Miraculously, the glass slippers are preserved; Prince Charming finds one on the palace steps, and Cinderella keeps the other. Because the slipper will not fit anyone but Cinderella, the Prince uses it to find her. It seems that all is lost when the stepmother breaks the slipper before Cinderella can try it on, but she produces the matching slipper, proves her identity, and marries the Prince.
When she first meets Prince Charming—in a scene absent from the animated version—she mistakes him for an apprentice despite his glittering sword and embroidered velvet coat. Even before her father dies and leaves her penniless, she seems to have only one dress: a perfectly princess-worthy blue chiffon frock, which her fairy godmother replaces with a much bigger, bluer chiffon frock.
Her hair, face, and jewelry remain the same. In both films, the entire plot hinges on Cinderella being so altered that she is unrecognizable. Apparently, Cinderella knows no one else in the tiny kingdom—except, of course, Prince Charming, who seems unfazed by her wardrobe upgrade. Both films end with a wedding. Now, the newlyweds greet their massed subjects from a palace balcony—a nod to the most recent British royal wedding. Princess fantasies have always been tied to the fates and fashions of real, live princesses.
In other adaptations this plays out as a Bachelor style spectacle where young women compete against each other for a guy, but director Kay Cannon and Mirojnick wanted to avoid that cliche. So we went about it our own way with each princess representing their respective nation. During the show the costumes will be worn on the runway by individuals who embody the progressive messages of the film.
Both Cabello and Mirojnick, who serve as Mercedes Benz brand ambassadors for the project, hope that viewers find the movie, fashion show, and subsequent campaign inspiring. From the stepmother played by Idina Menzel to the countless extras in the big dance numbers, no makeup look or hairstyle is repeated.
To understand the scale of the project, the movie's hair and makeup department head Sharon Martin first looked at the set and the costume design. How big are the dresses? Then she was able to ask herself: "How high can we go with the hair? Martin shares exactly what that means, plus more hidden meanings to look out for in the film's hair and makeup ahead. View On One Page. Meanwhile, Cinderella mocks fat people with regressive stereotypes.
And as with Cats , his jokes center around his weight, his loudness, and his insatiable desire for food. The mice make shady asides while Ella sings. Then, of course, Porter sashays in with a bold orange outfit that would be well-suited to his red-carpet highlights reel. But the Fabulous Godmother is little more than the Magical Sassy Black Friend, whose sole purpose is to give Ella life-changing advice while making her come off as cool by proximity.
On top of all this, the musical numbers are woefully disappointing. The choreography is uninspired, offering nothing mesmerizing, much less memorable. The songs written for the movie fare better, especially when they give Menzel a chance to bring her Broadway dazzle to the fore. So in a big moment of romantic rapture, Ella and her prince are rendered as dully as the mice scampering underfoot.
0コメント