Jackson Prince, co-editor-in-chief
“Just because it’s what’s done doesn’t mean it’s what should be done.”
An orphan called Ella (Lily James) gave this message to a good-looking stranger named Kit (Richard Madden, or “the King of the North”) in the revamped, rehashed redo that is Kenneth Branagh’s “Cinderella”, an instant classic the likes of which the public has missed for too long.
In Branagh’s version, the elegance of the original fairy-tale’s destined princess is stirred with an added humanization to Prince Charming, deviating from the overdone, now-cliché characterizations of the awkwardly-cute, clumsy yet somehow put-together girl falling in love with the guy who seems to be WAY out of her league. Instead, Branagh’s movie stays true to the intended identity of the plot and characters, giving humanity to Prince Charming (calling him Kit and developing a relationship between him and his father, the king) and maintaining the overwhelming beauty of Cinderella and her scenes with the Prince, all the while creating magic through modern CGI techniques.
It’s truly the perfect feel-good that moviegoers have sought for years. For far too long, the role of “girl” has been murdered by quirky writers and directors who believe that a heroine should no longer be a heroine, merely a flailing character without elegance. The American public needed this Cinderella, a magical girl whose love story with a boy named Kit is elevated and profound.
It’s a must-see, as it is kind to the truth and reality of the original story, courageous by reviving meaningful romance and astounding beauty and magical, sprinkled by the vision of Branagh and the dust of a Fairy Godmother.
“Just because it’s what’s done doesn’t mean it’s what should be done.” Branagh fled the weary ideas of “what’s done” and explores unchartered territory, sticking to the script and adding his own personal flair with his Cinderella, showing the public “what should be done.”