Starring Camilla Cabello, Idina Menzel, Nicholas Galitzine, and Billy Porter
Directed by Kay Cannon
Music and Lyrics by various
The Cinderella fairy tale goes back thousands of years and has been told in dozens of variations across the globe. It remains one of the most adapted stories in every media, including film. In the 1920's, inspired by the success of the show Sally, there was a wave of modern Cinderella stories, where shop girls and waitresses married the rich Long Island boy of their dreams and became a musical star. While this version returns to the original French fairy tale setting, the songs and dreams of the title character are both very modern...and harken back to those Broadway dreamers who hoped to become stars. How much does it differ from other versions? Let's start in the main town square as the townspeople go about their day...to the tune of "Rhythm Nation"... and find out...
The Story: Cinderella (Cabello) lives outside of town with her nasty stepmother Vivian (Menzel) and her two daughters. Ella wants nothing more than to own a dress shop and sell her creations, but women aren't encouraged to do anything in the kingdom but look pretty. She comes to the square to sell a dress and catches the eye of Prince Robert (Galizine), who is there disguised as a peasant. He noticed her spunk and wit earlier when she perched on a statue of King Rowan (Pierce Bronsonan) to see the changing of the guards and buys her creation when everyone else mocks her.
She's elated and uses the money he gave her to make a dress of her own. Rowan's holding a ball for his reluctant son to find a bride. He wants him to be king, but Rowan's not interested. His sister Gwen (Tallulah Grieve) is interested and has many ideas, but her father ignores her. Ella's stepmother already promised her to a local farmer (Rob Beckett), but Ella really wants to show off her creation to the world. She'll get her chance with the help of her Fabulous Godmother (Billy Porter)...and show how powerful getting your voice out there can be.
The Song and Dance: And song and dance are the operative words. This is a gorgeous fairy tale stuffed full of songs ranging from Janet Jackson to The White Stripes and Queen, along with new music written by director Cannon and Cabello, among others. Cabello is a charming and witty Cinderella, sharp and funny when telling off the royals at the guard-changing ceremony, adorably awkward at the ball. Menzel more than matches her as the seemingly harsh stepmother who thinks that pushing her daughters into marriage is the best thing for them. Driver and Bronsonan have a great time as the King who relishes his power...and the Queen who wants her voice to be heard, too. The costumes and sets are appropriately brilliant and colorful, especially the stunning, swirling gowns at the dance. Love the special effects when the Fabulous Godmother brings white petals swirling around and turns Ella's mice into footmen.
Favorite Number: We open with a medley of "Rhythm Nation" for the peasants in the square as they describe their lives and "You Gotta Be" for Cinderella as she works on her dresses with her mouse friends. Ella also gets one of the songs written for the film, "Million to One," her explanation in the town square as to why she wants a business of her own, is one of two new songs written for the film. Robert tries to explain to his friends why he just wants "Someone to Love" in a swirling dance in the palace. Meanwhile, Vivian proudly proclaims she's a "Material Girl" while doing laundry with her daughters who would rather marry a rich man...and expects all her children to do the same.
"Shining Star" is Porter's big number with the excellent special effects as his magic transforms Ella from hoping drudge with sassy mouse friends into beautiful designer with sassy footmen. "Whatta Man/Seven Nation Army" is one of the two ball numbers, as the stepsisters and the other hopeful women of the court try their best to impress Robert; "Perfect" is his big romantic duet with Ella, first twirling on the dance floor, then at the piano as she admits she's a commoner. "Dream Girl" is Menzel's own composition, as she reveals to her stepdaughter why she's so hard on her.
What I Don't Like: This isn't that far removed from Roller Boogie. It's cute, but really campy, especially in some of the wilder numbers like the "Whatta Man" medley and the opening sequence. While I appreciate the message about women's choices and the power of following our dreams and making our voices heard, it's put across with all the subtlety of a sledgehammer. It's not for you if you're looking for a more traditional "little girl sitting by the hearth" story. And frankly, I sort of agree with King Rowan on his son. Galitzine can sing well, but he comes off as a bored and fairly uninteresting slacker with little personality beyond not wanting to be king.
The Big Finale: It's no masterpiece, but you can do a lot worse if you have older kids who love princess stories or recent pop music or musicals. Check it out at least once with your favorite young royal.
Home Media: It's an Amazon Prime exclusive at the moment.
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