We are on the revamping wave! You already know Cinderella's story by heart and stir-fry, after all, there are countless adaptations both in animations and with live-actions were performed from the most classic version of the tale of a Cinderella and in this barn of adaptations we have versions in a more erotic, pop, musical, national and even one with Hilary Duff, in The new Cinderella, where the lost item by the suffering girl was not the crystal shoe, but a cell phone flip. The latest release from Amazon, Cinderella, written and directed by Kay Cannon, drew attention for its strong cast and promise of an empowered character as the protagonist of the story set against a romantic comedy musical as a backdrop. However, the objective of recounting the film in a very daring way, failed in the execution and delivers a mocking and tired film. Here everything is limited and weak.
As the protagonist of the new feature, the production of Columbia Pictures counts on the former member of the Fifth Harmony, Camila Cabello in the role of Ella, which was one of the reasons that made the eyes of the whole world turn to the production, in addition the artist is on the rise in her solo career and, therefore, a little curiosity also how she would be acting in a feature film of apparent prestige . The film once again tells, with the same basis, the story of the young Ella who is treated as an employee by her stepmother, Vivian, lived by Idina Menzel, and her daughters, until the chance to change her life comes with a trip to the prince's ball Robert, interpreted by Nicholas Galitzine, with the help of Fairy Godmother — which, here, bears the name of Fab G and challenges conventions of binary genders with the performance of Billy Porter. Other elements are also present, such as mice that are not that relevant. But Ella's goal is not to find a husband and get married, she wants to win the world by being a dress stylist.
The film is narrated by Billy Porter and we understand that everyone is part of a still life that yearns for change. And we are already surprised by an interesting entry from mashup in Rhythm Nation in Janet Jackson and you gotta be in Des'ree. And with this scene, we imagine it will be a production for no one by default… WRONG! The base of the characters is typical and doesn't deviate from the usual and when we come across Cannon's premise which is to deconstruct the tale, his script seeks to explore depth also in royalty, by bringing figures who oppose their privileged routines in relation to the story original that we know little about. Here, the filmmaker's intention is to place women in a prominent place in a hierarchy occupied by men. The marriage, the frustrated career, are part of an established model and we have through Ella, the queen Beatrice (Minnie Driver) and the princess Gwen (Tallulah Greive) the questioning and the search for a voice in a sexist and sexist society.
We see that the protagonist does not wish to have her life ruled by marriage and trapped in a life of servant, Prince Robert is not content to be just in charge of continuing his father's lineage, being the next to assume the throne of King and have of marrying in haste to that consummation. And we realize that as the adaptation unfolds, comedic traits are included and we see two figures with totally different lives receiving help from fate. It goes without saying that among many possibilities, Robert is enchanted with Ella and she with him… he MATCH! But as not everything is a fairy tale, the girl is not interested in giving up her dream of being someone to become just the wife of an asshole prince – although he wants more for himself, he turns out to be an asshole, boring and idiot. Actor and character complete each other: they are boring. And far beyond the beautiful dress, crystal shoe and momentary magic that gives her a royal wedding, because after this 'great event', she would find herself stuck in a mere supporting role in her own life, Ella aims to make a name for herself in fashion and not be known as the one who married and made the prince happy. The adaptation reimagined by Cannon, wants to get rid of labels and features an empowered protagonist and uses a musical to move the plot… which proved to be an ill-developed strategy.
When we were surprised that the new adaptation would be in musical format, there was an endless excitement and adding to that, pop songs would be remodeled to match the proposal of the feature updating the production to a more contemporary face. But there's nothing musical about it… it's poorly executed. The songs don't come in and don't come out in a cohesive way, the feeling we have is that the songs were introduced in the scenes that fit and it was like this… shitty and the editing here is not even arguable, as they did a half-assed job. And the result of this equation is a tiring film that cannot transition from one scene to another without an obvious break giving the air of mockery, satire or out of the box. In addition, one of the most anticipated moments is the appearance of Billy Porter and his Fado Madrinho who walked the same frustrated and enjoyed path.
Here things that could have saved don't work well, like costumes and magic. It doesn't have that magnificent touch that other works of the same style have. The soundtrack is reasonable and we see Cabello's talent, but nothing that really appreciates it. If the objective was to bring a modern air to the film, delving a little deeper into the prince's life and bringing an air of female empowerment through the female characters, the film failed. The feature film wants to move towards that, but it doesn't delve into anything that it put in the first act. The idea is interesting, but the execution was unsuccessful. Apart from the story that everyone knows, the world created for Ella was barely deepened and things were thrown in at the beginning and not reused in the end like the scene where Ella visualizes and faces whoever wants to be in the track Million to One which is super interesting to see, but has not been repeated or even remembered.
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