Psycho's Movie Reviews #382: Cinderella (1950)

Cinderella is a 1950 American animated musical fantasy film produced by Walt Disney. Based on the fairy tale of the same name by Charles Perrault, it is the 12th Disney animated feature film. The film was directed by Wilfred Jackson, Hamilton Luske, and Clyde Geronimi. Mack David, Jerry Livingston, and Al Hoffman wrote the songs, which include "Cinderella", "A Dream Is a Wish Your Heart Makes", "Oh, Sing Sweet Nightingale", "The Work Song", "Bibbidi-Bobbidi-Boo", and "So This is Love". It features the voices of Ilene Woods, Eleanor Audley, Verna Felton, Rhoda Williams, James MacDonald, Luis van Rooten, Don Barclay, Mike Douglas, William Phipps, and Lucille Bliss, it is the sixth Disney animated film after Bambi (1942).

During the early 1940s, Walt Disney Productions had suffered financially after losing connections to the European film markets due to the outbreak of World War II. Because of this, the studio endured box office bombs such as Pinocchio (1940), Fantasia (1940), and Bambi (1942), all of which would later become more successful with several re-releases in theaters and on home video. By 1947, the studio was over $4 million in debt and was on the verge of bankruptcy. Walt Disney and his animators returned to feature film production in 1948 after producing a string of package films with the idea of adapting Charles Perrault's Cendrillon into an animated film.

After two years in production, Cinderella was released by RKO Radio Pictures on February 15, 1950. It became the greatest critical and commercial hit for the Disney studio since the first full-length animated film Snow White and the Seven Dwarfs (1937) and helped reverse the studio's fortunes. It received three Academy Award nominations, including Best Music, Original Song for "Bibbidi-Bobbidi-Boo".

Decades later, it was followed by two direct-to-video sequels, Cinderella II: Dreams Come True (2002) and Cinderella III: A Twist in Time (2007), and a 2015 live-action adaptation directed by Kenneth Branagh. The castle featured in the film has become an icon of The Walt Disney Company, serving as a basis for the production logo of Walt Disney Pictures. A real life construction of the castle was built at the Magic Kingdom park at Walt Disney World, as well at Tokyo Disneyland.

In 2018, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Plot

When Cinderella is a young girl, her widowed father marries Lady Tremaine, a widow with two daughters of her own. He dies shortly thereafter. Lady Tremaine, jealous of her stepdaughter's beauty and determined to forward her own daughters' interests, orders Cinderella to become a scullion in her own château, banishing her to the attic and overburdening her with chores. Cinderella's stepsisters, Anastasia and Drizella, also take advantage of her meekness, mocking her and adding to her workload. Despite this, Cinderella remains kind of heart, obediently doing her chores whilst taking care of the mice and birds that live in the château, making friends of them. She also protects them from being eaten by her stepmother's cat Lucifer, who makes her duties even harder in retaliation.

One day, the local King becomes impatient for his son to provide him with grandchildren. Despite the objections of the Grand Duke, the King invites all the eligible maidens in the kingdom to a royal ball, so that the Prince will choose one as his wife. Wanting to attend, Cinderella finds a dress of her late mother's to fix up. Her stepmother and stepsisters, afraid she will upstage them at the ball, deliberately keep her busy with no time to spare. Jaq, Gus, and the other animals decide to fix up the dress for Cinderella, using beads and a sash discarded by the stepsisters. However, when Cinderella attempts to go to the ball with her family, her stepsisters recognize their belongings and angrily tear the dress into rags, before leaving Cinderella behind.

A distraught Cinderella flees to the garden in tears, kneeling by a stone bench. There, she is met by her Fairy Godmother, who has come to help. She transforms Jaq, Gus, and two other mice into four white horses, a pumpkin into a coach, and Cinderella's old horse Major and bloodhound Bruno into a coachman and footman, respectively. The fairy godmother also gives Cinderella a shimmering ball gown and glass slippers, but warns her that the magic will all end on the stroke of midnight.

Cinderella arrives at the ball, and is not recognized by her stepsisters, though her stepmother believes something is familiar about her. The Prince is instantly smitten, so the King orders the Grand Duke to make sure the romance goes without a hitch. The Duke prevents anyone from interfering as Cinderella and the Prince dance a waltz and wander out to the palace grounds, falling deeper in love. However, when Cinderella hears the clock tolling midnight, she runs away before she and the Prince can exchange names. Despite the efforts of the Grand Duke, Cinderella flees the palace, losing one of her slippers on the staircase. The palace guards pursue, but when the magic ends on the stroke of 12, Cinderella and the animals revert to their former appearances and hide in the woods. Cinderella discovers the other glass slipper is still on her foot, and takes it home with her.

The Prince swears he will marry none but the girl who fits the glass slipper. Elated, the King orders the Grand Duke to try the shoe on every girl in the kingdom until he finds a match. When the news reaches the chateau, Cinderella is shocked to realize it was the Prince she met. Hearing Cinderella humming the waltz from the ball, Lady Tremaine realizes the truth and locks Cinderella in the attic. While the stepsisters unsuccessfully try on the slipper, Jaq and Gus steal the key back from Lady Tremaine. As they take the key to Cinderella, they are intercepted by Lucifer. The birds summon Bruno, who frightens Lucifer into jumping out a high window, and a freed Cinderella hurries to meet the Grand Duke.

In a last effort to prevent Cinderella from overshadowing her daughters, Lady Tremaine causes a page to trip and break the glass slipper. Cinderella reveals she has the other slipper, which the Grand Duke places on her foot, much to Lady Tremaine's dismay. Cinderella and the Prince are married, and share a kiss as they set off in a carriage for their honeymoon.

Production

Story Development

In 1922, Walt Disney produced a Laugh-O-Gram cartoon based on "Cinderella", and he had been interested in producing a second version in December 1933 as a Silly Symphony short. Burt Gillett was attached as the director while Frank Churchill was assigned as the composer. A story outline included "white mice and birds" as Cinderella's playmates. To expand the story, storyboard artists suggested visual gags, some of which ended up in the final film. However, by early 1938, the story proved to be too complicated to be condensed into a short so it was suggested as a potential animated feature film, starting with a fourteen-page outline written by Al Perkins. Two years later, a second treatment was written by Dana Cofy and Bianca Majolie, in which Cinderella's stepmother was named Florimel de la Pochel; her stepsisters as Wanda and Javotte; her pet mouse Dusty and pet turtle Clarissa; the stepsisters' cat Bon Bob; the Prince's aide Spink, and the stepsisters' dancing instructor Monsieur Carnewal. This version stuck closely to the original fairy tale until Cinderella arrives home late from the second ball. Her stepfamily then imprisons Cinderella in a dungeon cellar. When Spink and his troops arrive at the la Pochel residence, Dusty takes the slipper and leads them to free Cinderella.

By September 1943, Disney had assigned Dick Huemer and Joe Grant to begin work on Cinderella as story supervisors and given a preliminary budget of $1 million. However, by 1945, their preliminary story work was halted. During the writing stages of Song of the South (1946), Dalton S. Reymond and Maurice Rapf quarreled, and Rapf was reassigned to work on Cinderella. In his version, Cinderella was written to be a less passive character than Snow White, and more rebellious against her stepfamily. Rapf explained, "My thinking was you can't have somebody who comes in and changes everything for you. You can't be delivered on a platter. You've got to earn it. So in my version, the Fairy Godmother said, 'It's okay till midnight but from then on it's up to you.' I made her earn it, and what she had to do to achieve it was to rebel against her stepmother and stepsisters, to stop being a slave in her own home. So I had a scene where they're ordering her around and she throws the stuff back at them. She revolts, so they lock her up in the attic. I don't think anyone took (my idea) very seriously."

In spring 1946, Disney held three-story meetings, and subsequently received treatment from Ted Sears, Homer Brightman, and Harry Reeves dated March 24, 1947. In the treatment, the Prince has introduced earlier in the story reminiscent of Snow White and the Seven Dwarfs (1937), and there was a hint of the cat-and-mouse conflict. By May 1947, the first rough phase of storyboarding was in the process, and an inventory report that same month suggested a different approach with the story "largely through the animals in the barnyard and their observations of Cinderella's day-to-day activities".

Following the theatrical release of Fun and Fancy Free (1947), 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. 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 (1951), and Peter Pan (1953)—were in development. Disney felt the characters in Alice in Wonderland and Peter Pan was 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.

By early 1948, Cinderella had progressed further than Alice in Wonderland, and was fast-tracked to become the first full-length animated film since Bambi (1942). During a story meeting on January 15, 1948, the cat-and-mouse sequences began to grow into an important element in the film so much that Disney placed veteran story artist Bill Peet in charge of the cat-and-mouse segments.

By the late 1940s, Disney's involvement during production had shrunken noticeably. As he was occupied with trains and the filming of Treasure Island (1950), the directors were left to exercise their own judgment more on details. Although Disney no longer held daily story meetings, the three directors still communicated with him by mailing him memoranda, scripts, Photostats of storyboards, and acetates of soundtrack recordings while he was in England for two and a half months during the summer of 1949. When Disney did not respond, work resumed and then had to be undone when he did. In one instance, when Disney returned to the studio on August 29, he reviewed Luske's animation sequences and ordered numerous minor changes, as well as a significant reworking of the film's climax. Production was finished by October 13, 1949.

Casting

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, 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 a while, and he said, 'How would you like to be Cinderella?'," to which she agreed.

For the role of Lucifer, a studio representative asked June Foray if she could provide the voice of a cat. "Well, I could do anything," recalled Foray, "So he hired me as Lucifer the cat in Cinderella".

Animation

Live-action Reference

Starting in spring 1948, actors were filmed on large soundstages mouthing to a playback of the dialogue soundtrack. Disney had previously used live-action reference on Snow White and the Seven Dwarfs (1937), Pinocchio (1940), and Fantasia (1940), but as part of an effort to keep the production cost down, the footage was used to check the plot, timing, and movement of the characters before animating it. The footage was then edited frame-by-frame onto large Photostat sheets to duplicate, in which the animators found too restrictive as they were not allowed to imagine anything that the live actors did not present since that kind of experimentation might necessitate changes and cost more money. Additionally, the animators were instructed to draw from a certain directorial perspective to avoid difficult shots and angles. Frank Thomas explained, "Anytime you'd think of another way of staging the scene, they'd say: 'We can't get the camera up there'! Well, you could get the animation camera up there! So you had to go with what worked well in live-action."

Walt Disney hired actress Helene Stanley to perform the live-action reference for Cinderella, allowing artists to draw animated frames based on the movements of the actress. She later did the same kind of work for the characters of Princess Aurora in Sleeping Beauty (1959) and Anita Radcliff in One Hundred and One Dalmatians (1961). Animators modelled Prince Charming on actor Jeffrey Stone, who also provided some additional voices for the film. Claire Du Brey served as the live-action reference for the Fairy Godmother, although the design for the character was based on Mary Alice O'Connor (the wife of layout artist Ken O'Connor).

Character Animation

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. 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. 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, 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 favourite piece of animation, he answered, "I guess it would have to be where Cinderella gets her ballroom gown", which was animated by Davis.

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 (1940)), but Milt Kahl disagreed with this characterization. Following the casting of Verna Felton, Kahl managed to convince Disney of his undignified concept of the Fairy Godmother.

Unlike the human characters, the animal characters were animated without live-action reference. 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". Reitherman animated the sequence in which Jaq and Gus laboriously drag the key up the flight of stairs to Cinderella.

Music

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. 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.

Two years later, Disney turned to Tin Pan Alley songwriters Mack David, Jerry Livingston, and Al Hoffman to compose the songs. They were the first professional composers to be hired outside the production company. The trio had previously written the song "Chi-Baba, Chi-Baba" that Disney heard on the radio and decided would work well with the Fairy Godmother sequence. They finished the songs in March 1949. In total six songs were performed in the film: "Cinderella", "A Dream Is a Wish Your Heart Makes", "Oh, Sing Sweet Nightingale", "The Work Song", "Bibbidi-Bobbidi-Boo", and "So This is Love".

Oliver Wallace and Paul Smith composed the score, but only after the animation was ready for inking, which was incidentally similar to scoring a live-action film. This was a drastic change from the earlier Disney animated features in which the music and action were carefully synchronized in a process known as Mickey Mousing.

The film also marked the launching of the Walt Disney Music Company. The soundtrack was also a first in using multi-tracks for vocals – with the song "Oh, Sing Sweet Nightingale", Ilene Woods recorded a second and third vocal track to enable her to sing harmony with herself.

On February 4, 1950, Billboard announced that RCA Records and Disney would release a children's album in conjunction with the theatrical release. The RCA Victor album release sold about 750,000 copies during its first release, and hit number-one on the Billboard pop charts.

The soundtrack for Cinderella was released by Walt Disney Records on CD on February 4, 1997, and included a bonus demo. On October 4, 2005, Disney released a special edition of the soundtrack album of Cinderella, for the Platinum Edition DVD release, which includes several demo songs cut from the final film, a new song, and a cover version of "A Dream is a Wish Your Heart Makes". The soundtrack was released again on October 2, 2012, and consisted of several lost chords and new recordings of them. A Walmart exclusive limited edition "Music Box Set" consisting of the soundtrack without the lost chords or bonus demos, the Song and Story: Cinderella CD and a bonus DVD of Tangled Ever After was released on the same day.

In conjunction with the film's 65th anniversary, the soundtrack for Cinderella was re-released in 2015 as part of the Legacy Collection.

{Top 3 songs}

{3- So This Is Love}

{2- A Dream Is A Wish Your Heart Makes}

{1- Bippity Boppity Boo}

Release/Reception/Box Office

The film was originally released in theaters on February 15, 1950, in Boston, Massachusetts. Cinderella was re-released in 1957, 1965, 1973, 1981 and 1987. Cinderella also played a limited engagement in select Cinemark Theatres from February 16–18, 2013.

Critical Reaction

The film became a critical success garnering the best reception for a Disney animated film since Dumbo. In a personal letter to Walt Disney, director Michael Curtiz hailed the film as the "masterpiece of all pictures you have done." Producer Hal Wallis declared, "If this is not your best, it is very close to the top." Mae Tinee, reviewing for the Chicago Tribune, remarked: "The film not only is handsome, with imaginative art and glowing colours to bedeck the old fairy tale, but it also is told gently, without the lurid villains which sometimes give little lots nightmares. It is enhanced by the sudden, piquant touches of humour and the music which appeal to old and young." Time magazine wrote that "Cinderella is beguiling proof that Walt Disney knows his way around fairyland. Harking back to the style of Snow White and the Seven Dwarfs (1937), a small army of Disney craftsmen have given the centuries-old Cinderella story a dewy radiance of comic verve that should make children feel like elves and adults feel like children."

However, the characterization of Cinderella received a mixed reception. Bosley Crowther of The New York Times wrote, "The beautiful Cinderella has a voluptuous face and form—not to mention an eager disposition—to compare with Al Capp's Daisy Mae." However, criticizing her role and personality, Crowther opined, "As a consequence, the situation in which they are mutually involved have the constraint and immobility of panel-expressed episodes. When Mr. Disney tries to make them behave like human beings, they're banal." Similarly, Variety claimed the film found "more success in projecting the lower animals than in its central character, Cinderella, who is on the colourless, doll-faced side, as is the Prince Charming."

Contemporary reviews have remained positive. Roger Ebert of the Chicago Sun-Times awarded the film three out of four stars during its 1987 re-release. Jonathan Rosenbaum of the Chicago Reader wrote the film "shows Disney at the tail end of his best period, when his backgrounds were still luminous with depth and detail and his incidental characters still had range and bite." The review aggregator website Rotten Tomatoes reported the film received an approval rating of 97% based on 36 reviews with an average score of 8.00/10. The website's critical consensus reads, "The rich colours, sweet songs, adorable mice and endearing (if suffering) heroine make Cinderella a nostalgically lovely charmer".

The film was Disney's greatest box office success since Snow White and the Seven Dwarfs, earning nearly $4.28 million in distributor rentals (the distributor's share of the box office gross) from the United States and Canada. It was the fifth highest-grossing film released in North America in 1950. It was the fifth most popular movie at the British box office in 1951. The film is France's sixteenth biggest film of all time in terms of admissions with 13.2 million tickets sold.

The success of Cinderella allowed Disney to carry on producing films throughout the 1950s by which the profits from the film's release, with the additional profits from record sales, music publishing, publications, and other merchandise gave Disney the cash flow to finance a slate of productions (animated and live-action), establish his own distribution company, enter television production, and begin building Disneyland during the decade, as well as developing the Florida Project, later known as Walt Disney World.

Cinderella has had a lifetime domestic gross of $93 million, and a lifetime worldwide gross of $182 million across its original release and several reissues. Adjusted for inflation, and incorporating subsequent releases, the film has had a lifetime gross of $565 million.

Budget $2.2 million

Box office $182 million

My Review

Legendary movie producer Walt Disney brought three of the world's greatest fairy tales to the screen. They remain among the most popular animated films of all time. The first was his groundbreaking classic "Snow White and the Seven Dwarfs" released in 1937. The last was the then-under appreciated "Sleeping Beauty" which made it's debut in 1959. In between these two was perhaps his most satisfying adaptation of a classic fairy tale: "Cinderella" (1950). Of the three films, "Cinderella" is the one most faithful to its origins. Ironically, unlike "Snow White", which for better or worse, became for many the definitive version of the story. "Cinderella" did not follow the same path. Although it was a hit and, like "Snow White", was responsible for restoring the dwindling Disney fortunes, it never achieved the same audience recognition which it certainly deserved. Disney, for once, did himself proud, electing not to tamper with a classic, instead elaborating and adding substance to the tale, rather than rewriting it for the screen. The result was enchanting.

A combination of superb animation (in beautifully soft Technicolor) and the perfect voice talents brought the story to life with a radiance that endures to this day. Ilene Woods, who was a radio performer, recorded demonstration discs of the songs as a favor to the authors of the material, Al Hoffman, Mack David, and Jerry Livingston. When Disney heard them, he knew he had found his Cinderella. And indeed he had. Woods heartfelt renditions of "A Dream Is A Wish Your Heart Makes", "So This Is Love" and "Oh Sing Sweet Nightingale" are perfect. Eleanor Audley, who would go on to voice Maleficent in "Sleeping Beauty", masterfully captured the icy cruelty of the stepmother, while Rhoda Williams and Lucille Bliss were convincingly nasty stepsisters. Luis Van Rooten admirably performed as both the King and the Grand Duke, and James Macdonald was endearing as both Jaq and Gus, Cinderella's devoted mice. William Phipps has little dialog as the prince (future talk show host Mike Douglas provided his singing voice) but film (and Disney) veteran, Verna Felton was born to play the fairy godmother, and she made the best number, (the Oscar-nominated "Bibbidi-Bobbidi-Boo") her own show-stopper.

Among the artists responsible for the "look" of the film, was Mary Blair, whose inspired use of color was greatly admired by Disney. Her elegant French-period backgrounds add tremendously to the quality of the movie. But, most important of all' are the believable characters--from Cinderella, right down to Lucifer, the stepmother's deliciously evil cat. They bring both life and vibrancy to the often told story, something very difficult to create in an animated film.

In conjunction with the film's 55-year anniversary, (and, not so coincidentally, the coming holiday season) "Cinderella" has just been released on a special edition DVD. It simply has never looked better. The fully restored film must be seen to be appreciated--suffice it to say, it looks wonderful. An enhanced stereo soundtrack has been added, and serves the music well. The DVD extras, now a standard part of Disney Platinum Editions, are too numerous to list here, but as usual, some are directed towards children, some are slanted to adults, and the rest fall somewhere in between. But real fans will want to get the Deluxe Gift Set, because, along with an actual cell from the film and eight character sketches, it includes a 160-page hardback book, which not only incorporates most of the material found in the book with the 1995 special edition home video release, but much more as well. As usual for Disney, "Cinderella" will only be available for a limited time. So, if like me, you are a "Cinderella" lover, get it NOW! This edition is truly a "Dream Come True."

The classic Disney film, Cinderella sets the standard for years to come with its imaginative animation style, fun characters, and enchanting songs. Animators find a good balance between the silly gags of the mice characters and the enchanting scenes with Cinderella and her path from rags to riches. Some notably colourful characters like the king and Lady Tremaine help support the story with originality, though some characters like the Prince and the fairy godmother probably deserved some more screen time. Either way, the movie kept us captivated with its wonderful visuals, refined humour and compelling storyline. 8/10