Cinderella (2021) movie review: from the ashes…

part of my Directed by Women series
MaryAnn’s quick take: Fairy tale goes jukebox musical with a feminist, gender-fluid spin. Throws irony and sarcasm at heterosexuality, patriarchy, even monarchy. Pretty darn fun, with a sweetly spunky Ella in Cabello.
I’m “biast” (pro): some great faces in the cast
I’m “biast” (con): do we really need another retelling of this story?
(what is this about? see my critic’s minifesto)
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Did we need another Cinderella movie? Disney’s live-action reboot of its own classic cartoon is only six years old… and as I wondered back in 2015: Why are we still telling this story? Even if we had, as a culture, embraced the dark version the Brothers Grimm told us, we wouldn’t need to keep reupping it. But we sure as hell do not need more of the version we keep getting: “fantasies” about acquiescent-doormat young women who endure abuse with equanimity. We sure as hell do not need to be filling the heads of girls with any more “some day my prince will come” nonsense. Be your own prince, girls. Save yourself.

But then I saw Kay Cannon’s take on the fairy tale, and — huh — turns out I am here for it. The Pitch Perfect creator has, perhaps unsurprisingly, reimagined Cinderella as a karaoke jukebox musical, with hints of Moulin Rouge! and The Greatest Showman abounding. It’s not anywhere near as good as those cinematic gifts, alas, but it’s pretty darn fun. And Cannon gives the old story a feminist spin. It doesn’t quite reach the progressive finish line that it might have — I mean, it’s all right there, the movie just had to have the guts to go for it. But this Cinderella is still infinitely better, infinitely more than I ever could have hoped for.

Cinderella Camila Cabello Charlotte Spencer Idina Menzel Maddie Baillio
TFW you really don’t belong in this family…

Pop star Camila Cabello — a Cuban-Mexican-American Cinderella, hooray! — is adorable and full of sweet spunk as this latest Ella, put-upon stepdaughter and stepsister who, despite the fact that she must live in the basement with the ashes and the mice, retains an all-singing, all-dancing hope for a better life. But her hope has nothing to do with marrying a prince — or marrying anyone, for that matter — and thank god. Instead, she is an aspiring dressmaker, with dreams of opening her own shop in the village someday, even though women aren’t supposed to go into any sort of business in her world. (Her duet with her own imagined successful future self is rather nice.) Ella spends her days sketching out dresses and mocking them up as best she can with the scraps of fabric she can get her hands on. Here I dared to dream: When it came to the going-to-the-ball bit, would she — *gasp* — turn out to be her own fairy godmother?

And… that does kind of happen. True, she gets a magical assist from her, ahem, Fabulous Godmother (Billy Porter [Like a Boss, Noel], a treasure as always), but it really is just an assist… and it wouldn’t have even been needed if not for the cruel intrusion of her stepmother, Vivian (Idina Menzel: Frozen II, Uncut Gems), on Ella’s plans for the ball.

Cinderella Billy Porter
Where can I get my own Fabulous Godmother, please?

So the bones of the Cinderella story are here, but Cannon — with her second feature as director, after 2018’s unexpectedly sex-positive Blockers — has a ball, no pun intended, waking it up. (Yes, sorry, people who fear change: this Cinderella is woke.) Almost all the romantic and plaintive songs end up sounding either ironic, sarcastic, or at least winking, undercutting the performative heterosexuality and the patriarchal normativeness of those bones. Even the notion of monarchy gets smacked! There are inescapable suggestions of real-life prince-on-the-run Harry Windsor in Prince Robert (Nicholas Galitzine).

This is a funkily gender fluid fairy tale in which Robert’s sister, Gwen (Tallulah Greive: Locked Down), dresses more like her brother than you’d expect from a princess as she agitates for a seat at the table of power, literally and figuratively, in order to enact her own modern ideas for the kingdom. Robert’s best friend, Count Wilbur, is played by a trans actress (Jenet Le Lacheur). And even Vivian and her daughters, Ella’s stepsisters Narissa (Charlotte Spencer: Les Misérables, Dark Shadows) and Malvolia (Maddie Baillio: Dumplin’), are not so much evil but frustrated by how they are constrained by the expectations and limitations placed on them as women. Their joint performance of perhaps one of the most famous pop songs of the past 40 years is, well, pitch perfect for this retelling.

Cinderella Minnie Driver Pierce Brosnan
It’s good to be the queen… or even the king.

I could have done without the screeching annoyance of James Corden (Peter Rabbit 2, Trolls: World Tour) as a mouse transformed into one of Ella’s carriage footmen, but his presence is more than made up for by Pierce Brosnan (No Escape, Survivor) and Minnie Driver (Beyond the Lights, I Give It a Year) hamming it up as the king and queen, and by Ben Bailey Smith (Nowhere Boy, Doctor Who), also known as rapper Doc Brown, as the town crier, whose performances with his backup band are redolent of Beyoncé’s Homecoming.

I did spend the whole movie wondering, Gosh, this won’t possibly go there, will it? And if this Cinderella doesn’t get to all of the enlightened places it might have, it does get to some of them. An Ella who goes to the royal ball not to enchant a prince but in the hopes of networking for business prospects? I have to love that.

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Lisa
Lisa
Sun, Sep 05, 2021 12:29am

So what was the “progressive finish line” that it might have reached but didn’t?

MaryAnn Johanson
reply to  Lisa
Sun, Sep 05, 2021 1:24pm

Adding some text here so the spoilers don’t show up in the recent-comments listing…

Wait for…

About to write something now…

Okay, here we go:

Ella could have married Gwen and the two of them could have implemented sweeping progressive changes throughout the kingdom. And the prince would have realized he was in love with Wilbur — as Wilbur clearly is with him — and they’d end up together.

bronxbee
bronxbee
Mon, Sep 06, 2021 6:07pm

you probably haven’t seen this commercial, but, even though it’s for amazon, it has amused me:

https://www.ispot.tv/ad/OhNC/amazon-prime-rapunzel-doesnt-need-a-prince

hope you can see it.

MaryAnn Johanson
reply to  bronxbee
Thu, Sep 09, 2021 10:42am

LOL, that’s great.

Mal Amal
Mal Amal
Thu, Sep 09, 2021 2:32am

That’s the most delusional review of a movie I have ever read. It was trash; seven year old girls who found it cringey are more sophisticated that this hack.

MaryAnn Johanson
reply to  Mal Amal
Thu, Sep 09, 2021 10:43am

Insults are not an argument. Why don’t you explain what you didn’t like about the movie?

Mal Amal
Mal Amal
reply to  MaryAnn Johanson
Thu, Sep 09, 2021 11:46pm

I think this woman explains it very well, and may be more palatable. For me and my daughters, we find the “girl boss” feminism annoying, but other than that, the songs were horrible, the dialogue is pathetic, the story’s revision loses all its emotional impact compared to the original, and it’s just a stupid movie. https://www.digitalspy.com/movies/a37497024/cinderella-review-feminism/

Danielm80
Danielm80
reply to  Mal Amal
Fri, Sep 10, 2021 6:40am

I fundamentally disagree with this line:

Hollywood feminism means women can’t be villains, so Vivian is given a reason for her cruel behaviour, however misguided it may be.

The argument shows up often enough that I gave it its own square on the 2017 Bingo card, I 2:

https://www.flickfilosopher.com/2017/11/film-review-comment-bingo.html

I’m less interested in women who are villains or heroines than women who are simply people. See, among many other essays on the topic:

https://www.nytimes.com/2011/07/03/magazine/a-plague-of-strong-female-characters.html?referringSource=articleShare

MaryAnn Johanson
reply to  Mal Amal
Fri, Sep 17, 2021 4:00pm

Obviously, I disagree. But I would love for you to elaborate on this:

story’s revision loses all its emotional impact compared to the original

What has been lost, in your opinion? How is the story of a woman who does not give herself over entirely to man a loss?

Also: How is my review “delusional”?

Danielm80
Danielm80
Fri, Sep 10, 2021 10:56am

ETA: I just discovered that I pasted the wrong link, which leads to an article I don’t particularly like. I’ve replaced with the correct link, from the AV Club. I think.

As always, a new Cinderella adaptation makes me want to watch Ever After again, or at least read this essay about it:

https://www.avclub.com/ever-after-did-the-cinderella-story-right-1847611018

I have not yet watched the video essay mentioned in the piece, and I suspect I will argue with it when I do.