the French Royal Army. Though he does have rugged good looks, Luke Evans is nowhere near as brawny as the animated Disney villain. His long red coat may be more accurate, but I can’t help but think of Captain Hook. Gaston attempts to woo Belle and propose marriage, but he’s not humiliated like the original. Belle simply rebuffs his advances. Beauty and the Beast (2017) has a bit more diversity than previous live-action Disney remakes. Though none of the main characters are race changed.

Most of the attention was given to Disney’s so-called “first gay character.” Olaf himself Josh Gad plays Gaston’s much more flamboyant sidekick LeFou. LeFou was certainly obsessed with Gaston before, but it was never a Mr. Burns and Smithers relationship. As a result, LeFou is a more sympathetic voice of reason who questions Gaston more often. When Maurice is lost in the woods with Philippe, he’s attacked by CGI wolves. He finds the enchanted castle like the original, but sadly he doesn’t make friends with any of the enchanted objects. Instead he’s frightened by Chip and immediately takes off, but not before plucking a white rose. Only then does he encounter the Beast. Belle rides back to the castle where she finds her father locked in the tower. The Beast reveals himself to have larger horns and a less animalistic design.

Although makeup would’ve worked just as well, motion capture was probably the better option. That way Dan Stevens’ facial performance can still shine through. Though the Beast retains his temper, something about his French mannerisms feels too soft. Except that he doesn’t offer Belle a room when she decides to replace her father. Instead she’s freed by the enchanted objects. As I expected, the enchanted objects are all done with photorealistic CGI. Animals are one thing, but you can’t put a cartoon face on a real life inanimate object. Lumière is a finely crafted candelabra that transforms into a man with a molded French coat and candle sitting atop his head. Although every character attempts a French accent, Ewan McGregor is the only one who needed to maintain the exaggerated accent of Jerry Orbach. Cogsworth is an intricate mantle clock with a similar arrow mustache. I wasn’t expecting the much older Sir Ian McKellen, but he does manage to be funny and dignified.

Lumière and Cogsworth show Belle to her room where we meet a radically different version of the Featherduster and Wardrobe. Lumière’s lover was named Fifi in Belle’s Magical World, but she’s now a swan-like feather duster named Plumette. Gugu Mbatha-Raw and Broadway singer Audra McDonald are the only black actresses who are both in interracial relationships. McDonald is the drowsy opera singing Madame de Garderobe. Her face can only be seen inside the wardrobe as a curtain. She’s separated from her husband Cadenza, an original harpsichord composer played by Stanley Tucci. Mrs. Potts is introduced a lot later than you’d expect. Though she’s still a motherly teapot, her face is now printed on the side. Emma Thompson is a perfectly respectable choice, but she’s no Angela Lansbury. The unknown Nathan Mack plays her teacup son Chip who looks and acts almost exactly the same. The footstool dog Sultan, coat rack, and stove chef are all accounted for.

The enchanted objects have to convince the Beast to invite Belle to dinner while she tries to escape through the window. After Belle is welcomed as a guest, she wanders the west wing where she finds the enchanted rose. I won’t harp on the delivery of every reused line, but so much of it feels off to me. Especially when the Beast orders Belle to get out in an overly rushed tone. Wolves attack her when she runs away and the Beast rescues her just like the original. The only necessary addition is a quick moment that explains how Belle managed to carry the injured Beast back to his castle. Meanwhile, a desperate Maurice returns to town where Gaston actually tries to help him find Belle. They search the woods, but Gaston goes from zero to attempted murder too quickly. Despite minor objection from LeFou, Gaston actually chains Maurice to a tree for the wolves to devour him. He’s saved by the local hag Agathe played by Hattie Morahan.

Back at the castle, Belle tends to the strangely muscular Beast in his bed. Though it doesn’t quite justify cursing the staff along with the Prince, Mrs. Potts tells Belle that they were cursed for allowing the King to turn him into the selfish ruler he became. Like Belle, the Beast also has a mother who passed away. Although I never saw it as Stockholm Syndrome, the remake tries to make their relationship more believable. Unfortunately, the Beast giving Belle his grand library is no longer a romantic gesture. Instead they form a bond by reading to each other and sharing similar feelings of being an outcast. The most unnecessary addition by far is the inclusion of a magical book that can take the Beast anywhere he wants to go. The enchanted mirror is already a window into the outside world, so it feels redundant.

The only purpose it serves is bringing Belle to her childhood home where her mother died from the Plague. It makes sense for the time period, but it’s a little dark for a PG rated Disney film. Belle and the Beast have fun in the snow and the iconic dance is not far behind. Though the dance doesn’t have the romantic build up, it does have Belle’s enchanting yellow dress and the Beast’s fancy blue suit. The ballroom may not be as enormous as the animated version, but their waltz is a highlight of the remake. When Maurice confronts Gaston, the latter makes him look insane and has him institutionalized. Belle sees her father with the enchanted mirror and the Beast barely gives a thought to letting her go. It’s a different approach that leaves no room for Chip as a stowaway. Belle confronts Gaston who convinces the mob that she’s under the Beast’s magic spell.

They ride off to kill the Beast and Belle is locked away with her father. Giving them time to talk about her mother. Without Chip, Belle and her father simply pick the lock. The final fight at the castle isn’t too different. Lumière, Cogsworth, and Mrs. Potts fight back in similar ways. Madame de Garderobe and Cadenza reunite as the former dresses a member of the mob who seems to like the makeover. Unlike the original, LeFou is redeemed when Gaston goes too far. He hunts the Beast in almost the same way. Except that Gaston shoots him in the back instead of stabbing him. Since the curse causes the castle to crumble, Gaston meets his death by falling from an unstable ledge. You’d think the Beast’s death in Belle’s arms would be just as emotional, but the enchanted objects becoming inanimate is a lot more tragic.

Agathe wanders inside the castle and is revealed to be the Enchantress. Belle professes her love and the Beast is revived as the handsome Prince that she kisses. It’s weird seeing every actor in person for the first time, but another welcomed change is giving the servants family members who lost their memory from the village. Mrs. Potts and Chip reunite with Mr. Potts and Cogsworth is reunited with his insufferable wife. Belle and the Prince enjoy one final ballroom dance as they live happily ever after. The seriously overblown “gay moment” that Bill Condon felt the need to announce months in advance, is just LeFou dancing with the wardrobe guy. It’s easily edited out and affects nothing, but the remake was still banned in several countries because of it. Beauty and the Beast (2017) grossed over a billion dollars regardless. Nostalgia helps and I was just happy to sing familiar songs in the theater.

Despite being auto-tuned, “Belle” has some nice choreography, but it doesn’t quite capture the grandness of Belle’s poor provincial town. “Belle” (Reprise) is about the same with a little less passion. “Gaston” is a great Disney villain song that’s a little too butchered with new lyrics. Gad gives it his all and Evans is no slouch, but they end up rambling a lot. The “Mob Song” is also a bit altered to fit LeFou’s character change. “Be Our Guest” is still a fine dining showstopper performed by Lumière with spectacular CGI visuals. “Something There” is almost exactly the same. “Beauty and the Beast” is as magical as its ever been, but Emma Thompson isn’t the best singer for the job. That’s why Audra McDonald takes over as part of the reprise. The signature song was also covered by Ariana Grande and John Legend for the music video.

As for the original songs, I’d be lying if I said they weren’t obvious Oscar bait. There’s a quick “Aria” for the opening ball scene performed by McDonald that I forgot about. “How Does a Moment Last Forever” is a sweet song that Kline performs well. The always exceptional Celine Dion returns to sing a cover during the closing credits. “Days in the Sun” is the new “Human Again” that I’d probably like better in another movie. The songs definitely start to pile up and I reached my breaking point after they gave the Beast his own power ballad after Belle leaves. “Evermore” is technically brilliant, but it just feels like a Broadway number. Save for a few nitpicks, Beauty and the Beast (2017) is one of the better live-action Disney remakes that holds a candle to an already perfect animated masterpiece.

Lumière makes Belle their guest

Live-Action Remake of: Beauty and the Beast (1991)

Love is Never Ugly

Beastly is what you get when you mix Beauty and the Beast with Twilight. Not only is it a modern day version of the classic fairy tale, Beastly is also a 2007 YA novel by Alex Flinn. Although she wrote several contemporary fairy tales, independent director Daniel Barnz and CBS Films only adapted that one book. Beastly is as bad as it sounds with all the cringy dialogue, awkward storytelling, and angst of The Twilight Saga. Like Twilight, I ended up seeing it as so bad it’s good after awhile. It helps that Beastly is only an hour and 26 minutes. Once upon a time, Kyle Kingson was an appearance obsessed rich kid from New York. Vanessa Hudgens is the beauty and Alex Pettyfer is the beast.

The story is from the beast’s perspective, but Pettyfer feels more like Gaston before the curse. Hudgens is the one with a personality even though Lindy Taylor’s obsession with romance is on the nose. An unrecognizable Dakota Johnson plays Kyle’s mean girlfriend Sloan and Erik Knudsen plays his equally shallow best friend Trey. In her last film role without Ashley, Mary-Kate Olsen plays the freaky goth witch Kendra who curses Kyle for making fun of her. Unlike the fairy tale or the book it’s based on, “the Beast” doesn’t have fur or fangs. Instead they go with a shaved head, piercings, facial scars, and a series of tattoos that would attract your basic emo kid. A white rose is involved, but a magic tattoo tells him how much time he has to find love.

Peter Krause is Kyle’s father who is so fixated on looks, he literally buys an apartment to dump his son in. Kyle spends most of his time brooding, but he is joined by LisaGay Hamilton as his foreign house maid Zola and Neil Patrick Harris as his blind scene stealing tutor Will. Kyle stalks Lindy until he seizes his chance to kidnap her. In this case, he makes a deal with her drug addict father to keep her safe from trouble in his apartment. He uses the name Hunter, hides his deformities, and tries to buy her love. Of course she looks past his appearance and seems to fall in love, but he still finds a way to screw it up. Until an anticlimactic declaration of love mixed with a clunky reveal where Kyle and Lindy live happily ever after. Although it’s best not to take it too seriously, Beastly embraces the suck.

Lindy comforts Hunter

The Beast Man

Beauty and the Beast (1962) is more B movie than classic fairy tale. Beauty and the Beast is a tale as old as time by French novelist Gabrielle-Suzanne de Villeneuve. Though the fairy tale has been told many times in many countries, the 1962 version is the first live-action English adaptation. It’s pretty forgotten since I knew nothing about it. Beauty and the Beast (1962) was shot in Technicolor, but it could easily be mistaken for a Universal monster movie. It ended up being the last B movie from director Edward L. Cahn. The romantic fairy tale is essentially turned into The Wolf Man with the prince only becoming a Beast every night.

Though legendary make-up artist Jack Pierce is as impressive as always, it’s hard to deny how much the Beast looks like the 1941 werewolf with thicker fur. Once upon a time, the Beast was forced to hide his curse in Italy instead of France. Unlike the fairy tale, Joyce Taylor is the beautiful Lady Althea who is already betrothed to the handsome Duke Eduardo played by Mark Damon. The fact that they already love each other kind of goes against the original message, but she does learn the truth and accepts him right away. Dayton Lummis plays Althea’s ever present father Roderick who arrives at the duke’s Castle without warning.

Eduard Franz is Chancellor Orsini who stays by the duke’s side as his only trusted friend. The rest of the Castle is sent away with their suspicions of evil happenings. Michael Pate is the duke’s villainous uncle Prince Bruno who plots to take the throne by exposing his secret. Merry Anders is his plotting princess Sybil and Walter Burke is his conniving spy Grimaldi. The love of a beautiful woman is still the way to break a sorcerer’s curse, but it doesn’t stop a weak minded mob from hunting the Beast. The curse is broken after a mere 77 minutes and they live happily ever after. Beauty and the Beast (1962) may fail to capture the fairy tale, but it’s a harmless monster flick.

Duke Eduardo carries Lady Althea

Million to One

Cinderella (2021) is everything I feared from a modern “Cinderella” retelling. Whenever Hollywood runs out of ideas, they just remake the classic fairy tale. I’m just glad the 2015 live-action Disney remake managed to stay traditional. Cinderella (2021) was an Amazon exclusive that gained viewership thanks to the Pandemic. The moment I saw the trailer, I knew I wanted nothing to do with it. Cinderella (2021) is as PC as they come, but it could’ve been worse. This version is purposefully anachronistic with cringy modern slang, pop songs, and a rapping town crier. This was directed by Pitch Perfect writer Kay Cannon after all. Making it a jukebox musical kept me singing along, but it feels manipulative and/or lazy. It doesn’t help that they use “Somebody to Love” just like the far superior Ella Enchanted. It was the first movie role for singer Camila Cabello who sings one of the few original songs called “Million to One.”

Although she’s the first Latino Cinderella, no one made a big deal of it. It’s only because of her fans that the movie was voted in the pointless Fan-Favorite Oscar competition. Cabello tries her best, but this is barely Cinderella. Once upon a time, Ella dreamed of nothing more than to be a dressmaker. That’s right, the most romantic fairy tale of all time doesn’t put love first. Idina Menzel also sings an original song as the not so wicked stepmother. Vivian treats Ella poorly, but she’s just another woman forced to give up on her dreams. Maddie Baillio and Charlotte Spencer are the stepsisters Malvolia and Narissa who aren’t mean enough to Ella. Vivian actually wants Ella to find a husband, but she only cares about opening a shop. Prince Charming is now a rebellious bad boy who doesn’t want to marry like most interpretations. Nicholas Galitzine is Prince Robert who falls for Ella after seeing her talk back to the King. Pierce Brosnsan thankfully doesn’t sing much, but King Rowan is treated like a blowhard. Minnie Driver is Queen Beatrice who wants as much power as her husband. As a result, Tallulah Greive is added as Princess Gwen who will obviously inherent the crown in the end.

Robert finds Ella at the market and has to convince her to go to the ball for business opportunities. As feminist as Cinderella (2021) is, it’s weird that the Fairy Godmother ended up being the gay cross-dressing Billy Porter. Porter is the especially cringy Fab G who turns a crate into a Carriage instead of a pumpkin. The footmen are transformed from Ella’s poorly rendered mice friends. You know it’s a bad sign when James Corden hijacks the movie with his unfunny B material. He’s accompanied by comedians James Acaster and Romesh Ranganathan. Ella’s white dress is eye-catching, but her glass slippers feel less special. Ella finds someone to sell dresses to and immediately tries to leave. The Prince finds her and they share a romantic dance. Until she declines his offer of marriage and royalty for her career. She leaves at midnight, but losing a glass slipper doesn’t seem to matter if she said no. As sloppy as it is, they still end up together when he renounces the throne and they don’t get married. It’s like Harry and Meghan without the royal wedding. I guess they live happily ever after, but this is supposed to be a fairy tale. Cinderella (2021) is like Cinderella (1997) if it didn’t respect the source material.

Cinderella’s wishes are granted by Fab G

Have Courage and Be Kind

Cinderella (2015) is the safest live-action Disney remake. After the success of Alice in Wonderland (2010), Disney decided to reimagine one of their oldest fairy tales. Though it mostly spoke to young girls, Cinderella (1950) is one of my most cherished animated Disney classics. Unlike Maleficent, I had no problem with a live-action remake. It’s not like there haven’t been several “Cinderella” adaptations made before and since. Disney already made an impression with the 1997 Brandy musical on TV. There was an attempt to turn the story into a swashbuckling adventure, but Disney avoided any radical departures.

Despite coming out in the middle of the 2010’s, Cinderella (2015) is refreshingly old fashioned. There’s a timeless quality to the movie that made it the best reviewed live-action Disney remake since The Jungle Book (1994). Mark Romanek left Cinderella (2015) like so many other projects, but Shakespearean director Kenneth Branagh proved to be a suitable replacement. Although my brother and I were enchanted by Cinderella (2015) when we saw it in theaters, its only weakness is how forgettable it ends up being…

Cinderella dances with her Prince Kit

Cinderella (2015) holds true to the classic fairy tale. All the teaser trailer needed to do was show her iconic glass slippers. The official trailer gave a lot away, but most children know the story already. Cinderella (2015) was another financial success for Disney. The studio took the opportunity to keep Frozen mania alive by attaching the animated short Frozen Fever. It’s an okay follow up, but I hope kids didn’t see Cinderella (2015) just for the short. Once upon a time, Ella lived a happy life with her loving mother and father. The original Cinderella (1950) was only 1 hour and 15 minutes. The additional 30 minutes are spent on backstory and character depth without complicating the story. Ella’s childhood is so sunny and perfect, it’s almost too cheesy.

Agent Carter herself Hayley Atwell briefly plays Ella’s mother who falls ill. In her final moments, she tells her daughter to “Have courage and be kind.” It’s a nice old fashioned moral for a Disney Princess who can’t fight back the traditional way. The role of Cinderella was offered to every young eligible maiden in Hollywood. It ended up being the first major role for up and coming star Lily James. James is absolutely beautiful with golden hair and a lovely smile that made her a Disney Princess come to life. Ben Chaplin is Ella’s father who asks his daughter’s permission to marry again. Similar to Kenneth Branagh’s Thor, the villain was cast before the hero. Cate Blanchett is given top-billing as Ella’s wicked stepmother Lady Tremaine. Unlike the truly wretched original, Blanchett is younger and given a sympathetic motivation. Though thankfully not as sympathetic as Maleficent.

Lady Tremaine overhears her new husband express more love for his daughter and late wife. It’s enough to make her understandably jealous and very subtlety manipulate Ella into living in the attic. Cinderella (1950) has more than enough classic songs for me to wish it was a musical, but their absence is understandable. Though Ella does briefly sing “Sweet Nightingale.” Like 101 Dalmatians, I expected Ella’s mouse friends not to talk. The mice are CGI and only make squeaking noises. Gus Gus is a pleasantly plump rodent, but Jaq is now the female Jacqueline for some reason. They’re also a family with babies named Teddy and Matilda. Lady Tremaine arrives with her daughters Anastasia, Drisella, and cat Lucifer. Lucifer is a trained cat, so don’t expect very many Tom & Jerry antics. Sophie McShera and Holliday Grainger only become the ugly stepsisters by acting obnoxious and wearing hideous dresses.

Lady Tremaine drops all pretense when Ella’s father dies unexpectedly on a trip. The household staff is let go and Ella is forced to work as their servant. She continues to be kind, but sleeping near the fireplace gives her the name Cinderella. Lady Tremaine plays along and denies her a seat at the table. Though it’s entirely within her power to run away, Ella stays to keep her mother and father’s memory alive. When she does ride off, she unknowingly runs into the Prince on a royal stag hunt. Like many interpretations, Cinderella has time to fall in love with Prince Charming before the ball. This time it’s only one scene between Ella and Prince Kit in the forest. Game of Thrones alumni Richard Madden is both handsome and charming. He claims to be an apprentice and Ella teaches him the importance of having courage and being kind.

Kit is given much more character development than the original Prince Charming, but they make the wise decision to keep the focus on Cinderella first. He has the usual goal to marry for love instead of royal obligation. Frequent Branagh collaborator Derek Jacobi is the much more levelheaded King. This version wants his son to marry a princess, but he’s also dying. Though the original Grand Duke was the voice of reason, Stellan Skarsgård is more antagonistic. Just not to the same extreme as King Stefan. Cinderella (2015) is set in a diverse kingdom, but Nonso Anozie is the only primary black character. The Captain is Kit’s closest friend who supports his decision to open the ball to everyone. Ella makes dresses for her stepsisters and stepmother. The mice help stitch together her mother’s pink dress so she can go to the ball.

The infamous moment where Lady Tremaine, Anastasia, and Drisella tear it apart is nowhere near as cruel as the original. Ella starts to give up hope, but she immediately shows kindness to a beggar woman. I’m not sure we needed the Beauty and the Beast disguise, but of course she’s her Fairy Godmother and the movie’s narrator. If Verna Felton voiced both the Fairy Godmother and Queen of Hearts, it only made sense for Helena Bonham Carter to play both live-action characters after already working with Branagh. Bonham Carter is strangely eccentric, but a caring enough guardian. A simple blue robe is replaced by a poofy white dress with fairy wings. Her wand is more detailed and she doesn’t say “Bibbidi-Bobbidi-Boo” as much as I’d like. The Fairy Godmother transforms a pumpkin into a carriage, mice into horses, lizards into footmen, and Mr. Goose into a coachman.

It’s easily the most kid friendly sequence in the movie with everyone retaining their animal features. The carriage is gorgeous and so are the Oscar nominated costumes. Cinderella’s magical dress transformation lives up to the original with a stunning blue dress with sparkling glass slippers made with crystal. Though her hair is worn down instead of up. She’s given the usual warning about midnight, but the Fairy Godmother includes a spell that will keep her from being recognized. Ella arrives at the ball with Kit only having eyes for her. They share a romantic dance in the enormous ballroom. They spend more time getting to know each other, but the clock strikes before they can kiss. Ella has time to tell the King how much his son cares for him and she loses her slipper a second time. The spell wears off with Ella bursting out of the pumpkin and holding onto her memory of the night.

The Grand Duke promises another Princess to the King and Lady Tremaine uses the information to her advantage. She discovers Ella’s secret and smashes the other slipper the way her dreams have been shattered. When Ella refuses to give her authority in the kingdom, she locks her up and makes a deal with the Grand Duke. After the King’s tragic passing and heartfelt final words, Kit searches for the woman who fits the slipper. It’s another comedic sequence that ends with the stepsisters. The Grand Duke tries to leave, but the Captain shows his loyalty by finding Ella upstairs. I’m not sure how I feel about Ella singing and dancing to herself instead of trying to escape.

At least the mice still save the day by opening a window. Kit reveals himself and Ella embraces the name Cinderella. Her stepsisters redeem themselves by apologizing, but Cinderella is the one who forgives Lady Tremaine. Although they don’t ride off in a carriage, Cinderella and Prince Kit are married and live happily ever after. The song during the credits is the serviceable “Strong” by Sonna Rele. If you want to hear Lily James singing “A Dream is a Wish Your Heart Makes” or Helena Bonham Carter singing “Bibbidi-Bobbidi-Boo,” I strongly recommend listening to the soundtrack. Cinderella (2015) is a rare wish come true in the trend of Disney live-action remakes.

Cinderella leaves her carriage

Live-Action Remake of: Cinderella (1950)

It’s Possible

Cinderella (1997) is the most ethnically diverse fairy tale ever put to screen. Based on the 1957 television musical from Rodgers and Hammerstein that was originally written for Julie Andrews. It was remade in 1965 with Lesley Ann Warren. Only after the success of a 90’s TV musical remake of Gypsy did Whitney Houston herself seek the role of Cinderella based on the musical. Cinderella (1997) was enough to revive The Wonderful World of Disney on ABC. Becoming the most viewed and most expensive TV musical at the time. The costumes are elaborate and very colorful with sets filmed on famous lots. Yet my brother and I never grew up watching it or even knowing about it. I’d say it was underrated, but it’s been frequently praised by modern viewers. Though I wish it wasn’t used as an excuse for forced diversity today.

As unlikely as it might’ve been at the time, producers were on board with color-blind casting from the start. Once upon a time, a black Cinderella was forced to work for her white wicked stepmother, and black & white ugly stepsisters. Cindy is technically the first version of “Cinderella” with a black lead, but Brandy is the first black Cinderella. The 90’s pop star was granted the role by her real life Fairy Godmother. Houston aged out of the role and gave her young fellow singer the chance instead. Brandy is adorable and innocent as Cinderella, but she does dream of independence. I wouldn’t exactly call it feminist despite attempts to modernize the fairy tale. Prince Charming has similar aspirations beyond finding a princess. Though it’s not the first time a prince wanted to make his own decision to fall in love. First time Filipino actor Paolo Montalban plays Prince Christopher who first meets Cinderella in disguise at a marketplace.

Their love feels genuine, but Cinderella is pulled away by her stepmother played by Broadway singer Bernadette Peters. Peters is comical without giving up her coldness. Veanne Cox is the tall snorting Calliope and Natalie Desselle-Reid is the stout scratching Minerva. Together they’re mean to Cinderella, but are open to her feelings about love. Christopher is the Asian son of a black mother and white father with no explanation needed. Whoopi Goldberg is Queen Constantina who wears very real expensive jewels and desperately wants her son to get married. Victor Garber is King Maximillian who lets his son make his own decision on the matter. Jason Alexander was added for the sake of comic relief. Lionel is a hapless valet who handles preparations for the ball. Houston magically appears before Cinderella as her Fairy Godmother. Despite the limited part, Houston commits to the kid friendly role and childish rhyming. The Fairy Godmother empowers Cinderella with a pumpkin carriage, mice turned horses, and a glamorous blue dress similar to the animated Disney version.

The dance at the ball is very romantic, but Cinderella leaves her glass slipper behind at midnight. Christopher doesn’t recognize his true love even when he joins Lionel in finding who the shoe fits. Their reunion is as cute as their initial meet-cute and they live happily ever after. As a musical, Cinderella (1997) is filled with Rodgers and Hammerstein songs. Most are from the original broadcast, but three are added from other musicals. “The Sweetest Sound” is a much needed duet, “Falling in Love with Love” gives Peters a chance to sing, and “There is Music in You” gives Houston a showstopper. “The Prince is Giving a Ball” is just a silly song for Alexander. “Stepsister Lament” is just as much fun for the stepsisters. “Ten Minutes Ago,” “Do I Love You Because You’re Beautiful,” and “A Lovely Night” all serve the same purpose. “In My Own Little Corner” may be Cinderella’s solo number, but I prefer the signature song “Impossible – It’s Possible.” Although I wouldn’t call it a cinematic landmark, Cinderella (1997) proved it was possible for a diverse princess to make an impact.

Cinderella rides her carriage with her Fairy Godmother

Suddenly it Happens

The Slipper and the Rose: The Story of Cinderella gives the classic fairy tale the epic musical treatment. It’s certainly the most British Cinderella movie I’ve seen with a respectable English cast directed by Bryan Forbes. The Oscar winning Sherman Brothers give it a certain prestige with songs that fill the extended runtime. They were nominated for Best Original Score and Original Song – “He/She Danced with Me.” The Slipper and the Rose is one of the longer “Cinderella” adaptations at 2 hours & 22 minutes. It sounds difficult to stretch out such a simple story, but Cinderella and her charming Prince are given equal screen time. Once upon a time, Prince Edward returned to the kingdom of Euphrania. Richard Chamberlain is first seen as the Prince who wants to marry for love. He’ll risk plunging his kingdom into war if it means not agreeing to a marriage of alliance.

Some time is spent on Michael Hordern and Lally Bowers as the King and Queen who try to convince him otherwise. The amusing Edith Evans couldn’t care less as the senile Dowager Queen. Kenneth More is the Lord High Chamberlain who keeps the law no matter what. Julian Orchard is Edward’s cousin the Duke of Montague that no one wants around. Christopher Gable is Edward’s good friend John who shares in his romantic plight. Cinderella only has one moment to see the Prince before the ball. The beautiful Gemma Craven had her own “Cinderella” story when she was discovered by a producer. Cinderella is kind, but she lets her wicked stepmother and ugly stepsisters know exactly what she thinks of them. After 2 decades, Margaret Lockwood made her cinematic return as one of the more unlikable stepmothers. Rosalind Ayres and Sherrie Hewson are almost as bad as her stepsisters Isobella and Palatine.

Cinderella is forced to live in the cellar as a servant, but the Fairy Godmother arrives just in time. Annette Crosbie is a no-nonsense Mary Poppins type who acknowledges other fairy tale characters that she’s helped. She also gives Cinderella a dog to keep her company. Cinderella’s fancy white dress and powdered wig are a dream come true. Dancing mice become horses and a frog becomes a coachman. The waltz between Cinderella and Prince Edward is enough to convince me of their love. Though midnight arrives and Cinderella loses her glass slipper, they find each other again after 3 months of searching. You’d think it would end there, but you feel the length when Cinderella is told not to marry the Prince due to the aforementioned alliance. The Fairy Godmother steps in again just to change the law. Only at the wedding are they able to finally live happily ever after. While unnecessary at times, The Slipper and the Rose does a fine job expanding a fairy tale romance.

Cinderella and Prince Edward embrace

Let Me Be a People

Cinderfella is more than a gender swapped Cinderella. It’s really just a showcase of comedian Jerry Lewis. Paramount counted on its success and demanded another movie when Lewis pushed it back to Christmas. Lewis does his hapless shtick and gets plenty of laughs, but some jokes linger too long. Once upon a time, Fella was treated like a servant after his father died. He considers “persons” to be important and believes he’ll never be more than a “people.” He sings songs like “Let Me Be a People” since Cinderfella has occasional musical numbers. Jazz pianist Count Basie even makes an appearance at the ball.

Ugly stepsisters are replaced by uptight stepbrothers, but the wicked stepmother is left unchanged. I guess an overbearing stepmother is funnier than a stepfather. Judith Anderson is a controlling stepmother, but she does find redemption. Henry Silva and Robert Hutton are Maximillian and Rupert who pretend to be nice just to get Fella’s fortune. It only gets complicated when Fella’s Fairy Godfather shows up played by goofball Ed Wynn. Since Cinderfella takes place in modern day, the Fairy Godfather says the fairy tale of “Cinderella” is real and brings her to prove it.

Apparently he wants men to have what women have by having a princess fall for an ordinary guy. The Italian American Anna Maria Alberghetti is the beautiful Princess Charming. At the ball, Cinderfella wears a nice red suit and has distinguished grey hair. His shoe is left behind and his car and driver turn into a bike and fish at midnight. Despite only sharing a dance, the princess declares her love for Fella and he pushes her away. They only live happily ever after when he comes to his senses. Cinderfella should’ve been tightened up a little more to warrant the gender reversal.

Fella dances with Princess Charming