Categories: 2015 filmsEnglish-language films2010s historical romance films2010s romantic drama films2010s romantic fantasy filmsAmerican fantasy drama filmsAmerican filmsAmerican historical fantasy filmsAmerican historical romance filmsAmerican romantic drama filmsAmerican romantic fantasy filmsBritish fantasy drama filmsBritish filmsBritish historical fantasy filmsBritish historical romance filmsBritish romantic drama filmsBritish romantic fantasy filmsCinderella (franchise)Disney film remakesFilms about fairies and spritesFilms about royaltyFilms about weddingsFilms about wish fulfillmentFilms based on adaptationsFilms based on Charles Perrault's CinderellaFilms based on multiple worksFilms directed by Kenneth BranaghFilms produced by David BarronFilms produced by Simon KinbergFilms scored by Patrick DoyleFilms set in the 19th centuryFilms set in FranceFilms shot at Pinewood StudiosFilms shot in LondonFilms shot in Quebec2010s historical fantasy filmsIMAX filmsFilm remakesFilms with screenplays by Chris WeitzWalt Disney Pictures films
Stock your pantry and refrigerator with healthy foods. Get rid of the high-calorie, low-nutrition snacks like chips and candy. But don't forget to have plenty of healthier options available as well, such as popcorn (hold the butter, try Parmesan cheese sprinkles), low-fat cheese and yogurt, fruit, instant cocoa without added sugar, sugar-free popsicles or puddings, or whatever appeals to you when you're hungry for a snack.
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The oldest known oral version of the Cinderella story is the ancient Greek story of Rhodopis,[5][8] a Greek courtesan living in the colony of Naucratis in Egypt, whose name means "Rosy-Cheeks". The story is first recorded by the Greek geographer Strabo in his Geographica (book 17, 33), The eagle snatched one of her sandals from her maid and carried it to Memphis; and while the king was administering justice in the open air, the eagle, when it arrived above his head, flung the sandal into his lap; and the king, stirred both by the beautiful shape of the sandal and by the strangeness of the occurrence, sent men in all directions into the country in quest of the woman who wore the sandal; and when she was found in the city of Naucratis, she was brought up to Memphis, became the wife of the king ...[9]
The Prince rejects every girl at the ball until he sees Cinderella, who agrees to dance with him, unaware of who he is. The two fall in love and go out for a stroll together in the castle gardens. As they are about to kiss, Cinderella hears the clock start to chime midnight and flees. As she leaves the castle, one of her slippers falls off. The palace guards give chase as Cinderella flees in the coach before the spell breaks on the last stroke of midnight. Cinderella, her pets, and the mice hide in a wooded area as the guards pass. The only remaining piece Cinderella has of her costume is the one glass slipper on her foot.

"Cinderella",[2] or "The Little Glass Slipper", is a folk tale embodying a myth-element of unjust oppression and triumphant reward. Thousands of variants are known throughout the world.[3][4] The protagonist is a young woman living in forsaken circumstances that are suddenly changed to remarkable fortune. The story of Rhodopis, recounted by the Greek geographer Strabo sometime between around 7 BC and AD 23, about a Greek slave girl who marries the king of Egypt, is usually considered to be the earliest known variant of the Cinderella story.[3][4][5]

In 2008, between US$33 billion and $55 billion was spent annually in the US on weight-loss products and services, including medical procedures and pharmaceuticals, with weight-loss centers taking between 6 and 12 percent of total annual expenditure. Over $1.6 billion a year was spent on weight-loss supplements. About 70 percent of Americans' dieting attempts are of a self-help nature.[36][37]
The glass slipper is unique to Charles Perrault's version and its derivatives; in other versions of the tale it may be made of other materials (in the version recorded by the Brothers Grimm, German: Aschenbroedel and Aschenputtel, for instance, it is gold) and in still other tellings, it is not a slipper but an anklet, a ring, or a bracelet that gives the prince the key to Cinderella's identity. In Rossini's opera "La Cenerentola" ("Cinderella"), the slipper is replaced by twin bracelets to prove her identity. In the Finnish variant The Wonderful Birch the prince uses tar to gain something every ball, and so has a ring, a circlet, and a pair of slippers. Some interpreters, perhaps troubled by sartorial impracticalities, have suggested that Perrault's "glass slipper" (pantoufle de verre) had been a "squirrel fur slipper" (pantoufle de vair) in some unidentified earlier version of the tale, and that Perrault or one of his sources confused the words; however, most scholars believe the glass slipper was a deliberate piece of poetic invention on Perrault's part.[28] The 1950 Disney adaptation takes advantage of the slipper being made of glass to add a twist whereby the slipper is shattered just before Cinderella has the chance to try it on, leaving her with only the matching slipper with which to prove her identity.

Richard Corliss of Time magazine said that Branagh's Cinderella successfully updates and revitalizes Disney's "ill-conceived" animated film, and praised the empowered Ella, the visuals, and Blanchett's performance.[92] Katy Waldman of Slate similarly deemed the film a commendable and authentic upgrade that does not undermine its heroine while maintaining its classic splendor and charm.[93] Joe Morgenstern of The Wall Street Journal commended James' and Blanchett's performances, the sets, costumes and minimal digital effects, as well as Branagh's direction, stating he "set a tone of lushly sustainable fantasy that's often affecting, frequently witty, seldom cloying, nearly free of self-comment and entirely free of irony."[94] Likewise, Claudia Puig of USA Today complimented the performances along with Branagh and screenwriter Chris Weitz for "ground[ing] this romantic tale with sincerity amid the dazzle."[95] Los Angeles Times' Betsy Sharkey praised Blanchett's and James' performances and considered the film a "poetically, if not prophetically, imagined storybook fable" that succeeds because of its earnestness, humor, its lack of modern-day pretenses, and Branagh's "singular focus".[96] Lawrence Toppman of The Charlotte Observer proclaimed, "This version has more psychological depth than usual and answers questions we may always have had. Branagh's 'Cinderella' does something extraordinarily rare among fairy-tale adaptations: It leaves out nothing we want and adds nothing we don't."[97] Noting the religious themes and symbols of the film, cultural commentator Fr. Robert Barron writes that due to Branagh's traditional telling of the story, "he actually allows the spiritual -- indeed specifically Christian -- character of the tale to emerge."[98]
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The Chinese story of Ye Xian, first attested in a source from around AD 860, is another early variant of the story. The first literary European version of the story was published in Italy by Giambattista Basile in his Pentamerone in 1634; the version that is now most widely known in the English-speaking world was published in French by Charles Perrault in Histoires ou contes du temps passé in 1697.[6] Another version was later published by the Brothers Grimm in their folk tale collection Grimms' Fairy Tales in 1812.
The twelfth-century AD lai of Le Fresne ("The Ash-Tree Girl"), retold by Marie de France, is a variant of the "Cinderella" story[7]:41 in which a wealthy noblewoman abandons her infant daughter at the base of an ash tree outside a nunnery with a ring and brocade as tokens of her identity,[7]:41 because she is one of twin sisters[7]:41 the mother fears that she will be accused of infidelity[7]:41 (according to popular belief, twins were evidence of two different fathers).[14] The infant is discovered by the porter, who names her Fresne, meaning "Ash Tree",[7]:41 and she is raised by the nuns.[7]:41 After she has attained maturity, a young nobleman sees her and becomes her lover.[7]:41 The nobleman, however, is forced to marry a woman of noble birth.[7]:41 Fresne accepts that she will never marry her beloved,[7]:41 but waits in the wedding chamber as a handmaiden.[7]:41 She covers the bed with her own brocade,[7]:41 but, unbeknownst to her, her beloved's bride is actually her twin sister,[7]:41 and her mother recognizes the brocade as the same one she had given to the daughter she had abandoned so many years before.[7]:41 Fresne's true parentage is revealed[7]:41 and, as a result of her noble birth, she is allowed to marry her beloved,[7]:41 while her twin sister is married to a different nobleman.[7]:41
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