[critical] CINDERELLA

B. Both say immediately, CINDERELLA, you will enjoy absolutely not if you do not put yourself in a certain state of mind. In seeking to be entertained by a recipe yet well known : that of the fairy tale.

The film by Kenneth Brannagh, to kick, and endeavors to comply with the specifications taught for so long by the many feature films of Disney animation, with the subject of fairy tales to princesses diverse and varied.

The formula is so simple, but so freakin ‘ effective: to provide an absolute happiness, and then a misfortune dashing. And then, of the antagonists who will exploit this misfortune; until the hero is rebellious. In the case of Cinderella, the difference is the kindness, the unwavering character, instilled by his mother and prohibiting any wickedness.

For me, if CINDERELLA is so effective and fully corresponds to the name Fairy Tale, it is precisely because of this misfortune will turn suddenly (without logical story, quibble) in happiness, all thanks to fairy godmother the fairy.

A innocent naive completely assumed, which makes the film particularly sincere and touching.

This is thanks in large part to the impeccable Lily James, who layer the pure emotions and sincere of these princesses Disney, and manages to make it believable !

As well, when her character remains a goodness indefectible, in spite of the wickedness surrounding his elevation may not be that enjoyable.

His entering the ballroom, all eyes turned to it is in this respect a climax beautifully prepared, who can only bring up the emotion, if you feel a minimum of empathy for Ella.

For a moment all the more powerful, that the mis-en-scene with panache by Kenneth Branagh (who we had already learned about his propensity glitz and kitsch, in the intro of Thor), with the help of artistic Dante Ferretti, Sandy Powell , and Casey Banwell/Francesca Lo Schiavo, to the art direction, the costumes and the sets.

In contrast to the recent Maleficent and Into The Woods, the point of the real second reading, feminist or brain, in CINDERELLA.

The technique referred to above is to the TOTAL service of the story; everything is done to satisfy the viewer, and give him EXACTLY what he asks: a pure fairy tale.

Empathy towards Ella/Cinderella is immediate, served by antagonists of the perfect (Holliday Grainger and Sophie McShera in belle-sisters stupid and petty, Cate Blanchett – brilliant in the abandoner absolute), powered by her fairy godmother (Helena Bonham Carter, also brilliant) and even more in love with Richard Madden (Rob Stark in Game of Thrones).

“Put any and all criticism of purely cinematic side, and see Cinderella for what it is: a pure fairy tale, with a real Hero-Princess!”

Of course I’ve been tempted, as a critic, to point the kitsch, the naivety and the exaggerated constant of the mise-en-scène or the actors… But after thinking about it, these purely technical considerations, and cultural do not have a place to be, as an alternative of absolutely happy to the woes of the daily… CINDERELLA is a perfect success.

The happy-endings, the good fairies, the true-love, and the bad guys who end up being punished without that there is for nothing… It is obviously not in reality. But reach we do believe in the space of one hour and thirty minutes, this is one of the purposes of cinema entertainment.

In this, CINDERELLA , isn’t it one of the most sincere representatives of the 7th art ?

A claim with no-doubt exaggerated, and then submitted to purely economic issues inherent in the production of Disney… But, that allows me to justify my pleasure against the order of nature in the face of this fairy-tale defying all logic film.

The other outputs of the 25 march 2015

As a DIVERSION, THREE, let’s GO, CINDERELLA, TRIP to CHINA, DEAR WHITE PEOPLE, WASTE LAND, etc