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.
In many variants of the tale, the prince is told that Cinderella can not possibly be the one, as she is too dirty and ragged. Often, this is said by the stepmother or stepsisters. In the Grimms' version, both the stepmother and the father urge it. The prince nevertheless insists on her trying. Cinderella arrives and proves her identity by fitting into the slipper or other item (in some cases she has kept the other).
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Categories: 1950 filmsEnglish-language filmsCinderella (franchise)1950 animated films1950s American animated films1950s romantic fantasy films1950s romantic musical filmsAmerican filmsAmerican children's animated fantasy filmsAmerican romantic fantasy filmsAmerican romantic musical filmsAnimated films featuring female antagonistsAnimated musical filmsAnimated romance films1950s children's fantasy filmsFilms about fairies and spritesFilms about princessesFilms about royaltyFilms about wish fulfillmentFilms about weddingsFilms based on Charles Perrault's CinderellaFilms directed by Clyde GeronimiFilms directed by Hamilton LuskeFilms directed by Wilfred JacksonFilms featuring anthropomorphic miceFilms produced by Walt DisneyFilms set in FranceGolden Bear winnersRotoscoped filmsFilms scored by Paul Smith (film and television composer)Films scored by Oliver WallaceWalt Disney Animation Studios filmsWalt Disney Pictures filmsUnited States National Film Registry films1950s children's animated films
^ Arnett, Donna K.; Blumenthal, Roger S.; Albert, Michelle A.; Buroker, Andrew B.; Goldberger, Zachary D.; Hahn, Ellen J.; Himmelfarb, Cheryl D.; Khera, Amit; Lloyd-Jones, Donald; McEvoy, J. William; Michos, Erin D.; Miedema, Michael D.; Muñoz, Daniel; Smith, Sidney C.; Virani, Salim S.; Williams, Kim A.; Yeboah, Joseph; Ziaeian, Boback (17 March 2019). "2019 ACC/AHA Guideline on the Primary Prevention of Cardiovascular Disease". Circulation. 140 (11): e596–e646. doi:10.1161/CIR.0000000000000678. PMID 30879355.
In the U.S. and Canada, Cinderella opened on Friday, March 13, 2015, across 3,845 theaters, and earned $23 million. The film's Friday gross included a $2.3 million late night run. It topped the box office during its opening weekend as projected, earning $67.9 million, including a record $5 million from 358 IMAX theaters, and became Disney's biggest 2D PG-rated opening of all time. It is director Kenneth Branagh's biggest opening of his career (breaking 2011's Thor record), the fourth-highest Disney opening in March, and was the seventh-highest opening in March overall (not counting for inflation). Audiences during its opening weekend comprised 66% female, 66% families, 26% adults, 8% teenagers, 31% under the age of 12 and 9% 50 years and older. Cinderella finished its first week at the box office with $87.55 million, which was very high end of the film's lofty pre-release expectations. In its second weekend, the film declined 49% to $35 million and was surpassed by The Divergent Series: Insurgent, dropping to #2. The drop was in between two of Disney's previous live-action fantasy films, Oz the Great and Powerful (48%) and Maleficent (51%). In North America, Cinderella is the ninth highest-grossing 2015 film.
Outside North America, box office analysts predicted as much as $60 million opening. The film made its debut outside of North America on the same weekend as its wide North American release and earned an estimated $62.4 million from 31 countries, including $4 million from IMAX theaters. It topped the box office for two non-consecutive weekends. It opened in China with $25 million, the biggest March opening in the country, and Russia with $7.3 million. The opening in these two countries were considered impressive given that both the countries are famous for their keenness for 3D films rather than 2D. Other high openings occurred in the UK, Ireland and Malta ($5.6 million), Mexico ($5 million), Japan ($4.8 million), France ($3.3 million), and Brazil ($3.7 million). In Australia, where the release date was coinciding with the Cricket World Cup finale, it managed to open with $3.4 million. Italy opened with $4.6 million and topped the box office for three consecutive weekends. It also topped the Japanese box office for five consecutive weekends. It became the second-highest grossing Disney live-action film in China, behind Pirates of the Caribbean: On Stranger Tides and in the Philippines, behind Maleficent. In total earnings, its largest markets outside of the US and Canada are China ($71.1 million), Japan ($46 million) and the UK, Ireland and Malta ($29.2 million).
Development for a live-action reimagining of the original animated film began in May 2010, with producer Simon Kinberg attached to the project. In late January 2013, Branagh signed on to direct, with Weitz hired to revise a script from Aline Brosh McKenna. In November 2012, casting began with Blanchett being the first to sign on; James was eventually cast in the titular role in April 2013. Principal photography began at Pinewood Studios in Buckinghamshire, England on September 23, 2013, and ended on December 14.
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The story of "Cinderella" follows the fortunes of young Ella (Lily James) whose merchant father remarries following the death of her mother. Eager to support her loving father, Ella welcomes her new stepmother (Cate Blanchett) and her daughters Anastasia (Holliday Grainger) and Drisella (Sophie McShera) into the family home. But, when Ella's father unexpectedly passes away, she finds herself at the mercy of a jealous and cruel new family. Finally relegated to nothing more than a servant girl covered in ashes, and spitefully renamed Cinderella, Ella could easily begin to lose hope. Yet, despite the cruelty inflicted upon her, Ella is determined to honor her mother's dying words and to "have courage and be kind." She will not give in to despair nor despise those who mistreat her. And then there is the dashing stranger she meets in the woods. Unaware that he is really a prince, not merely an apprentice at the Palace, Ella finally feels she has met a kindred soul. It appears her fortunes may be about to change when the Palace sends out an open invitation for all maidens to attend a ball, raising Ella's hopes of once again encountering the charming Kit (Richard Madden). Alas, her stepmother forbids her to attend and callously rips apart her dress. But, as in all good fairy tales, help is at hand, and a kindly beggar woman (Helena Bonham-Carter) steps forward and -- armed with a pumpkin and a few mice -- changes Cinderella's life forever.
Although many variants of Cinderella feature the wicked stepmother, the defining trait of type 510A is a female persecutor: in Fair, Brown and Trembling and Finette Cendron, the stepmother does not appear at all, and it is the older sisters who confine her to the kitchen. In other fairy tales featuring the ball, she was driven from home by the persecutions of her father, usually because he wished to marry her. Of this type (510B) are Cap O' Rushes, Catskin, All-Kinds-of-Fur, and Allerleirauh, and she slaves in the kitchen because she found a job there. In Katie Woodencloak, the stepmother drives her from home, and she likewise finds such a job.
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