The first official presentation of the film occurred at Disney's three-day D23 Expo in August 2013.[44][45] The film was previewed at CinemaCon in Las Vegas, Nevada, in March 2014, with a teaser showing Cinderella hearing about her father's death, meeting the prince while riding through the forest, her mother's ball gown being torn apart by her step-family, and a comedic bit where the Fairy Godmother transforms a pumpkin into a carriage.[46][47]

The first official presentation of the film occurred at Disney's three-day D23 Expo in August 2013.[44][45] The film was previewed at CinemaCon in Las Vegas, Nevada, in March 2014, with a teaser showing Cinderella hearing about her father's death, meeting the prince while riding through the forest, her mother's ball gown being torn apart by her step-family, and a comedic bit where the Fairy Godmother transforms a pumpkin into a carriage.[46][47]

First, you’ll be introduced to the Venus community – women who have followed the Venus Factor method and remained friends. The book is full of uplifting and motivating success stories which makes it feel like you’re embarking on this journey with friends. This community of women is a reoccurring theme throughout the package and one of its biggest selling points for me. If they can do it, so can you!
In 1951, the film received three Academy Award nominations for Best Sound (C. O. Slyfield) lost to All About Eve, Best Music, Scoring of a Musical Picture (Oliver Wallace and Paul J. Smith) lost to Annie Get Your Gun and Best Music, Original Song for "Bibbidi-Bobbidi-Boo" (Mack David, Jerry Livingston, and Al Hoffman) lost to Captain Carey, U.S.A..[6][76] At the 1st Berlin International Film Festival it won the Golden Bear (Music Film) award and the Big Bronze Plate award.[77]
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Cinderella received positive reviews from critics with particular praise going to the cast, notably Blanchett, James, and Bonham Carter, Patrick Doyle's musical score, faithfulness to the original animated film, and Sandy Powell's costume designs.[84] On review aggregator website Rotten Tomatoes, the film holds an 84% approval rating, based on 242 reviews, with a rating average of 7.16/10. The site's critical consensus reads, "Refreshingly traditional in a revisionist era, Kenneth Branagh's Cinderella proves Disney hasn't lost any of its old-fashioned magic."[85] Metacritic assigned the film a weighted average score of 67 out of 100, based on 47 critics, indicating "generally favorable reviews".[86] According to CinemaScore, audiences gave the film a grade of "A" on an A+ to F scale.[87]
By 1950, the Animation Board—which had been established as early as 1940 to help with the management of the animation department—had settled down to nine supervising animators. Although they were still in their thirties, they were jokingly referred by Walt Disney as the "Nine Old Men" after President Franklin D. Roosevelt's denigration of the Supreme Court.[36][37] Including Norman Ferguson, the principal animators included Les Clark, Marc Davis, Ollie Johnston, Milt Kahl, Ward Kimball, Eric Larson, John Lounsbery, Frank Thomas, and Wolfgang Reitherman.[38]
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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.
Unlike the human characters, the animal characters were animated without live-action reference.[41] During production, none of Kimball's designs for Lucifer had pleased Disney. After visiting Kimball's steam train at his home, Disney saw his calico cat and remarked, "Hey—there's your model for Lucifer".[38] Reitherman animated the sequence in which Jaq and Gus laboriously drag the key up the flight of stairs to Cinderella.[42]
Milt Kahl was the directing animator of the Fairy Godmother, the King, and the Grand Duke.[40] Originally, Disney intended for the Fairy Godmother to be a tall, regal character as he viewed fairies as tall, motherly figures (as seen in the Blue Fairy in Pinocchio), but Milt Kahl disagreed with this characterization. Following the casting of Verna Felton, Kahl managed to convince Disney on his undignified concept of the Fairy Godmother.[22]
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