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There have been so many accounts of Cinderella that it is often difficult to trace all of them. Most are moderate, and some are completely oblivious, movies made for TV enjoy the familiarity of an old story that has been around for centuries in one way or another. Coming from the imagination of James Corden (who plays the mouse that turns the mouse in the film), Amazon’s Cinderella mixes old and new to allowing music that tries to make certain parts of the story go on. Written and directed by Kay Cannon (Perfect Pitch), Cinderella’s music is fun but empty, the play is flat, and conversations are often worthwhile.
Cinderella (2021): Romantic Movie Overview
Arranged in an obscure time, described by an old town that is reluctant to change, Cinderella follows her character (Camila Cabello), an aspiring fashion designer who dreams of selling her clothes as long as she can escape the domination of her stepmother Vivian (Idina Menzel), a widow who understands how little a woman can be his social status (and remarried the rich).
During the rush to the city, Cinderella meets a hidden Prince Robert (Nicholas Galitzine) – a careless king who often heads his father King Rowan (Pierce Brosnan) for his royal duties – who promises to buy his robe before inviting him to meet others who can help him with his business ambitions. The two get into a fight, but things get worse when Cinderella hears about Robert’s channel and is later pressured by Vivian to marry someone she doesn’t want to be with and disregards her wishes.
Cabello and Galitzine have no chemistry, which makes their middle love so hard to believe or focus on. There is no look of longing and no beauty in their relationship; it’s something that needs to be there for sure to make Cinderella work and make missing parts of the story. Aside from the songs and set, the film has no romantic moments between them, and the two of them are better when they communicate with almost everyone except each other.
Menzel and Brosnan’s performances are good, but viewers have seen them perform better on other projects, even though the first one plays Vivian slightly and is painted with a more sympathetic brush than the previous repetition of the character. While Billy Porter made a big door as the mythical goddess of Cinderella, Fab G, it was actually Minnie Driver as Queen Beatrice who stood out among the characters, elevating the visuals by showing multiple layers to her character. There is a sad longing and sparks of joy that are made clear in his work, which rises above everyone in spite of the small obvious manifestations.
Cinderella tries to publish the script by spraying it in continuous sections – Cinderella aspires to be a fashion designer and not a royal in court, the prince realizes he doesn’t want to be king and believes his sister Gwen (Tallulah Grieve) is more than just ready for her role in advancing the empire – but all they are worthy. The film prefers to tell instead of the show, the dialogue has made a difficult suggestion to identify sexual issues and the patriarchal system in the audience instead of examining themselves and engaging with them in a meaningful way.
Clearly pointing out that sex exists only to tell the truth and the film offers blank scenes about empowerment without looking at who Cinderella is as a person outside of her circumstances. And this is true of all letters, all of which are single and seemingly dull. What comes with the film is a matter of emotion – Cabello’s performance is not strong enough to be an anchor. The film quickly loses its momentum and turns into an empty shell that further distorts the story.
Music only works if one can rely on the pain of it all and if the script itself does that too, there are real moments of humor and fun. This is especially true when Cannon’s text jokes about all the nonsense – Fab G announces that Cinderella needs help, his response is, “yes, I just sang about it a few minutes ago,” or Prince Robert asks his father what he and his future wife will talk about until their death at the age. 40. Not enough of these moments, but when they arrive, they are a drink and a good break from some of the most ridiculous and lovable features of the film. And yet, it is not going well enough.
The director’s choices are uninspired and impersonal, and the overly bright light may be intended to make the film sound like a fairy tale, even though it makes a good impression. The cinematography (by Andrew Dunn) is extremely clean as a story.
The highlight of Ellen Mirojnick’s elaborate costumes, which is attractive and glamorous while showcasing contemporary film styles. Classics meet new vibes are more common in the selection of film songs, a mix of popular music – Janet Jackson’s “Rhythm Nation”, Queen’s “Somebody to Love” – featuring original songs such as “Million to One,” Cabello sang as a middle man, as a statement of modern film efforts.
Unfortunately, Cinderella has no Ever After specificity and is not committed to the full concept of Brandy’s Cinderella, either, nor does it have the charisma of Ella Enchanted. Cannon’s film mimics all of these transformations on various levels, albeit very little to say because its message is superior, dressed to hide its lack of depth. The film rarely depends on its fun and its hard work, moderate performance, and lack of fun make the bland clock as a whole.
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