Cinderella (Brandy) chafes under the cruelty of her wicked stepmother (Bernadette Peters) and her evil stepsisters, Calliope (Veanne Cox) and Minerva (Natalie Desselle), until her Fairy Godmother (Whitney Houston) steps in to change her life for one unforgettable night. At the ball, she falls for handsome Prince Christopher (Paolo Montalban), whose parents, King Maximillian (Victor Garber) and Queen Constantina (Whoopi Goldberg), are anxious for him to find a suitable paramour.
Brandy Norwood became the first African-American to play Cinderella. This version broke viewer ship records when it debuted, and it holds the record for the bestselling video for a made-for-TV movie. See more »
When Cinderella and the Prince are singing in the marketplace, after the boxes get trampled by the royal carriages, the purple hat box changes positions. In the next scene from the back, the purple box is hanging in Cinderella's hand, and then the next shot it is perfectly intact sitting on top of the rest of the boxes. The box's placement changes a couple more times. See more »
His royal highness, Christoper Rupert, Windimir, Vladimir, Carl, Alexander, Francois, Reginald, Lancelot, Herman.
Herman. Gregory James! He'll thank us for it later, is giving a ball!
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Good grief...the attacks, the smug, sarcastic asides, the soapboxes on
how this country is outta control with political correctness- Momma
Mia!! And the truth is, no one would care if this Rodgers & Hammerstein
musical classic was redone for a 30th time if the cast was white. There
are literally the same complaints over and over again about the
audacity of a black Cinderella (or a black queen or a black fairy
godmother), but swift denials of any racist feelings or speculations.
Yes, this version of the R&H musical is flawed, but the flaws (for me,
at least) have absolutely NOTHING to do with the casting. (In this
modern day and age, if people want to vocalize racial distaste, they
say things are "too PC," which is clearly shorthand for
"too-many-black-folks-in-the-room." How does a fairy tale- which has a
pumpkin turning into a coach and a dress vanishing at the stroke of
midnight- merit a debate about realism based on the fact that some of
the actors are ethnic? Who are you fooling with these comments?)
I thought Brandy was lovely- especially in the spotlight solo "In My
Own Little Corner." And I loved "Ten Minutes Ago-" the elaborate waltz
which pairs Brandy and Paolo Montalban (an Asian prince?! Eeek!!) in a
rather extravagant duet which gains in scope with a spinning 360 degree
camera and lots and lots of dancers. What didn't I like about it? That
the medium was completely changed from a TV play to a CGI-heavy movie.
The first two productions had exclusively been done for television, in
a television medium. The original live 1957 broadcast could not be
taped (tape wasn't thoroughly invented yet), but thank goodness the
1964 broadcast was (some of that live feel is retained in this middle
version). I would've loved for the 1997 production to be videotaped,
where it would've felt a touch more intimate and warm. But it ventures
out-and-over the top too often, such as in the elephantine "The Prince
is Giving a Ball" and "Impossible," which seems to be all about the
crazy light effects surrounding the floating carriage. I think the
latest version needed more intimacy. For instance, one of the best
scenes in the entire production features a minuscule epilogue not in
either of the previous versions. Following the ball (and "A Lovely
Night"), Cinderella's fairy godmother emerges one more time to persuade
her charge to find her prince and tell him the truth, underscoring that
she believe in herself and trust the prince to love her for exactly the
way she is. A lovely, powerful moment which relies on nothing but
simple, honest sentiment.
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