Clyde Geronimi
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Cinderella (2015)
Directed by Kenneth Branagh
influenced by Cinderella (1950), Sleeping Beauty (1959)
Characters
There have been many different versions of Cinderella throughout the ages, but for this take, Weitz has borrowed primarily from Charles Perrault's 1697 written version Cendrillon and Walt Disney's 1950 animated version.
Lily James is Cinderella in Disney's live-action feature inspired by the classic fairy tale, "Cinderella", which brings to life the timeless images in Disney's 1950 animated masterpiece as fully-realized characters in a visually-dazzlling spectacle for a whole new generation.
Based on the classic fairy tale, but borrowing heavily from the 1950 film, “Cinderella” is enchanting, a wonderful and stylish film with a charming lead and emotional narrative.
A fairy godmother is a fairy whom your parents invited to witness your christening, like the three fairies in Sleeping Beauty (at least, it’s a christening in the fairy tale by Charles Perrault).
(In Disney's 1950s Cinderella and Sleeping Beauty, both the Stepmother and Maleficent were voiced by Eleanor Audley.)
She’s thinking, in particular, of Cinderella. Yes, she affirms: fuckin’ Cinderella.
Like Cinderella, there is also a heroine at the center of Anora whose dreams, hopes, and heartbreak are rendered so vibrantly that the film manages to reach out and wrap you in its embrace.
Much like the plot of Cinderella, which Ani mentions as her favourite Disney princess when dreaming of her future honeymoon…
The fairy tale begins to crumble, just like Cinderella’s carriage falling apart as it turns back into a pumpkin when Vanya’s parents get wind of the marriage.
…reverso realista de La cenicienta contemporánea…
Ani confesses a love of Disney princesses and Cinderella in particular…
Additionally, there are sing-alongs for "The Unbirthday Song" and "All in the Golden Afternoon" plus the trivia challenge "Adventure in Wonderland," an approximation of a newly unearthed theme for the Cheshire Cat, "I'm Odd," performed--unless mine ears deceiveth me--by Jim Cummings, the company's current stand-in for Sterling Holloway, and the 1936 Mickey Mouse short Thru the Mirror (also available as part of the Walt Disney Treasures collection "Mickey Mouse in Living Color"), wherein Mickey falls asleep reading Through the Looking Glass and dreams of a room beyond his vanity mirror full of anthropomorphized furniture.
Debuting feature director Juan Antonio Bayona and first-time feature writer Sergio G. Sánchez have fashioned a chiller with direct echoes of The Others, along with debts to Henry James’ The Turn of the Screw and J.M. Barrie’s Peter Pan.
Really, he's a vampire who thrives on his cult of personality; there's a reason that movie was called The Lost Boys.
With a nod to J.M. Barrie and "Peter Pan," these vampiric Lost Boys are living out every child's fantasy, but they would probably rather be normal kids than hanging upside down from the ceiling of a derelict, underground hotel.
And there are any number of non-videogame references as well, ranging from a ridiculous but adorable Wizard Of Oz visual joke to Firefly / Dollhouse star Alan Tudyk voicing Sugar Rush’s daffy, mostly affable King Candy in direct imitation of chortling Disney vet Ed Wynn (the Mad Hatter from 1951’s Alice In Wonderland and Uncle Albert in Mary Poppins).
Perhaps it is no surprise that a Disney film that celebrates outsiders (Ralph the ‘villain’ and Vanellope the ‘glitch’) over social cohesion should contain a variation of a character from Alice in Wonderland (Clyde Geronimi, Wilfred Jackson and Hamilton Luske, 1951), the most anarchic and unconventional of the classic Disney animated feature films.
Alice in Wonderland (2010)
Directed by Tim Burton
influenced by Peter Pan (1953), Cinderella (1950), Alice in Wonderland (1951)
Plot
It was revived in 1949, when the impending release of Cinderella had rejuvenated the animation studio, and the production of Alice in Wonderland hadn't yet descended into abject misery.
Oh, it was inspired by that book (and its sequel, "Through the Looking-Glass"), using the same characters and many similar motifs, but like Spielberg's "Hook" in relation with J.M. Barrie "Peter Pan", "Alice in Wonderland" is actually a variation on the source material more than a straight retelling of the original story.Also not unlike "Hook" is the way our protagonist, Alice ("Alice?"), is now older, has all but forgotten her famous adventures and has seemingly lost her "muchness".
Indeed, Alice’s story as told here rather closely resembles the story of Wendy Darling in the original “Peter Pan,” another heroine who hoped to avoid maturation by flying into fantasy.
Along with Alice in Wonderland (1951), arguably the last of the great Disney animated features.
The 1951 Disney animated feature never quite reached the canonical status of a Cinderella or Snow White; Lewis Carroll’s iconoclastic heroine seemed to resist the plangent, embalming tones of such fare, despite having her own coterie of talking animals and fatalistic queens.
This version of Alice in Wonderland was made by Disney, and is the most famous in a long line of many (you can find Alice films spanning from 1915 to 1999).
Everything is here from The Cabinet of Dr. Caligari (1920), to the black brambles of Disney’s Sleeping Beauty (1959), to references to the Friday the 13th and Halloween series — and, of course, the requisite zombie tropes.
The new Disney+ film Godmothered would fall into the “re-imagining” camp; it’s not officially a remake of Cinderella, the 1950 film that made the concept of the fairy godmother feel like an iconic Disney creation.
Moira teaches everything we know from films such as Cinderella .
With that in mind, the least the film division can do is not rely too heavily on the nostalgia tied to these well-loved tales, a reliance that leads to products such as the 2017 live-action “Beauty and the Beast,” an eyesore and weak echo of its animated self, rather than a “Cinderella” – which fine-tuned the magic of the 2D 1950s classic with some 2015 character adjustments to help modernize it for new viewers.
While it is technically a “princess movie” in the vein of Cinderella (1950) and The Little Mermaid, the story’s fixation on love and its role as the ultimate redeemer is not limited to romantic affection.
Cinderella (2011): This TV adaptation transports the classic fairy tale to Rome in the 1950, and centers on a pianist named Aurora.
Needless to say, there’s no musical moment here as magnificent as Whitney and Brandy singing Rodgers and Hammerstein’s “Impossible,” nor one as quietly lovely as Cinderella and the prince dancing to the underrated “So This Is Love” in the 1950 animated Disney version.
Directed by first-time helmer Robert Stromberg from a script credited to “Beauty and the Beast” scribe Linda Woolverton, the film has a clever enough big-picture take on the “Sleeping Beauty” tale, yet it sputters and snags as it tries construct a coherent emotional arc, and its reference points from the 1959 animated original feel more dutiful than inspired.
Sure, she chews the scenery in some scenes, going over the top, but it is these moments where she’s paying homage to the original performance in 1959’s “Sleeping Beauty,” so I can forgive a bit of overacting there.
There’s a telling scene toward the beginning of Maleficent, a revisionist retelling of Sleeping Beauty from Disney, the same studio that made the classic fairy tale famous again with its animated version in 1959.
Translation: Expect some fundamental changes to the legend most people know from either Charles Perrault's original fairy tale La Belle au bois dormant or Disney's 1959 animated version Sleeping Beauty.
Outside of the design and the shape of the island on which things take place, it's connection to Peter Pan is superficial at best, for the scenario that plays out here, and even the character of Tinker Bell herself, are frankly incompatible with anything that went before.
The pixie, created by J.M. Barrie but repurposed as the Disney mascot soon after the release of their "Peter Pan" adaptation, has long been a top money maker for the studio, adorning all sorts of merchandise, most recently a new "Disney Fairies" line of products; in this sense, a Tinker Bell movie was inevitable.
Pan's Labyrinth (2006)
Directed by Guillermo del Toro
influenced by Alice in Wonderland (1951)
Themes
It's as if del Toro had uncovered the darker aspects of Lewis Carroll's Alice In Wonderland adventures, the dormant elements ignored by Disney and television (though not by Jan Svankmajer in his disturbing 1988 gem, Alice), and found a home for them in his own fractured fairy tale.
Indeed, visually the picture's above reproach, opening up the play well beyond the parameters of the stodgily theatrical Hook and 2003's lovely but claustrophobic Peter Pan.
A perverse lollapalooza of loaded images and disquieting implications, P.J. Hogan's live-action Peter Pan is this year's most intriguing Freudian shipwreck, resurrecting the darkness and poetic pessimism of J.M. Barrie's play--and Peter and Wendy, Barrie's own novelization--that has been all but forgotten since Disney's well-regarded 1953 treatment.
Scarlett Overkill’s bedtime story about three little pigs (the Minions) and a Big Bad Wolf (herself) unfolds in cut-out and puppet animation that pays madcap homage to legendary puppet animators of the 1950s and 1960s, like Jiri Trnka, while Prokofiev’s Peter and the Wolf plays on the soundtrack.
Beauty and the Beast (2017)
Directed by Bill Condon
influenced by Cinderella (1950), Sleeping Beauty (1959)
Plot
Given its sheer novelty value (the live-action “Cinderella” released by Disney in 2015 wasn’t really cued to the 1950 cartoon version), the picture seems destined to score decisively at the box office.
Beauty’s hugely successful Disney live action predecessor, Maleficent, reimagined Sleeping Beauty from the point of view of the iconic 1959 villain (Angelina Jolie).
But the story that resonates most strongly with the shadow-people of Us is J.M. Barrie’s 1911 novel Peter Pan.
Enforcing this witty script, which is written by Karey Kirkpatrick (Chicken Run), John O’Farrell and Rachel Tunnard (Military Wives), are the returning characters that we all adored in Chicken Run: Ginger and Rocky are as lovable as always; rats Nick (Romesh Ranganathan, Cinderella) and Fetcher (Daniel Mays, 1917) play even bigger, friendlier roles; Fowler (David Bradley, Pinocchio) and Babs (Jane Horrocks, Sunshine on Leith) shine as brightly as they did in the first film, and are undoubtedly the pick of the bunch.