Cinederella | Little White Lies

Cined­erel­la

27 Mar 2015 / Released: 27 Mar 2015

Woman in mint green and rust-coloured dress standing on a wooden platform, surrounded by wooden structures and greenery.
Woman in mint green and rust-coloured dress standing on a wooden platform, surrounded by wooden structures and greenery.
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Anticipation.

Kenneth Branagh’s directorial career takes another unexpected turn.

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Enjoyment.

Slightly eerie in its dead-eyed coldness, but you get used to it.

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In Retrospect.

Could we really live in a world without postmodern irony? Maybe…

Ken­neth Branagh’s refresh­ing, irony-free retelling of Cin­derel­la with Down­town Abbey’s Lily James slid­ing on the glass slipper.

Imag­ine if the Step­ford Wives band­ed togeth­er, pooled their funds and decid­ed to make a movie, chances are it would pos­sess more than super­fi­cial sim­i­lar­i­ties to Ken­neth Branagh’s primped, vac­u­um-sealed take on Cin­derel­la. Recourse to irony, post­mod­ern ref­er­enc­ing or fourth-wall break­ing humour are strict­ly off the table, and while there’s def­i­nite­ly some­thing refresh­ing about watch­ing a movie whose sense of sin­cer­i­ty is with­out reproach, its ric­tus, thou­sand-yard glare occa­sion­al­ly makes for dis­com­fort­ing viewing.

Among the Dis­ney canon, the film harks right back to the ear­ly ani­mat­ed fea­tures more than it does to any recent live action offer­ing, and it feels pre­ci­sion built for enjoy­ment by a young female audi­ence, which in itself is laud­able. It’s actu­al­ly as if Branagh and screen­writer Chris Weitz have opt­ed to remake Disney’s 1950 ver­sion, along with talk­ing mice, a glit­ter­ing sky-blue ball gown and the cast­ing of Lily James as the title char­ac­ter, an eerie dead ringer for the hand-drawn ren­der­ing voiced by Ilene Woods. TV’s Down­ton Abbey is also a clear touch­stone, due in part to the ear­ly/mid-cen­tu­ry décor of the main house, but also the fact that there are sig­nif­i­cant cast­ing over­laps and a stol­id sense of aris­to-inspired Eng­lish reserve.

The film doesn’t strain to make an easy con­nec­tion with an audi­ence — the per­for­mances are all starched and the­atri­cal, the sen­ti­ment often brazen­ly icky. This is a chaste, clas­si­cal, white-bread fairy tale about kind­ness and virtue, opt­ing to pass no com­ment on, say, mod­ern con­cepts of romance, the pow­er of the monar­chy or het­ero­sex­u­al love. It does mean that watch­ing it is a hair-trig­ger process of eager­ly wait­ing for the ball to drop, like for the lizard coach­men to start rap­ping, the ugly sis­ters to make a ref­er­ence to X Fac­tor, the blast of an AM Radio-friend­ly show­tune or for the Prince to roll out a con­sort of Cor­gis. But it nev­er hap­pens. Which is good.

We’re giv­en a slight­ly vanil­la romance with char­ac­ters shar­ing pearly-white smiles and sparkling doe-eyes, but noth­ing that ever forces the view­er to sit up and think, I under­stand why this film was made.” Indeed, the deci­sion not to give the mate­r­i­al a spit-shine only serves to mag­ni­fy some of the plot holes, such as the notion that no-one in the entire king­dom would have the same size feet as the aver­age­ly-pro­por­tioned Cin­ders. It’s also strange that she’s nev­er held cap­tive by her evil step moth­er (Cate Blanchett) and two step sis­ters (Hol­l­i­day Grainger and Sophie McShera), free to escape them at any oppor­tu­ni­ty. Her rea­son for stay­ing – to hon­our the mem­o­ry of her deceased par­ents – is weak.

James, as the hap­less beau­ty Ella, is the unflap­pable Eng­lish rose, giv­en lit­tle more to do that take the mild abuse thrown at her with a pinch of salt and just smile as often as pos­si­ble. All oth­er cast mem­bers are sol­id, and that includes Blanchett who always keeps the lid on her Nor­ma Desmond-like pan­tomime dame role (essen­tial­ly a reprise from her Oscar-win­ning lead in Blue Jas­mine) so as not to out­shine the remain­der of the ensemble.

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