Movie Review: Cinderella (2015) with Lily James, Richard Madden, and Cate Blanchett

So. What in the world to do when there’s something I love SO much, yet so much of what there is to possibly say has already been most beautifully and excellently said in so many different places? Definitely a rather discouraging predicament if ever there was one. ;) Especially as my feelings are so hard to put into words anyway… They’re all too swirling and magnificent and deeply tied to the story itself to be easily framed.

(A picture’s sometimes worth a thousand words, so I could just give you a post full of splendiferous screencaps and my 100% thrilled stamp of approval, but… I suppose that wouldn’t really be quite adequate. ;))

So onward!

To begin, Ever After and the 2015 are often compared. Honestly, I often do the same -- to the detriment of neither. In short, Ever After still holds its prominent position near the top of my All Time Favorite Films list (you can read my review here), but AS 'Cinderella', the 2015 takes the medal with flying colors, going beyond my favorites into the ‘just IS’ category -- much in the way of the original fairy tale itself.

From beginning to end, it’s complete and utter gorgeousness. As I mentioned to a friend after first seeing it -- everything they could possibly do wrong, they did right.

And the music!!!!!!! As we all know, the music is beyond amazing. It makes me want to laugh and dance and cry and sing all at once.

A most important note. I think I’ve mentioned this before, but I always choose what “extras” I watch with extreme care and I HIGHLY recommend the ones on here. They’re absolutely fascinating, particularly on the BluRay edition. It’s so delightfully wonderful to see just how much genuine enthusiasm and contagious energy and excitement everyone brought to it.

The mix of periods they bring in with the dresses and fashion pieces is stunning. As one person said on the commentaries, each of the ladies’ dresses at the ball would ordinarily be something they’d put on a leading lady in any other film. They also brought out a whole bunch of genuine, archive jewelry as well (some of which you get to see much closer up on the commentaries). It’s all incredible.

I love how the careful mix of eras (from about 1800 to the 1950’s or thereabouts) brings it very much within our recent historical framework, while creating at the same time such a vast, sweeping, timeless effect. 

Incidentally, while I’m on that similar topic, I think their choice to use a voice over technique (i.e. having the fairy godmother narrate a LOT of the story) contributes hugely to that overarching magnificence -- a fresh rendering of something that’s blossomed for centuries thanks (primarily) to the oral tradition. It’s brilliant. 

Now for a closer look at the blue theme. Ella’s dress first. ;D

With the hundreds and hundreds of breath-catching sparkles and layers and layers and layers of swirling blue, it’s basically a figment of my imagination come to life. It’s beautiful and dazzling and… scrumptious.

(Sweetness and romance completely personified.)

There are SO many fairy tale colors playing off each other in this, that it took me a little bit to see some of the other key places blue particularly pops out. 

Like in the clock tower striking midnight.

And it perfectly illuminates Cinderella herself. That and the butterflies. I don't know whether the following was intentional or not (but I tend to think they knew what they were doing). 

Blue is, of course, a tremendous symbol of fidelity -- of loyalty, trustworthiness, faithfulness. And (to paraphrase an internet source), butterflies are often viewed around the world as representing ‘endurance, change, hope, and life.’ Historically, Christianity has viewed the butterfly as a symbol of resurrection.

All of which ties with such utter perfection into Cinderella’s character.

With this film, they weren’t going for a new twist on Cinderella. This is the original story, the sweeping Big Picture -- the stuff of fire and dreams and valley lands and mountaintops.

The trick is in reticence; in giving just the right amount of details and development with each and every character. 

This version particularly highlights the inherent beauty of goodness. So one thing I really appreciate is that there are other outwardly lovely women throughout. Yes, Cinderella's (breathtakingly) beautiful, but -- gentle and soft spoken, starved for kindness yet always giving, sweetly ingenuous yet strong and mature -- it’s her heart and soul that sets her apart.

And so we catch the depth of her stepmother’s pulled-up-short line in the attic. The first time I ever saw it (in the theater), my jaw almost dropped at that point. I couldn’t believe the directors were so forthright about the depth of the opposition. The polar opposites -- good and evil. They don’t pussyfoot around it. 

Sometimes I get this teasing idea… Why couldn’t the stepmother (still for purely self-interested reasons) have just made peace with Cinderella after the ball, once she knew the prince was in love with her? Rather than still conniving for her own daughters? Why wouldn't she? It would have worked out for her best interests in the long run.

But controlling and manipulative and prideful people don’t think that way. They don’t act that way. Pride does not easily beg mercy and forgiveness.

No, there can be no compromise. And so we have, too, themes of contrasted pride and humility.

So yes, I think it’s a fantastic twist when the stepmother is trying to coerce her at the end. And then Ella sacrifices herself -- her loyalty and fidelity rising to the scope and scale of protecting the kingdom itself. 

She sacrifices herself out of love for her prince and for the good of the kingdom -- and she comes shining forth as tried and tested gold. She will be a worthy and a faithful queen.

~     ~     ~

And more miscellaneous moments I love in a movie wherein I love every minute:

I love the throat-clearing major domo. :)

I love the soaring, pounding, tingling exuberance of those few split seconds when we first meet the prince.

I love the father-son relationship between Kit and the king. I love how much they love each other. I love their humor and what a truly dutiful son Kit is.

The scene with the court painter is delightfully fun. “Stop. I’m on the ground. I am literally on the ground.” 

I love Kit and the Captain’s friendship.

*Spoilers* I love Kit coming along as a common soldier at the end (one of my favorite moments ENTIRELY).

I love the, “I speak French not Italian.”

I love the fairy godmother -- hilarious and nervous of her own powers.

I love Ella getting in the carriage and her godmother chastising Mr. Lizard for “whittering on” about the “lovely blue.”

I love the: “They're all looking at you...” “Believe me, they're all looking at you.”

I love the “would/wouldn’t” banter between Kit and his father, echoed with Kit and Ella’s “should/shouldn’t” at the swing. And then the romantic slipper moment.

I love his little moment puzzling about the “lizards and pumpkins and things.”

I love all the footmen desperately trying to figure out who the mysterious lady is.

I love how Kit actually gets to see the golden carriage.

I love the whole heart-wrenching scene with his father dying. 

I love how he actually becomes king.

I love the stepsisters’ polka dot dresses.

I love the mice running out on the beam just above Ella as her father is walking away from her to meet her stepmother. 

And I love how they see her all the way through to a new man in her life -- husband and protector. :)

(See them? :) And ohh, I hadn’t noticed till just now, but look at 
the echoing lines of the pillars and half circle outline in these two shots!)

I love how he’s actually wearing a wedding ring at the end. (Obvious, I know, but I like it.)

So in conclusion: exquisite -- pulling your heart out with beauty and romance and story – this film is a complete and thorough joy!

Tell me! Have you seen it? What think you?

Movie Review: Stagecoach (1939) with John Wayne & Claire Trevor

As aforementioned, Emma and Olivia are hosting their Legends of Western Cinema event this week and I’m reviewing one of my favorite films of all time—the original Stagecoach starring John Wayne. (Also, this is the first time I’ve ever taken a stab at doing a review in narrative style, so let me know how you like it in the comments! ;)) 

*Warning: this will be rife with spoilers*

And now….

First off, the music is thrillingly, longingly, triumphantly and entirely splendid through the entire thing. (So just keep that in mind.) 

The titles roll and we start with a column of cavalry riding past—silhouettes against the sun. Then the music switches eerily and a band of mounted Indians are following just on their heels—feathers and war spears showing ominously. Finally, the trumpets sing out again and our stagecoach comes rolling past.

The story proper starts with word arriving at military headquarters by Indian scout that the fearsome Apache chief—Geronimo—has broken reservation and is on the warpath. A telegram arrives bearing only one word—Geronimo. The rest is nonexistent. The wires have been cut. 

But that’s a problem for the army. We’re off to this delightful, bustling western town with dust and excitement flying in the air.

The stage comes in and various important people get off to stretch their legs (pardon me, “limbs!”) and all our set-up happens in a few perfect scenes.

While the thoroughbred Southern lady and officer’s wife, Mrs. Mallory, is first catching sight of Hatfield, the notorious gambler…

…Buck (our stage driver) is in with the boys looking for his shotgun rider. Turns out the rider has gone off to join the posse looking for Ringo Kid, who has broken jail and is now probably hot on the trail of the Plummer boys who sent him to the penitentiary in the first place. (Everybody else is grave about the news while Buck is delightfully and ridiculously pleased.) It all adds up to Curley, the marshal, riding shotgun. Meanwhile the banker, Mr. Gatewood, is over at the bank, showing forth his pompous pretentiousness. 

And… uh oh. It looks like our charming little town may not be so charming after all. 

Two social outcasts are being ridden out of town. Doc because he’s penniless and can’t pay for his whiskey—let alone his rent—

and Dallas for what she is. (The question remains: you can superficially whitewash a town with your League of Law and Order, but how do you really deal with the deep-dyed branding a girl like Dallas has to bear? In practical terms, it’s also an almost exact example of the truth in James's words, “If a brother or sister is naked and destitute of daily food, and one of you says to them, “Depart in peace, be warmed and filled,” but you do not give them the things which are needed for the body, what does it profit? Thus also faith by itself, if it does not have works, is dead.”)

So. After a few more goings on everyone is loaded and settled in the stage—including Mrs. Mallory who is determined to get to her husband despite the societal stigma of riding with Dallas, Hatfield who decides to accompany them at the last minute, placing his services and protection at Mrs. Mallory’s disposal, Mr. Peacock the circumspect whiskey dealer from Kansas City, Kansas, and finally—as we’re heading out of town—Banker Gatewood carrying a not-so-mysterious small traveling case.

Oh! And just as we’re starting the lieutenant comes up to say a detachment of cavalry will be escorting the stage to Dry Fork where fresh troops will take over. With Geronimo loose travel is at your own risk. The danger’s imminent, but no one (for their own complex reasons) is willing to step out of the stage.

The whip cracks and we’re out past the town’s last defenses and on the open trail into the unknown—our stagecoach a little traveling island unto itself.

Buck and Curley’s interchanges happening out on top (throughout) are just perfection 

while, inside, Gatewood is quickly proving himself obnoxious.

Now wait! Who’s this? Ringo Kid! :) His horse went lame and he’s holding the stagecoach up for a ride. He’s not going to hand his gun over to Curley, but then the troopers come round the corner behind the coach and—not being one for needless waste—he tosses it up and climbs in. (And I love that Curley doesn’t threaten him with the troopers! It’s all man-to man.)

There’s more conversation following going on up outside, but I don’t want to give spoilers on that. Meanwhile, down in the coach connections are being made and undercurrents are starting to swirl.  

At last the coach reaches Dry Fork, only to discover the troops (including Captain Mallory) have been ordered on to Apache Wells, leaving us without further military escort. 

Going on is put to the vote and it’s decided the troopers will go back to town as ordered and our valiant (and not so valiant) little band will continue straight on. 

And surrounding the vote, we get this epic dinner scene absolutely packed with stunning character development! It’s almost too much to take in.

Separating from the troops, we’re then off on the next stage of the trip, bringing with it yet more incredible development via dialogue whose potent simplicity underscores its power.

Taking a little used road, we’re soon running into cold and snow. (This whole film is chock full of men being men in different variations and with that comes a whole load of protection stuff going on. This time around I particularly noticed how Hatfield and Ringo—as they each care for a woman with true chivalry—are both similar and contrasted. Here in particular, I’d noticed Mrs. Mallory wearing Hatfield’s greatcoat before—but, if you scroll up to one of my earlier screen caps, do you recognize the saddle blanket Dallas is wrapped in? :))

At last in triumph, without sighting a single Apache, we reach Apache Wells—only to discover Captain Mallory has been badly wounded in a skirmish and his troops have taken him on to Lordsburg, leaving us now totally without protection.

At Apache Wells all sorts of things start getting shaken up and the heart of the story comes facing out in the open. Something Big happens, tightening the knot and bringing everyone even closer in their actions and reactions.

It’s mind-boggling how each and every character is further richly developed in such few and poignantly delineated moments and lines.

Of course, our major action is happening between Ringo and Dallas and it’s just amazing. The true courtly honor with which he treats her—his calling her “Miss Dallas”—his care and his protection and his trust in asking her to marry him.

I love, too, Dallas’s subsequent short interchange with Doc.

In the end, she’s desperate for Ringo to make a break for his own land over the border, leaving his plans for Lordsburg behind—desperate to keep him from knowing what she is (as if he doesn’t)—desperate to keep him alive and promising to come and join him. 

But it’s too late. Apache war signals are rising in the hills and everyone promptly piles back into the stagecoach—hoping against hope to beat the Indians to the river crossing. Arriving at the crossing, the Apaches have already put everything to the flames. 

And now they’re definitely sighted—sun glinting off spears and gun barrels as they file down through the hills toward our coach.

On the far side we finally meet our war party and the last race for Lordsburg is full of flying arrows and bullets and heroics and the cavalry arriving at the very last possible instant.

Our party is saved—but at the cost of two members wounded and one dead. 

But we’re not near done! We come into Lordsburg: crowded, populous, raucous—full of saloons and dance halls and houses of ill repute. Word flies that Ringo Kid is in town and—holding Dead Man’s Hand—the Plummer boys band together.

Meanwhile, all the passengers are taken care of and accounted for—duly displaying their either changing or unchanging colors.

And so we come to Ringo and Dallas. Dallas—with her fear and her deep despair and her hard knowledge of the impossibility of redemption—and Ringo who doesn’t have or want to know all the sordid details. But he knows enough and he’s going after her.

She fled Lordsburg and—trying to start in a new place—has been thrust back hopeless. The inescapability has peaked and is crowding down—stifling. For he’s now walking beside her—seeing exactly who and what she is. 

But he’s walking beside her—walking past it all, covering her with a full and honest love—claiming her before everyone—not taking the “no” of despair for an answer—loving her with an unrelenting love. His word stands.

And so comes the shoot-out—three against one.

Finally—when justice is served—the bride is fully claimed and both are set free. And understated—brimming over with tough, raw grace—it’s all throbbingly, beautifully, achingly magnificent from beginning to end!

So tell me! Have you seen Stagecoach? And what do you all think? Should I do more narrative reviews in the future?