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在线翻译:
szdaily -> Movies -> 
Cinderella
    2015-03-27  08:53    Shenzhen Daily

    Starring: Lily James, Richard Madden, Cate Blanchett, Helena Bonhaam Carter, Holliday Grainger, Sophies McShera Director: Kenneth Branagh

    James Baquet

    jamesbaquet@gmail.com

    MY first thought upon hearing that Disney had produced a live-action version of its 1950 animated classic Cinderella was, “Why?”

    This story has been written, sung, danced, played on stage, and filmed hundreds of times. Most of us who grew up with the afore-mentioned cartoon probably could at least hum “Bibbidi-Bobbidi-Boo,” if not recall some of the nonsense lyrics (“Salagadoola mechicka boola ...”)

    And though it is de rigueur in reviews to offer a synopsis, is there any reader who doesn’t know about the poor girl, abused by her step-relatives, who through stubborn good-heartedness overcomes her trials to marry the handsome prince?

    I hardly think any spoiler alerts will be necessary.

    Yet, this one-more-time production has been well-received by the critics and the public.

    Fresh-faced Lily James, familiar to viewers of “Downton Abbey” as Lady Rose MacClare, displays just the right combination of despair and wistful hope, courage in defeat, and complacent defiance to make the character work. Cate Blanchett’s wicked step-mother chews up a bit more scenery than I would have liked (though nothing like Glenn Close’s Cruella De Vil in “101 Dalmatians”).

    But several other key players are spot on, a tribute to director Kenneth Branagh’s taste. It probably didn’t hurt that he previously had worked with Derek Jacobi (as the Prince’s father), Stellan Skarsgard (the Grand Duke), and, most notably, Helena Bonham Carter (the Fairy Godmother). Her campy portrayal begins with her introduction, “I’m your Hairy Godfather ...” — hardly an original line — and rolls on from there.

    Richard Madden from “Game of Thronesas” (the Prince) and Nonso Anozie (as Captain) round out the top slots.

    More intriguing to me is the relationship of this telling to some of its predecessors. The current film, like the classic (where the mice seem to get more screen time than the humans), is based largely on Charles Perrault’s 1697 “Cendrillon,” a “Disneyfied” telling compared to the Grimm version over a century later, with its hacking off of foot parts and pecking out of eyes. The Grimms also substitute a wish-fulfilling tree for the Fairy Godmother, and gold slippers for glass; and there’s no coach at all, pumpkin or no.

    The magic coach and its staff, in fact, provide one of the best moments in the current movie, its deconversion justifying a big-screen viewing. (Lizards as footmen, by the way, are a return to Perrault; the animated Fairy Godmother used mice.)

    But perhaps the biggest departure of both Disney films from the classic tellings is the arc of Cinderella’s father. Both Perrault and Grimm leave him in, an inexplicably ineffective witness to his daughter’s humiliation. This detail — grist for endless hours of speculation and discussion — is done away with by Disney past and present, as perhaps too uncomfortable for their audiences. Dead dads raise no questions.

    And so we have an unsurprising sweet-as-pie retelling of this perennial chestnut, the original Cinderella story — and a thoroughly enjoyable one for all that.

    The movie is now being screened in Shenzhen.

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