Easter Day with You

Springtime with Roo brings Easter to the Hundred Acre Wood. Unlike Seasons of Giving or A Very Merry Pooh Year, Springtime with Roo is entirely original without reusing TV specials or episodes of The New Adventures of Winnie the Pooh. Like The Tigger Movie and Piglet’s Big Movie, the animation is really good, but it was another direct-to-video Disney release. We also return to the traditional opening of the book. Though we see Christopher Robin’s bedroom, he’s just as absent as Owl. It’s actually David Ogden Stiers who takes a much more active role as the narrator. Like Tigger in his own movie, Roo bounces out of the book and asks about the story.

A very young Jimmy Bennett takes over as the voice of the rambunctious Roo. He tells Kanga how excited he is for the Easter egg hunt and celebration. Pooh looks forward to his special honey pot, Piglet wants his pink Easter basket, Tigger has a stripedy egg, and Eeyore loves his fluffy bunny ears. Although Roo’s name is in the title, Rabbit is the true main character. This is an Easter story after all and he would be the Easter Bunny. Except Rabbit replaces Easter with spring cleaning since he wants nothing to do with the holiday. Springtime with Roo is an obvious Easter themed take on A Christmas Carol. Rabbit is the perfect Scrooge and Roo fits the role of Tiny Tim.

Tigger literally takes Rabbit earlier in the book where he shows him Roo’s first Easter. Rabbit is far too organized and no one has fun until Tigger steps in. Making Rabbit feel unwanted and Roo hoping to help him find his Easter spirit doesn’t help. In an interesting twist, the narrator takes Rabbit to unwritten pages where the entire Hundred Acre Wood has moved away. Rabbit has a change of heart and gives Roo and friends the best Easter ever. Songs like “The Way it Must Be Done” and “The Grandest Easter of Them All” belong to Rabbit. “Sniffly Sniff” is just for Pooh. “We’re Hunting Eggs Today” and “Easter Day with You” belong to everyone. Springtime with Roo feels like Spring.

Pooh and friends try to celebrate Easter with Rabbit

If I Wasn’t So Small

Piglet’s Big Movie is bigger than a small animal could ask for. After the success of The Tigger Movie, Disney decided to give another classic Winnie the Pooh character the spotlight. Though he was left out of Winnie the Pooh and the Honey Tree, Piglet found his voice as Pooh’s often fearful best friend who’s braver than he thinks. Although my dad took my brother and I to see The Tigger Movie, the chance of seeing Piglet’s Big Movie was unlikely. It’s one of two Disneytoon Studios movies released in theaters after The Jungle Book 2. Once again the animation is better than most direct-to-video movies without sacrificing its simplicity. Unlike most Winnie the Pooh movies, we don’t get a book or a narrator. The theme song is played in the Hundred Acre Wood from Piglet’s perspective. John Fiedler finally gets top-billing, but Piglet doesn’t get all the attention.

Piglet starts to feel left out for being so small. Pooh, Tigger, Rabbit, and Eeyore all ignore him when he helps them retrieve honey from a swarm of bees. Piglet goes off on his own and his friends try to find him using his scrapbook. Although Owl returns after his absence in A Very Merry Pooh Year, he’s only around to ramble. Pooh, Tigger, Rabbit, Eeyore, and later Roo are the ones searching. Piglet’s Big Movie isn’t an anthology, but many flashbacks feel like short stories. All of which are based on stories from Winnie-the-Pooh and The House at Pooh Corner. The first story concerns Kanga & Roo moving in for the first time. Rabbit is paranoid, but Piglet reluctantly agrees to discover their intentions. Roo is swapped with Piglet who gets a motherly bath from Kanga. It’s an odd scene, but it is nice to see the origin of two underappreciated residents. The second story concerns Christopher Robin leading everyone on an expedition to the North Pole. Roo ends up floating down the river and Piglet is the one who rescues him. It’s a good hero moment even though the stick gets the credit.

The third story concerns the titular house at Pooh Corner that Pooh and Piglet built for Eeyore. Tigger and Christopher Robin are also involved, but Pooh brands the house despite Piglet doing most of the work. Rabbit and Tigger have a rare fight that causes them to lose the scrapbook. Though they draw their own memories for Piglet, they still try to save the book. The climax is Pooh nearly falling off a log into the river, but Piglet arrives just in time to save the day. Finally giving him the respect he deserves. After her previous contribution, Carly Simon replaces the narrator to sing Piglet’s innermost thoughts. “If I Wasn’t So Small” is Piglet’s anthem. “Mother’s Intuition” is mostly for Kanga. “Sing Ho for the Life of a Bear” is a fun number for the entire cast. “The More It Snows (Tiddely-Pom)” is a bit cheesy, but it’s for Pooh and Piglet. “With a Few Good Friends” is sung during the house building montage and oddly enough, Carly Simon appears in person during the end credits to sing it. Piglet’s Big Movie should be d-d-d-dear to any fan’s heart.

Piglet is surprised

Snow Snows

A Very Merry Pooh Year brings festive cheer to the Hundred Acre Wood. After the theatrical Tigger Movie, Disney went back to making direct-to-video Winnie the Pooh movies. Like Seasons of Giving, A Very Merry Pooh Year is an original movie that includes a TV special. It begins with the traditional Winnie the Pooh theme song, Christopher Robin’s bedroom on a winter night, and the opening of a book narrated by Michael York. Pooh sets up his Christmas tree inside a honey pot and tries to hide his present for Piglet. Piglet, Tigger, Eeyore, Rabbit, Kanga & Roo gather together to celebrate Christmas Eve. Unfortunately, Owl is completely absent and replaced by Gopher. Despite being annoyed by Tigger’s jingly bells, Rabbit tells the story of a Christmas where Santa almost didn’t come.

Like A Winnie the Pooh Thanksgiving, the 1991 TV special Winnie the Pooh and Christmas Too is incorporated into the movie. Since it was modeled after The New Adventures of Winnie the Pooh, the animation is cleaned up and Rabbit is yellow instead of greenish. Christopher Robin’s American voice actor is also replaced by his British one. Pooh, Piglet, Tigger, Eeyore, and Rabbit tell Christopher Robin what they want for Christmas. The latter wants a sled, Rabbit wants a new fly swatter to keep away pesky bugs, Tigger wants a snow shoe for snow bouncing, Eeyore wants an umbrella to protect his house, and Piglet wants whatever. Though he requests honey for everyone, Pooh technically doesn’t ask for anything. Pooh and Piglet try to retrieve the letter and end up asking for more. When they fail to send the letter in time, Pooh dresses up as Santa and delivers inferior gifts. It’s a kind gesture, but the real present is being together. Christopher Robin returns with their presents anyway. The real story continues with Pooh once again dressed as Santa to exchange gifts.

Christmas Day is filled with jingly bells and Pooh forgetting Piglet’s present. Christopher Robin tells Pooh about New Year’s Eve and most of the focus is on Rabbit protecting his carrot. Rabbit decides to leave if his friends don’t change. My favorite part of the movie is Pooh, Piglet, Tigger, and Eeyore essentially swapping personalities. To avoid being afraid, Piglet bounces like Tigger. To avoid bouncing, Tigger becomes as afraid as Piglet. To avoid feeling gloomy, Eeyore becomes disturbingly happy eating honey like Pooh. To avoid eating honey, Pooh becomes as gloomy as Eeyore. With Christopher Robin’s help, Rabbit realizes he was wrong to expect everyone to change. They all celebrate New Year’s in the end and Pooh finally finds his present for Piglet. Many songs are holiday standards like “Jingle Bells” and “Auld Lang Syne.” Carly Simon sings the theme song. “Snow Snows” is a simple winter tune, “Happy Pooh Year” is just as joyful, and “Hunny, No Not For Me” speaks for itself. A Very Merry Pooh Year is very merry indeed.

Pooh and friends in the snow

The Wonderful Thing About Tiggers

The Tigger Movie is Tiggerific! Aside from Winnie the Pooh himself, Tigger is the very best character from the Hundred Acre Wood. Giving him his own spin-off is a no-brainer. Although intended to be another direct-to-video Disney movie, The Tigger Movie was surprisingly given a theatrical release. Former Disney CEO Michael Eisner saw the potential when the Sherman Brothers provided original songs for the first time in 28 years. The Tigger Movie was a rare Disney Television Animation movie that my dad actually took my brother and I to see in theaters. Since I was 4 at the time, my memory was kind of fuzzy. The Tigger Movie opens much like The Many Adventures of Winnie the Pooh with Christopher Robin’s live-action bedroom and book narration from John Hurt. Until Tigger interrupts requesting his own movie.

Though the animation is just as simple and sketchy as it’s always been, you can tell it was released in theaters. Tigger is as bouncy and high energy as ever. Original voice actor Paul Winchell was set to return, but Jim Cummings officially took over in addition to voicing Pooh bear. All Tigger wants is someone to bounce with, but Pooh, Piglet, Eeyore, and Kanga are all busy. Though child voice actor Nikita Hopkins didn’t have much to do in Seasons of Giving, Roo really shines in The Tigger Movie. Roo looks up to Tigger like a big brother and wants to bounce with him. When Eeyore’s house is destroyed for the umpteenth time, Rabbit yells at Tigger for making things worse. The movie centers around Tigger trying to find a Tigger family from his family tree. When no one answers his letter, Owl writes a letter with the help of Pooh, Piglet, Eeyore, Kanga & Roo. Rabbit is more concerned with preparing for winter. When Tigger prepares for a family gathering, everyone tries to cheer him up by dressing like Tiggers.

It’s a sweet gesture, but Tigger says “TTFN” when he learns the truth. Rabbit finally tries to help by leading a team to find him in a snow storm. The climax is a terrible avalanche that requires a super duper bounce from Tigger and Roo. Christopher Robin arrives to help Tigger realize he isn’t the only one after all. Ending with the heartwarming realization that the Hundred Acre Wood is his real family. Of course Tigger’s signature song “The Wonderful Thing About Tiggers” is front and center. “Someone Like Me” is a sadder anthem, but “Whoop-De-Dooper Bounce” is bouncy and fun. “Pooh’s Lullabee” is a bit of a non sequitur when Pooh tries to find Tigger’s family in a honey tree. “Round My Family Tree” is filled with pop culture references in Tigger form. Though not as inappropriate as using “Semi-Charmed Life” in the trailer. “How to Be a Tigger” brings everyone together to understand what makes Tigger bounce. “Your Heart Will Lead You Home” is a nice Kenny Loggins song for the closing credits. The wonderful thing about The Tigger Movie is that it’s the only one.

Tigger bounces

Berrily We Roll Along

Seasons of Giving is a seasonal treat for Winnie the Pooh fans. Although I would hardly call the direct-to-video Disney offering a movie. It’s really 2 episodes of The New Adventures of Winnie the Pooh, a TV special, and at least one brand new segment. Along with archive clips from The Many Adventures of Winnie the Pooh and Pooh’s Grand Adventure. Seasons of Giving is loosely tied together with Laurie Main narrating a book in a computer animated intro set to the Winnie the Pooh theme song.

Groundpiglet Day – The first episode is set during Groundhog Day. Although it’s actually November, Rabbit’s calendar mistakenly reads February 2. Pooh, Piglet, Tigger, and Rabbit first go to Gopher, but he’s no help. So they dress Piglet up like a groundhog and he doesn’t see his shadow. When it snows, Rabbit learns his mistake and apologizes to Piglet. It’s a harmless episode that sets the winter mood.

A Winnie the Pooh Thanksgiving – The middle segment is the Primetime Emmy nominated TV special A Winnie the Pooh Thanksgiving. The Hundred Acre Wood gathers together for their own makeshift Thanksgiving dinner with honey and acorns. Until Rabbit steps in to request a more traditional feast. Pooh and Piglet search for a turkey, Tigger and Eeyore hunt for cranberries, and Owl cleans the dishes. Unfortunately, the special has a little too much Gopher in it. He’s the one making the pumpkin pie. Of course everyone messes up, but they all learn the true meaning of Thanksgiving with Christopher Robin joining them.

Find Her, Keep Her – The last episode includes a new wraparound segment. Pooh, Piglet, Tigger, Eeyore, Rabbit, Owl, Kanga & Roo all celebrate Christmas together. Rabbit tells the story of how he rescued and raised a baby bird named Kessie. “Find Her, Keep Her” is one of my favorite New Adventures of Winnie the Pooh episodes. I love when an uptight character shows compassion. Rabbit learns to love the adorable Kessie, but he is overprotective. Pooh, Piglet, Tigger, and Owl help her learn to fly south for the winter. Though they sadly say goodbye, Kessie returns in time for Christmas along with Christopher Robin.

In conclusion, Seasons of Giving does well enough with several different forms of Winnie the Pooh media. Though it is very inconsistent with Saturday-morning cartoon quality, TV special quality, and late 90’s quality animation. The voice cast is also inconsistent in the newer segment compared to older episodes of the show. My brother and I didn’t mind when we first watched Seasons of Giving long ago. Songs include the titular “Seasons of Giving” heard between segments. “Hooray, Hooray,” “The Turkey Song,” “Berrily We Roll Along,” and my personal favorite “Our Thanksgiving Day” are all part of A Winnie the Pooh Thanksgiving. Seasons of Giving gives plenty to keep kids invested.

Pooh and friends dress warm

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)

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

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

Love is the Magic

Cindy is the first black “Cinderella” movie. It’s the one people forget about, because it first aired on TV in 1978. The same year The Wiz was released in theaters with an all-black cast. Cindy came first, but The Wiz was already a Broadway musical. The only copy of the movie I was able to find is a low quality version on YouTube. The humorous tone is set right away with a narrator saying Cindy is a rip-off of “Cinderella.” James L. Brooks was a producer and co-writer. It’s technically a musical, but aside from an ever present jazz band, most songs come out of nowhere. Once upon a time, Cindy moved from South Carolina to Harlem in the middle of World War II.

Charlayne Woodard had her Cinderella moment when Cindy became her first role. Cindy is a good girl who stands up for herself. Unlike most interpretations, Cindy’s father is still alive. Scoey Mitchell is her hardworking father who doesn’t always stand up for her. Allowing her wicked stepmother and ugly stepsisters to make her life difficult. Mae Mercer is Sara Hayes who doesn’t hide what she is, but she’s not a monster. Nell Carter and Alaina Reed Hall are her bratty daughters Olive and Venus. The ball is the Sugar Hill Ball that Cindy can’t go to without a dress. Cindy is more grounded when it replaces a fairy godmother with a cab driver.

Cleavant Derricks is Cindy’s poor neighbor Michael Simpson who lends her an expensive dress that she has to return by midnight. Cindy looks lovely in a white dress with flowers in her hair. Prince Charming is replaced by a handsome soldier named Captain Joe Prince played by Clifton Davis. They dance and fall in love, but this time it’s a sneaker that she loses. So Prince hires an eccentric detective who finds Cindy with Michael’s help. I expected a fairy tale ending, but I’m not sure how to feel about Michael suddenly showing love for Cindy and her choosing him instead. Despite Michael enlisting, he and Cindy live happily ever after. Cindy is worth seeking out.

Cindy at the ball

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