Disney's Unconventional "Cinderella" (1950) (long)

Disney's unconventional "Cinderella" (1950) (long)

Having watched most of the many adaptations of Cinderella, I've come to realize what a unique adaptation Disney's 1950 animated classic really is. Unlike Snow White, which only had a few stage and screen adaptations before Disney produced its groundbreaking film, Cinderella had already been adapted many times before Disney's turn came, and Disney's version makes a surprising number of departures from the standard Cinderella "formula." It was definitely a fresh, creative Cinderella when it made its debut, and it arguably still is. Yet because it's become so familiar in pop culture, and today so often serves as our childhood introduction to the tale, it's easy to overlook its inventive storytelling choices. The 2015 live action remake uses several classic Cinderella adaptation tropes that the original 1950 film actually subverts!

Here's a list of the often-overlooked ways in which Disney's Cinderella stands out from earlier adaptations, and from many later ones too.

Cinderella herself. Disney's Cinderella isn't a traditional Cinderella in personality. The "traditional" portrayal of Cinderella, seen in virtually every adaptation before Disney's and several afterwards too, is the portrayal I call "The Waif": a very young, fragile, melancholy girl, dressed in pathetic rags and smudged with ashes, who makes the audience want to rescue her and who wins the Prince's heart with her wide-eyed innocence and artless charm. But whether chiefly to set her apart from earlier screen Cinderellas or from Disney's earlier delicate ingenue Snow White, Disney's Cinderella is none of those things. She comes across as older, or at least more sophisticated. Nor is she waif-like, but instead combines down-to-earth warmth with ladylike dignity, even at her lowliest. She doesn't sit in the ashes ("Cinderella" is her real name in this version), and her servants' dress is humble yet clean and only slightly tattered. She's gentle and kind, yes, but also intelligent, practical, playful, sometimes sarcastic, philosophical, optimistic, genuinely cheerful when she's with her animal friends, and yet angrier and stronger-willed than virtually all earlier Cinderellas. She doesn't beg to go to the ball, but asserts her right to go, and then sets to work fixing up an old dress of her mother's for herself. Only her stepfamily's sabotage, first by keeping her too busy to finish the dress, and then by destroying it after the mice and birds finish it for her, prevents her from taking herself to the ball without a Fairy Godmother. To this day, she stands out as a complex, unique Cinderella, which pop culture too often forgets.

Lady Tremaine. Some critics today complain that Disney makes Cinderella's stepmother a total monster instead of giving her "nuance" and call her portrayal "sexist." But can't we agree that her sheer cruelty enhances the film's dramatic power? And compared to earlier portrayals of Cinderella's Stepmother, it definitely makes her stand out. In most pre-Disney Cinderellas and many after, the Stepmother is a pompous, vain comic antagonist. Once again, Disney was innovative by portraying Lady Tremaine as a dignified, manipulative, and truly sinister villain, who takes quietly sadistic pleasure in abusing Cinderella and will stop at nothing to prevent her from going to the ball or marrying the Prince. As far as I know, she's also the first Stepmother to realize before the slipper-fitting that Cinderella was the lady at the ball and to take action to prevent her from being found. That's a commonplace plot device in more recent adaptations, but in 1950 it was a creative twist!

The mice and other animals. Viewers debate whether Cinderella's mouse friends, Jaq, Gus, et al, and their misadventures evading Lucifer the Cat are a welcome addition or take away too much screen time from Cinderella herself. But there's no denying that the presence of the mice and birds is an inventive storytelling choice, which makes Disney's Cinderella stand out! And I can provide a long list of reasons why they're more than just "filler." (1) They add liveliness, humor, and appeal for younger children. (2) They gave the animators an outlet for the type of character animation they did best, rather than binding them to the harder work of animating realistic humans. (3) They give Cinderella someone to talk to besides her stepfamily. (4) They give her a way to demonstrate her kindness. (5) The struggles of the mice with Lucifer parallel Cinderella's abuse by her stepfamily, and Cinderella's undying optimism not only keeps her from despair, but inspires them too. (6) They arguably provide a further reason why Cinderella stays with her stepfamily – not only does she have nowhere to go, but an entire community of small sentient creatures relies on her for food and protection. (7) They reward Cinderella for her kindness. From the start, her friendship with the mice and birds makes her life easier to bear, both by easing her loneliness and because they do helpful deeds for her, like mending and cleaning her clothes. They fix up her mother's dress for her to wear to the ball – only the stepfamily's last-minute cruelty requires the Fairy Godmother to step in. And in the end, they're directly responsible for Cinderella's happy ending by freeing her from her locked room. They do all these things because Cinderella has protected them, fed them, made them clothes, and been their friend. Therefore, Cinderella's good fortune never feels "just handed" to her: her kindness directly earns it.

The Fairy Godmother. It's always varied between illustrators whether Cinderella's Fairy Godmother is portrayed as a grandmotherly old woman or as youthful, regal, and beautiful, but screen and stage adaptations before the Disney version virtually always took the "youthful, regal, beautiful" approach. That is, when they didn't change her into a wise, fatherly male magician-advisor, as in several opera adaptations! At any rate, seriousness and dignity were the norm for this character in most adaptations from the 19th century through the 1940s. Making her a sweet, comforting, grandmotherly figure, with a comically and adorably absent mind, was another of Disney's fresh choices.

Cinderella's entrance at the ball. We all know the classic image of Cinderella's entrance from other adaptations. Cinderella appears at the top of the grand staircase that leads down to the ballroom, and a hush falls over the assembly, as not only the Prince, but all the guests and members of the court are amazed by the unknown lady's beauty and magnificent dress. Even in versions without a staircase, Cinderella captivates the room the moment she enters. Adaptations both before and after Disney's, including Disney's own 2015 live action remake, play her entrance this way. But the 1950 animated classic subverts it! The grand staircase leads up to the ballroom, not down to it, and Cinderella's entrance isn't a triumph at first, but a vulnerable moment as she makes her way up the stairs alone, dwarfed by the splendor around her. Then, when she reaches the ballroom, no one notices her at first, because the other ladies are being presented to the Prince and all eyes are on him. But then the Prince notices her in the shadowy background as she quietly marvels at her surroundings, and leaves his post to approach her and invite her to dance. Only then does the rest of the assembly notice her, because she's the one the Prince has singled out. It's more understated and it feels more realistic than the traditional entrance, as well as more clearly symbolic of Cinderella's venturing above her station, then both literally and figuratively being led out of the shadows by the Prince's unexpected attention.

The slipper-fitting plan. Over the years, it's been fairly popular to mock the idea of using the glass slipper to find the Prince's love, as if there were no chance it would fit anyone else. Disney's version is creative by having the slipper-fitting search be the comical, hot-blooded King's idea, not the Prince's, and making it clear that it's not, nor is it meant to be, a foolproof plan to find Cinderella. The Duke points out that the slipper could fit any number of girls, but the King doesn't care if they find the right girl or not: he just wants to hold his son to his pledge to marry "the girl who fits this slipper" and force him to marry the first one who fits it. This also means that Disney doesn't do what most adaptations do and have the Prince conduct the search himself, but follows the original Perrault tale by having a gentleman, in this case the Grand Duke, do it instead. This prevents audiences from mocking the Prince for relying on the slipper instead of knowing his beloved's face.

Cinderella breaking free and asking to try on the slipper. Even though in Perrault's original tale, Cinderella asks to try on the slipper, she almost never does in adaptations. In most versions other than Disney's, including Disney's own 2015 remake, Cinderella's presence in the house (and/or the fact that she has the other slipper) is either discovered by accident or revealed by Cinderella's allies, not by Cinderella's own initiative. In some versions, she even tries to hide from the Prince and/or the search party, either out of fear of her stepfamily or because she feels unworthy of the Prince in her rags. But not Disney's animated Cinderella! First of all, she has an assertive emotional breakthrough when she calls on her dog Bruno to chase Lucifer away and free Gus to slip her the key to her locked room. Earlier on, she urges Bruno to try to get along with Lucifer, lest the stepfamily not allow him to sleep in the house – it's clear that Bruno represents her own rebellious side, and in that scene she's really talking about herself, revealing that she tolerates her stepfamily's abuse so she won't lose her own "nice warm bed" and be homeless. But in the climactic scene, when she finally sees a way out, she gives up playing nice and seizes her chance. First she unleashes Bruno on Lucifer, and then she runs downstairs and directly asks to try on the slipper, not caring how her stepfamily will react, or what the Grand Duke will think of her shabby dress, or whether the audience will accuse her of gold-digging or not. This isn't a common breakthrough in other Cinderella adaptations, but it fits perfectly (like a glass slipper, you might say) with the Disney Cinderella's stronger-willed and more self-assured characterization.

"I have the other slipper." We can probably all safely assume that when audiences first saw Disney's Cinderella in 1950, they all expected Cinderella to try on the glass slipper she lost, with her identity revealed by its perfect fit. They never would have expected Lady Tremaine to trip the footman and break the glass slipper... only for Cinderella to calmly reveal that she has the other one. It's yet another clever and unexpected twist, not seen in any other version. Not even Disney's own 2015 remake.

Disney's Cinderella deserves far more credit than it gets for being unique among the myriad versions of the tale, especially compared to the versions that came before it.

Happy National Hobbit Day

"I've found it is the small things, everyday deeds of ordinary folk that keeps the darkness away; simple acts of kindness and love." -Gandalf Greyhame, The Lord of the Rings

In appreciation of all things Hobbit. May you have a merry and cozy day of good food and good company! (And possibly even a Pippin day.)

I love it when pre Original Trilogy era shows how much effort went into making the Death Star. It took decades, literal decades, and it took so much money and so many people and it was such a secretive thing and it’s staffed by millions because it’s the size of a small moon.

I cannot express how much all of the added information makes it so much funnier that Luke blew it up.

Luke destroys literally everything Palpatine built. He blows up the Death Star, which was referenced in universe as early as the second movie. He blew up the weapon of mass destruction twenty years in the making. And he blew it up pretty much directly after it’s first and only successful attack. It was operational for fifteen minutes, fifteen minutes that Palpatine had the thing he’d been building for longer than Luke has been alive, and Luke blows it up. First day retirement, but first hour retirement.

Luke convinces Darth Vader to turn back to the light side, a feat thought literally impossible by literally everybody. Sidious clearly doesn’t see Vader’s betrayal coming. Vader’s betrayal was not in his plans, nor was it something he was prepared for. Sidious is a powerful Force user with all four limbs while Vader is a man in the tin can Palpatine put him in. If Palpatine had seen Vader turning coming, he would not have allowed it to happen.

Luke literally should not even be alive. Palpatine almost definitely got Padme out of the way on purpose, and he almost certainly was trying for her unborn child as well (there was way too big of a risk that a cute liddol bebe would bring some humanity back to Anakin, and Palpatine did not want Anakin to have any humanity) Luke living is literally the first step in Palpatine’s ultimate downfall, especially once Vader finds out that Luke is his son. His very alive son. His son that is not dead, despite Palpatine claiming Anakin killed Padme. Implying that Anakin killed Padme and she posthumously gave birth. But, she didn’t give birth on Mustafar, which was the last place Anakin interacted with her. And once the mother dies, you have to get those fuckers out fast or they die too.

I imagine Darth Vader piecing all of this together is that meme with all the math floating around his head, because how could Padme have died by his hand and then given birth like two hours later?

Luke killing Palpatine is what ultimately leads to the dissolution of the Empire as an omnipotent entity. Luke killed the Empire. Luke spends a good amount of his adult life killing Empire remnants. We see that in the Mandalorian, since he’s so recognizable that Gideon immediately knows he’s fucked just by seeing an X-wing. We read it in Legends’ continuity, where Luke terrifies Imperials because he can walk into their changing room and stand in their for a minute and they don’t even notice.

Luke destroyed Palpatine’s life’s work. Everything Palpatine spent his whole life working towards, and Luke kills all of it. He blows up not one, but two Death Stars (he may not have pulled the trigger on the second Death Star, but without him, it never would have been destroyed). He convinces not one, but multiple Sith and Dark Jedi to return from the Dark Side. He is the only reason that Obi-Wan Kenobi, the biggest pain in Palpatine’s ass ever born, lives long enough to make it to the Death Star.

Palpatine went through so much effort. And just when he had finally won, when he finally had a weapon capable of destroying entire planets with a single blast, making it impossible for any planets or peoples to go against him, Luke shows up nineteen years late to the Jedi party with space Starbucks and a droid twice his age and almost singlehandedly destroys everything Palpatine ever had a hand in creating.

Luke manages to become even worse than Obi-Wan Kenobi, the ultimate thorn in the side of politicians, and Luke doesn’t even understand any politics. He wasn’t trained in diplomacy like Obi-Wan and Leia, no, he’s a farmboy who left home for the first time in his entire life, just this morning. And he is the one to destroy the Empire.

If they rewrote Star Wars and had it entirely from Palpatine’s perspective, Luke Skywalker would be his greatest foe. Luke Skywalker would be the final boss. Luke Skywalker is the antithesis of everything Palpatine believes in and he is the one character that Palpatine cannot predict. He isn’t as moldable as Anakin, he doesn’t respond to threats very well, he’s apparently impossible to kill via Force lightning (still the funniest scene of all times, the progression of Palpatine’s face falling and him looking like “what the fuck??? Is this kid rubber??? I’ve electrocuted him eight times???”), his unwavering faith in his father’s goodness makes Darth Vader want to be a better person, Luke Skywalker is the big bad of Palpatine’s story and—

There is nothing in this world that is funnier than someone’s biggest antagonist being Luke fucking Skywalker. Luke Skywalker, who saved the galaxy with the power of love and who shouldn’t exist, by Jedi rules and by Palpatine’s own attempts, and whose best friends are literally droids, which Palpatine canonically hates!

Everything about this is hilarious, this is the funniest thing in all of media, Palpatine loses absolutely everything to some backwater farmboy who fucking likes droids.

I'm gonna give y'all a hot take here. The main difference I can see is how involved each of them are, and how much they listen to their father.

My Pride & Prejudice hill I will die on is that Lydia and Elizabeth have almost the exact same character flaws, being that they’re both gossipy and judgmental and the only difference is that Elizabeth is a little more subtle about it and less boy crazy but both of those could easily be explained by her being almost six years older. They BOTH fell for Wickham’s charm and the only reason Elizabeth was spared is because Wickham chose not to pursue her, and yet Lydia is often portrayed in adaptations as this horrible audacious brat while Elizabeth is a snarky girlboss.

In the moments after Eustace and his cousins stumbled back into Lucy’s guest room, he became uncomfortably aware that everything was different.

Eustace stared down at his arms and found none of the tan he had grown accustomed to seeing. His eyes felt strained and out of focus. It took him nearly a full minute to realize it was because his vision had returned to normal, as though he’d never tasted the waters of the Last Sea. A glance in the mirror on the back of the door revealed that his hair was neatly combed, not ruffled and wind-tossed. There wasn’t a freckle on his face.

Perhaps, Eustace should have been less startled by the physical transformation—after all, it wasn’t nearly as dramatic as his undragoning had been—but if anything, this time there was a greater awareness that came with it. Everything was different, his body seemed to sing.

If he had shaken himself from his private reverie a few moments sooner, perhaps Eustace would have seen the moment when Edmund and Lucy sank down onto the bed in one synchronous motion and wrapped their arms around each other. Lucy shook soundlessly as Edmund twined his fingers into her hair, but she was smiling too.

When Eustace went out of the guest room to shakily make some tea, he stepped over Lucy’s suitcase, which was piled high with light-weight dresses in bright, vibrant colors. He glanced into his own bedroom and saw the stack of books that Edmund had left piled on the dresser. I don’t really know my cousins at all, he thought.

Eustace couldn’t know, in that moment, that Edmund would be lending him favorite books for the rest of their all-too-brief lives. He couldn’t know that Lucy’s Narnian brightness would find its way into his stocking at Christmas this year, and the next, and the next. He couldn’t know that Peter and Professor Digory were waiting for him somewhere in a little study, that they’d give him stories about Narnia and words of Greek with equal enthusiasm in a week’s time.

When he returned to the spare bedroom with three cups of tea, Edmund and Lucy were still wrapped around each other like the cords of a rope. Silently, Eustace put their cups down on the end table and focused hard on feeling different.

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In Defense of Peter Pevensie. Originally written in response to accusations of Peter being "less complex" than other Narnia characters

If King Lune is the embodiment of masculinity as father, then Peter is the embodiment of masculinity brother. As High King, he becomes the brother of his people, but those seeds were sown in his own family. 

From the very beginning of the story Peter is the leader of the Pevensie children, a job he evidently takes very seriously. But, unlike a lot of eldest siblings, he doesn’t use his status and power as a means to swagger around and lord it over the others. Quite the opposite, actually. It is immediately clear that one of Peter’s main functions in the Pevensie family is cheerleader of his siblings. This is shown not only in his open praise of their talents (for example, he hypes up Susan’s talent of archery in PC and cheers on Lucy for having been right after none of them believed her), but also generally tries to keep them in high spirits. 

Take the context of LWW. The Pevensies are sent to the countryside because of air raids. They are going into a strange house with a strange man because the Germans are obliterating everything the children have ever known or called home. All of them are scared, Edmund’s bullying Lucy, and Lucy may or may not be going insane. But Peter can’t show any of them that fear, because he’s the oldest. They can’t know he’s scared, so he puts a bold face on it. One of the first things he says in LWW is “We’ve landed on our feet and no mistake” when he looks at the big house. He argues they are going to have a delightful summer after all. The next day, when the others are disheartened by the rain, he suggests they explore the house.

As the years go on, Peter earns the title “Magnificent.” In this, Peter truly embodies the  JPII quote, “the ultimate test of your greatness is the way you treat every human being.” He has a bleeding heart for the least of these, but in an unassuming, humble way. Peter is not a man of pomp and circumstance. He has a servant’s heart, perhaps most evident in PC. 

Upon returning to Narnia and learning of Caspian’s plight, he immediately makes it known that he has no intention of replacing Caspian. “I haven’t come to take your place, but to put you in it” is among the first things he says to his new friend. This isn’t about winning fame or glory or reliving the old days. This is about making right what was wrong. 

He is generous with the Narnia creatures, even when they are a bit silly. When trying to pick a Marshall, he suggests the Giant Wimbleweather. Caspian warns him that the giant isn’t very smart, to which Peter responds, “Of course not. But any giant looks impressive if only he will keep quiet. And it will cheer him up.” Part of his reasoning is simply the injured feelings of poor Wimbleweather who earlier entirely messed up an important battle.  The following conversation also takes place while they are searching for a Marshall. Reepicheep offers his assistance:

"I am afraid it would not do," said Peter very gravely. "Some humans are afraid of mice——"

"I had observed it, Sire," said Reepicheep.

"And it would not be quite fair to Miraz," Peter continued, "to have in sight anything that might abate the edge of his courage."

Instead of embarrass and insult Reepicheep by explaining that he is far too small and unassuming for such a job, he appeals rather to humans' fear of mice. Even while battle prepping, his is concerned about the hearts of his people. Bulgy Bear, too, he allows to be a Marshall, as it is the right of bears, no matter how silly they are. 

Peter understands that duty means doing what is right, regardless of how it makes you feel. His first battle happens because Susan and Lucy are being chased by the wolves. When he hears Susan’s horn, he runs to help her. The book says, “Peter did not feel very brave; indeed, he felt he was going to be sick. But that made no difference to what he had to do.” His sisters needed him. And so he showed up. The same is true in PC, when he engages Miraz in single combat. Edmund asks if he can beat Miraz. Peter responds that he is fighting to find out. He goes in completely unsure that he is ever going to see his family again, but he does it anyway. Because Narnia needs him. Caspian needs him. His people need him. And his feelings aren’t the deciding factor. 

When he makes mistakes, he owns up to them. In LWW, when the children plead before Aslan on Edmund’s behalf, Peter blames himself for being too hard on Edmund. In PC, when they finally see Aslan, he apologizes for having led them wrong the whole time. He is always trying to do his very best and falling short like the rest of us. But he accepts his fault with humility, gets back up and tries again. 

By the Last Battle, we get to see Peter in his truest form. Even though he has been in England for years, when the seven friends see what looks like a ghost, he is the one who stands up and orders it to speak. Clad in his suspenders and button-down shirt, Peter is once more High King. “Shadow or spirit or whatever you are," he says, "If you are from Narnia, I charge you in the name of Aslan, speak to me. I am Peter the High King." And when night falls on Narnia for the last time it is Peter, once so scared to speak to Aslan (and even attempted to make Susan do it for him) that shuts the door. It is Peter that jests with Lucy when she weeps for Narnia, trying to lighten the mood. It is Peter that she turns to, time and time again, with her questions. It is Peter that Lucy, and all of the other friends of Narnia, trust to lead them. 

It is also Peter, who, “shortly and gravely” tells Tirian about the fall of Susan. Because he has to. Because here he is, once again, the eldest, the leader. Here he is once again faced with the unpleasant task of shouldering the burden for others. But he won’t make Edmund or Lucy explain (in fact, they don’t say anything about Susan). Peter takes that pain for them, forces himself to form words. Perhaps, deep down, he blames himself. He always was a bleeding heart. 

There are so many other things I didn’t include. I could talk about how Peter immediately offers to help Tumnus, simply because he did the decent thing and didn’t kidnap Lucy. Or his beautiful, redeemed relationship with Edmund. I could talk about all the times he is a rock for Susan, or his steady leadership despite his own hesitation. But really and truly, my point amounts to this: Peter is a brother. He is steady and humble and down to earth. He is brave. He is chivalrous and courteous and overflowing with affirmation for those he loves. He is a servant heart. 

When I think of Peter, I think of carpentry and the honesty of working with your hands. I think of campfires and a night sky full of stars, and the feeling of warm flannel. I think of laughter and 19th century books for boys, and tomes upon tomes of Latin. I think of warm drinks, hot cocoa or coffee or tea, and the safety of home. It is home I think of most of all.