Larson was the first to animate the title character whom he envisioned as a sixteen-year-old with braids and a pug nose. Marc Davis later animated Cinderella, in which Larson observed as "more the exotic dame" with a long swanlike neck. Because the final character design was not set, assistant animators were responsible for minimizing the differences. When Disney was asked what was his favorite piece of animation, he answered, "I guess it would have to be where Cinderella gets her ballroom gown", which was animated by Davis.
As the sisters depart to the ball, Cinderella cries in despair. Her Fairy Godmother magically appears and immediately begins to transform Cinderella from house servant to the young lady she was by birth, all in the effort to get Cinderella to the ball. She turns a pumpkin into a golden carriage, mice into horses, a rat into a coachman, and lizards into footmen. She then turns Cinderella's rags into a beautiful jeweled gown, complete with a delicate pair of glass slippers. The Godmother tells her to enjoy the ball, but warns her that she must return before midnight, when the spells will be broken.
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.
Cinderella by Rodgers and Hammerstein was produced for television three times and staged live in various productions. A version ran in 1958 at the London Coliseum with a cast including Tommy Steele, Yana, Jimmy Edwards, Kenneth Williams and Betty Marsden. This version was augmented with several other Rodgers and Hammerstein's songs plus a song written by Tommy Steele, "You and Me". In 2013, a Broadway production opened, with a new book by Douglas Carter Beane, and ran for 770 performances.
Why do films like this exist in today's industry? Well franchising for one thing, and even though films like this are basically products in Disney's pipeline it CAN be well done given that the movie's got a determined director at the helm. And oddly, Branagh, the guy who directed films such as 1996's Hamlet, was just the guy to make Cinderella into a watchable film. It's pretty, has a good cast and has some nice tid-bits of humor here and there. And it's an update on the whole Disney-esque 'happily ever after' thing. Yes the story's the same but it gives some much-needed chemistry to Cinderella's and 'The Prince''s romantic charm. And... it works.
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.
Milt Kahl was the directing animator of the Fairy Godmother, the King, and the Grand Duke. 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.
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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. 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. 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." 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." 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". 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." 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."
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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.
Following the theatrical release of Fun and Fancy Free, Walt Disney Productions' bank debt declined from $4.2 million to $3 million. Around this time, Disney acknowledged the need for sound economic policies, but emphasized to the loaners that slashing production would be suicidal. In order to restore the studio to full financial health, he expressed his desire to return to producing full-length animated films. By then, three animated projects—Cinderella, Alice in Wonderland, and Peter Pan—were in development. Disney felt the characters in Alice in Wonderland and Peter Pan were too cold, while Cinderella contained elements similar to Snow White, and greenlit the project. Selecting his top-tier animation talent, Ben Sharpsteen was assigned as supervising producer while Hamilton Luske, Wilfred Jackson, and Clyde Geronimi became the sequence directors. Nevertheless, production on Alice resumed so that both animation crews would effectively compete against each other to see which film would finish first.
Ella and her parents live a humble but happy life until her mother falls ill. Ella promises to follow her mother's dying wish: to have courage and be kind. Years later, Ella's father marries Lady Tremaine, who has two unpleasant daughters, Drisella and Anastasia. Ella's father leaves on business, and Lady Tremaine reveals her cruel and jealous nature, pushing Ella to give up her bedroom to the stepsisters and move to the attic. When Ella's father unexpectedly dies, Lady Tremaine dismisses the household staff to save money and forces all their chores on Ella. Seeing Ella's face covered in cinders after sleeping by the fireplace, her step-family mockingly dubs her "Cinderella".
^ Crowther, Bosley (February 23, 1950). "THE SCREEN: SIX NEWCOMERS MARK HOLIDAY; Capitol's 'Malaya' Has Tracy and Stewart in Leads-- Two Imports Offered Walt Disney's Feature-Length 'Cinderella,' at the Mayfair, Heads List of Arrivals At the Capitol At the Criterion At the Rialto At the Palace At 55th St. Playhouse". The New York Times. Retrieved August 7, 2017.
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