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Mack David and Jerry Livingston had asked Ilene Woods to sing on several demo recordings of the songs. They had previously known her from her eponymous radio show "The Ilene Woods Show" which was broadcast on ABC. The show featured fifteen minutes of music, in which David and Livingston had their music presented. Two days later, Woods received a telephone call from Disney, with whom she immediately scheduled an interview. Woods recalled in an interview with the Los Angeles Times, "We met and talked for awhile, and he said, 'How would you like to be Cinderella?'," to which she agreed.
In 1946, story artist and part-time lyricist Larry Morey joined studio music director Charles Walcott to compose the songs. Cinderella would sing three songs: "Sing a Little, Dream a Little" while overloaded with work, "The Mouse Song" as she dressed the mice, and "The Dress My Mother Wore" as she fantasizes about her mother's old wedding dress. In an effort to recycle an unused fantasy sequence from Snow White, the song, "Dancing on a Cloud" was used as Cinderella and the Prince waltz during the ball. After the ball, she would sing "I Lost My Heart at the Ball" and the Prince would sing "The Face That I See in the Night." However, none of their songs were used.
Todd Lamb is the creator of The Flat Belly Fix. Unlike many other fitness program authors, he isn’t some major media fitness guru that’s been seen on this talk show and in that magazine. However, he has always had a strong understanding of health and fitness and what’s required to achieve both because he has always had a career which required him to do so. Todd is a veteran police officer of 17 years, a retired SWAT team leader, a SWAT and Canine dog handler, and also has military experience. In fact, his certifications are so long, we’d be here all day if I was to list them.
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The success of Cinderella allowed Disney to carry on producing films throughout the 1950s by which the profits from the film's release, with the additional profits from record sales, music publishing, publications and other merchandise gave Disney the cash flow to finance a slate of productions (animated and live action), establish his own distribution company, enter television production, and begin building Disneyland during the decade, as well as developing the Florida Project, later known as Walt Disney World.
At the ball, the entire court is entranced by Ella. She dances with Kit, much to the chagrin of the Grand Duke who has already promised Kit to Princess Chelina of Zaragoza, which Lady Tremaine overhears. Though surprised at Kit's true identity, Ella and the prince bond. Before Ella can tell Kit her name, the clock chimes midnight and she flees the palace, losing one of her slippers. Pursued by the Grand Duke and his men, Ella manages to escape home before the final stroke of midnight; the spell dissipates and everything reverts back to its true form. Ella hides the remaining slipper under her bedroom floorboards.
The girl retreats to the graveyard and asks to be clothed in silver and gold. The white bird drops a gold and silver gown and silk shoes. She goes to the feast. The prince dances with her all the time, and when sunset comes she asks to leave. The prince escorts her home, but she eludes him and jumps inside a pigeon coop. The father came home ahead of time and the prince asks him to chop the pigeon coop down, but Aschenputtel has already escaped. The next day, the girl appears in grander apparel. The prince falls in love with her and dances with her for the whole day, and when sunset comes, the prince tries to accompany her home again. However, she climbs a pear tree to escape him. The Prince calls her father who chops down the tree, wondering if it could be Aschenputtel, but Aschenputtel has disappeared. The third day, she appears dressed in grand finery, with slippers of gold. Now the prince is determined to keep her, and has the entire stairway smeared with pitch. Aschenputtel loses track of time, and when she runs away one of her golden slippers sticks on that pitch. The prince proclaims that he will marry the maiden whose foot fits the golden slipper.
David Rooney of The Hollywood Reporter reviewed the film at the Berlin Film Festival and praised the special effects, the screenplay, and Blanchett's performance and said that "anyone nostalgic for childhood dreams of transformation will find something to enjoy in an uplifting movie that invests warm sentiment in universal themes of loss and resilience, experience and maturity." Peter Debruge of Variety said, "It's all a bit square, big on charm, but lacking the crackle of Enchanted or The Princess Bride. But though this Cinderella could never replace Disney's animated classic, it's no ugly stepsister either, but a deserving companion." Guy Lodge of The Guardian gave the film three stars out of five and said, "While it might have been nice to see the new-model Cinderella follow Frozen's progressive, quasi-feminist lead, the film's naff, preserved-in-amber romanticism is its very charm." Scott Mendelson of Forbes admired the film's visual effects, production design, and called the costume design as Oscar-worthy, adding, "with an emphasis on empathy and empowerment, Walt Disney's Cinderella is the best film yet in their 'turn our animated classics into live-action blockbuster' subgenre."