Cinderella (1957 TV Movie) User Reviews

A real cinema artifact

[r-meier · 8/10 · 13 December 2004]

Just saw this b&w copy on KET2 (Kentucky Educational Television). What a treat! Julie Andrews' voice was marvelous (though I didn't think she quite captured the innocence of Cinderella, even at 21). Edie Adams really hammed it up as the fairy godmother -- she was terrific! And it was fun seeing familiar character actors such as Jon Cypher and Alice Ghostley in their earlier days. The version I saw broke in periodically for current-day commentary by Julie Andrews, Jon Cypher, Kaye Ballard, etc. It was fascinating that they did it in real time, with costume changes just barely beating the camera!

If you get a chance to see this, go for it! It's a national treasure, even if the old Cinderella story is not your cup of tea.

Julie Andrews Shines!

[phillindholm · 8/10 · 16 August 2005]

Back in the golden age of television, when TV specials were just that, waiting for the broadcast of a show like "Cinderella" was truly an anticipated event. Add the names of Rodgers and Hammerstein and Star-in-the-making Julie Andrews, and you have an entertainment milestone! This was the celebrated songwriters only musical especially written for television, and it is a classic. The project was specifically intended to showcase Andrews (then appearing on Broadway in "My Fair Lady"). The hand-picked cast included Ilka Chase as the stepmother, Edie (here billed as Edith) Adams as the fairy godmother, and Broadway Stars Howard Lindsay and his wife, Dorothy Stickney as the king and queen. A newcomer, John Cypher, later to gain fame on ''Hill Street Blues'' was cast as the prince, and up and coming comedians Alice Ghostley and Kaye Ballard played the stepsisters. Because this was before the advent of videotape, the production was kine scoped while being broadcast live, although the original color kine scope was lost. Julie Andrews may look somewhat matronly (even at 21) to be Cinderella, but her lovely voice and star quality carry her through. Fans of "Mary Poppins" and "The Sound Of Music" will be pleasantly surprised to see how vulnerable she can be. Cypher is a suitable prince, with a good voice, while Adams is pushing a bit too hard as the godmother. Ilka chase, as the stepmother, and Ghostley and Ballard as the stepsisters are more silly than wicked. In all fairness though, this version was written more as a modern take off on the fairy tale, while the 1965 remake returned to the mood of the traditional story. The sets and costumes are rather cut-rate, somewhere between medieval and '50s modern, but they get by. Andrews is really the reason to see this, and it did attract a record audience at the time. The DVD is a treat with a remastered black-and white picture which, while not perfect, is good enough. There are several nice extras, including a documentary with Andrews, Cypher, Adams and Ballard reminiscing about the making of the production. Either for historic or entertainment reasons, "Cinderella" is well worth having. It's not every day you can watch a star being born.

A Wonderful Resurrected Surprise

[theowinthrop · 8/10 · 24 December 2005]

Due to the 1950s style production values of the sets I am limiting this to 1n 8, but if it had had 2005 set values it would be a 10.

Cinderella is one of the few fairy tales we grow up with that actually have been successfully used in entertainment mediums. Most people think of the Disney cartoon feature film of the early 1950s, but there was also THE GLASS SLIPPER, a full length film that appeared in the middle 1950s, the early 19th Century opera LA CENERENTOLA by Rossini, and even modern variations in film (MIDNIGHT in 1939 and CINDERFELLA in the 1960s). Then came this 1957 Rodgers and Hammerstein triumph. It was their only joint musical venture for television (although Richard Rodgers had done the them music for VICTORY AT SEA), and it proved so successful that it was shown again in 1965 with another cast led by Leslie Anne Warren, Walter Pigeon, and Ginger Rogers.

At the time the original television production was shown in 1957, it came at a critical moment for the lyricist and composer. They were doing well as producers, and they had a string of mighty successful works behind them (OKLAHOMA, CAROUSEL, SOUTH PACIFIC, and THE KING AND I), and they were very busy with the Hollywood productions of CAROUSEL and SOUTH PACIFIC at this time. But they were human: Several of their productions were not as successful. ALLEGRO (from the late 1940s) had an interesting book, but the music did not catch on (except one tune which was saved for SOUTH PACIFIC). ME AND JULIET, a backstage romance, had a middling run. PIPEDREAMS (based on the same stories of John Steinbeck that TORTILLA FLATS came from) was a total flop. Cinderella would be their first successful musical in five years. Soon FLOWER DRUM SONG would restore the pair to their Broadway leadership positions, capped off by their last masterpiece THE SOUND OF MUSIC.

They were fortunate to discover for their lead Julie Andrews, she of the pure human voice that comes closest to a bell. She does well acting the role of Cinderella, as well as singing the score from her first big number (in the rocking chair by the fire) to the end. Edie Adams is having fun as a rather mischievous fairy godmother, but one whose mischief has it's good motives. The young John Cypher shows that he could have been the leading man in operetta parts (fortunately for his abilities he got better dramatic roles later). His Prince Christopher is a dutiful son and a wise lover. Ilke Chase is sharp as the stepmother, but not really as vicious as her cartoon equivalent in the Disney picture. As for Kaye Ballard and Alice Ghostley, they certainly are amusing (Ballard is pretentious about her learning - her first name is "Portia", which leads her constantly dropping "The Quality of Mercy" Speech to whoever she sets her eyes on as a prospective lover; Ghostly is just very pessimistic). It came as a surprise to me that the Cinderella march tune actually has words that the two sisters sing at the ball.

The King and Queen are played by two performers who are not as well known as the others. Not today anyway. Howard Lindsey and Dorothy Strickney were better known in the 1950s for their work in Broadway productions (with or without each other - they were married). Lindsey is of particular interest because he made very few appearances in movies, and rarely in a large part like this one. His best recalled work was as the co-author (with Russell Crouse) of the dramatization of Clarence Day's LIFE WITH FATHER. This was one of the longest running plays in Broadway history (it once held the record of longest running - something like sixteen years). Lindsay played the role of Clarence Day Sr. (the role William Powell plays in the movie version). As you may notice that the King in Cinderella is wearing special pince - nez eyeglasses, it was probably suggested because Lindsay wore the same glasses as Mr. Day. He and his wife, Ms Strickney, share some sweet moments together as a happily married couple, probably based on their actual connection there.

Tonight was the second time PBS has shown the complete 1957 version, and as such it suggests that there may be many other nice little treasures of "lost" live performances that are waiting restoration and re-showing to today's audience.

Hard to Believe They Did It Live

[Rick NYC-2 · 10/10 · 27 December 2004]

Boy, those were the days, weren't they? They did the musical live before millions of Americans. All that choreography, singing, staging, lighting, props getting set, happened live before the cameras, a TV musical with no net. Julie Andrews was granted a short leave of absence from My Fair Lady in order to do it. Lucky for us Lerner and Loewe were so generous to their American counterparts, Rodgers and Hammerstein. I was not quite four when this show appeared, but I was blown away enough to want to go into musical theater from that point on. Yes, those were the days...when TV was used for something more important than selling Viagra.

Quite simply the best version

[bekayess · 6 July 2002]

I've finally seen a B&W kinescope copy of the live color telecast of March 31, 1957--about 3 months after I was born. Someone of my age can take into account that this was live television (something many younger viewers may not be able to do), and accept all the limitations inherent in that medium. Still, this is by far a superior version of the R&H classic. The celebrated team did not condescend to the medium of television, but chose to treat it as every bit as important as a Broadway show. Hammerstein's lyrics for such songs as "IN MY OWN LITTLE CORNER," "IMPOSSIBLE," and "DO I LOVE YOU BECAUSE YOU'RE BEAUTIFUL" are as fine as any he wrote for Broadway. Likewise, Rodgers' music for those songs, plus his "GAVOTTE," "WALTZ FOR A BALL," and "WHEN YOU'RE DRIVING THROUGH THE MOONLIGHT/A LOVELY NIGHT" are among his best melodies. The script is witty; the actors play it realistically, and with humor. All in all, this production should be revived today on live television [despite the Disney version with a miscast Brandy] with a cast equal to the original. Unfortunately, there is probably no one to rival Julie Andrews in today's young musical comedy stars--although Kristen Chenowith might be great Cinderella. (Hint, hint!!) If you ever get a chance to see thus version, GO!!!!!

Why Bother with Comparisons

[mit800 · 10/10 · 16 December 2004]

I grew up in the 60's and 70's loving the Lesley Ann Warren version of Cinderella and always will, mostly because of the wonderful score, but, I have always wanted to see this version as Julie Andrews is one of my all time favorite musical stars. She absolutely shines throughout the whole production. And to think they did it all LIVE is just amazing. Only one noticeable goof-up that I noticed (when the prince stepped on the queens lines-but he was a newcomer and probably scared to death) This version is more tongue in cheek than the later version- which Rogers admitted he re-wrote to be more fairy tale like (Disney-like is more like it) But as I said don't bother with comparisons, just be glad to see a new Julie Andrews performance (new to most of us anyway) in an original musical written especially for her. What's especially great is that you get to see what Julie was like during the run of "My Fair Lady" and to see why there was such a buzz about her at the time (Jack Warner sure made a goof not putting her in the film of "Lady").All the cast are wonderful in their parts, especially Kaye Ballard and Alice Ghostley as the bickering stepsisters. All in all a lovely night with a loverly lady.

Saw the original broadcast...and now it's a nostalgic view of early TV...

[Doylenf · 7/10 · 24 December 2005]

In reviewing this, I've taken into consideration that this was done live back in 1957, when the world and I were much younger, and live television was much more primitive. Still, it's fascinating to view it again and see it from a different perspective. And yet, one can't help thinking how much technology has improved since then!

The B&W print shown on PBS tonight was a rather murky one, so I'm basing all my comments on the perception that the soundtrack was wonderful but the video left much to be desired. Of course, 21 year-old Julie Andrews (rather matronly looking due to hairdo and make-up), has the right singing range to do justice to the songs and Jon Cypher keeps up with her in that department. Kaye Ballard and Alice Ghostly are fun as the two step-sisters, absurd as their characterizations are, and Ilka Chase makes an acceptable step-mother, though not quite as wicked as one could wish for.

The score is full of wonderful melodies in typical R&H style, particularly the lilting waltz amid such songs as "Ten Minutes Ago" and "Do I Love You Because You're Beautiful?". Julie does a particularly nice rendition of "In My Own Little Corner" while Edie Adams has fun making the most of her role as the Fairy Godmother.

But on the debit side is the video quality and the obviously budgeted stage sets and uninspired costuming (especially for the ball). They look rather bland in B&W. Perhaps when originally telecast in color (a factor I don't recall at this point), the sets and costumes had more of a glow. But as Julie Andrews says, in interviews that come on at intervals, it was a wonder the whole thing was done live in one take.

This is a lot easier on the ears than the later versions and includes an amusing number between King and Queen (preparing for the banquet) that was cut from both of the later productions. And while the later versions had more glamor and color, this is the one to watch for complete enjoyment of the score and justice to the songs performed by Julie Andrews and the rest of the cast.

What an honor for Julie Andrews--to have a television musical written expressly for her by two of the master musicians of the 20th century, Richard Rodgers and Oscar Hammerstein. Their music has all the charm one could ask for in a production of this kind.

Charming

[johnm_001 · 10/10 · 30 October 2000]

Even with its limitations of live television, in 1957, the original version of Rodgers and Hammerstein's "Cinderella", is still the best. It features a witty script by Oscar Hammerstein (later versions used inferior scripts), and wonderful performances from its cast. Julie Andrews is easily the superior Cinderella, over Leslie Ann Warren and Brandy. For years, this version could only be viewed at the Museum of Radio and Television in New York and Los Angeles. Image has made it available on DVD, so everyone should purchase it, and see what the early days of live television were like. The show was originally broadcast live and in color, but only a black and white kinescope of that performance remains. Still, it is a fascinating and entertaining production. Highly Recommended.

Charming, but surviving kinescope is only a rehearsal

[commorancy · 7/10 · 21 July 2013]

While I would like to rate the actual telecast higher, I never got to see it live and I still haven't seen the actual telecast. In fact, no one may ever see the actual production again. The March 31st, 1957 telecast was live and may or may not have been recorded.

A little bit of history

So, you're probably thinking, "Well, what about the kinescope copy?" This copy was not of the live March 31, 1957 production. I'll quote from the 1999 release of the CD liner notes written by Dider C. Deutsch:

"By all accounts, the production of the telecast was not unlike a highwire act from the start; as Richard Lewine acknowledged in a recent interview, 'There was no room for error. Remember that everything was live then, and when we got on the air ... there was no possibility for a retake.... I suggested to my boss, Hubbell Robinson, that we should make a kinescope of the production, not for broadcast mind you, just to see what it looked like before we went on the air. He said, ''Do what you think is right, and if you have a problem let me know.... '' So, on March 17 we had a sort of preview in front of a small invited audience at CBS Color Studio 72, at 81st Street and Broadway, which is where the show was to be done.'

The values of the full scale rehearsal were obvious. As Richard Lewine remarked, 'We made notes, we saw all kinds of things we wanted to change, in short there was our chance to do it the way wanted to do it.... For example, Dick (Rodgers) didn't like the way the designer had done the dress for Cinderella in the opening scene; it was a makeshift poor girl dress, he went on the stage and looked at it and said, ''This is a piece of junk...'' And he tore a piece off it...' (it was too fancy).

Overall, the rehearsal might have added an estimated $20,000 to the production's budget of $350,000, but it helped make a sleek presentation that was far superior to anything that had been done on television." -- Dider C. Deutsch

Based on these notes above, the kinescope version was not of the actual March 31, 1957 telecast, but of the March 17, 1957 full-scale preview rehearsal. It makes no mention of a kinescope copy of the actual production. In short, there does not presently appear to exist a copy of the live telecast production in any form that I am aware of. The only version we have is of the full-scale dress rehearsal from March 17th. This is a fine point to consider when writing a review for this production. Since the kinescope version doesn't depict the live telecast performance, the final production may have had better production values than what we see in the kinescope copy as they had nearly two weeks to polish the production with better costuming, sets, lighting and practice.

Note that 1956 saw the introduction of the color Quadruplex (quadrature scanning) tape recorders using Ampex tape. By 1957, NBC had such a recorder in its studio at the time of this telecast. CBS may or may not have had one. Some have theorized that NBC may have (or had), in its archives somewhere, a quadrature tape copy of this production in color that it taped on the night of the performance. CBS may have also had a color copy for rebroadcast purposes, but some theorize the tape was bulk wiped a week after presentation. I'm still hopeful that someone will find a quadrature tape of this color production in their archives and finally release the actual March 31st color presentation.

Review of this production

What I will say about the surviving kinescope copy is that this version of Cinderella is charming and unique. Clearly, Julie Andrews pulls off her version of Cinderella perfectly. Her upbeat sweetness translates well to this classic version of Cinderella. The production does lack in-camera effects. Edie Adams plays the godmother in an almost sadistic way. It's like she enjoys trying to make Cinderella completely unhappy before granting her wish. Cinderella doesn't comply, though. She just wishes harder. More than this, the godmother compounds her sadistic streak with her odd cackling laugh right before she does something good. It's a weird combination. The rest of the cast pulls off their parts amazingly well, including Robert Penn, the town crier with his booming baritone voice.

The R&H numbers work amazingly well across the board with the many strong vocalists chosen. In fact, this really is a televised stage production. CBS could have turned around and placed this right onto a Broadway stage immediately following the broadcast and milked a stage production in 1957. Unfortunately, there was apparently a lack of foresight for cross-marketing in 1957.

The downside is that what we are seeing in the kinescope copy is not the actual production. It's a rehearsal. So, it's likely the sets and costumes may not have been fully completed. The actors may not have fully had their lines down yet. So, it appears to be rough in places. Overall, I enjoyed it enough to purchase the music in stereo which is well worth a listen.

Glorious!

[ArizWldcat · 10/10 · 8 December 2004]

I have wanted to see this version of my favorite Rodgers and Hammerstein musical ever since I heard of its existence! I am so happy to have finally had the chance to see it. Julie Andrews was gloriously young and her voice had reached its maturity as she sang her way through this musical that was written (I understand) especially for her! I also enjoyed Jon Cypher's performance...it's a pity he hasn't had the opportunity to sing on screen since this time as he has a beautiful tenor voice. Kaye Ballard and Alice Ghostly were marvelous as the stepsisters, and the King and Queen and stepmother were also a joy to watch. I enjoyed the script of this earlier version so much more than the later Leslie Ann Warren and Brandy versions. Particularly enchanting was the scene between the Prince and Cinderella in the garden during the ball. I can only wish we could see this in color as it was originally broadcast (so I understand) instead of this kine-scope version; but then, at least we have this! What a shame no one had the foresight to record it in color. I will definitely be adding this DVD to our collection. (I already own the other two!)

"I told the steward to get us, forty acres of lettuce" (song lyric)

[hwg1957-102-265704 · 7/10 · 19 February 2021]

Surprisingly good. The Cinderella story as told by those renowned musical makers Richard Rodgers and Oscar Hammerstein II. Even within the confines of a television studio and the challenges of a live performance it comes over well, helped by really good cast led by the melodious Julia Andrews as the titular character. With romantic and tuneful music from Mr. Rodgers, witty dialogue and lyrics from Mr. Hammerstein and an ideal troupe of actors this is a charming entertainment. It was originally broadcast on CBS in colour but that version hasn't survived which is a shame as colour would add the only thing this captivating production lacks.

seen at the Museum of Television and Radio in NYC

[lpartridge · 9/10 · 8 April 2002]

This is the first that I had seen the original TV version. I had seen both of the other television versions -- the 1965 Lesley Ann Warren version and the 1997 Brandy version. This version is so superior to the others. The copy at the Museum of Television and Radio is in black-and-white although it had been presented in color. If you are in New York and get the chance to visit the museum, the presentation is well worth the 1-1/2 hours. Oh, yes. The commercials which are part of the recording are quite humorous.

Not the Cinderella I was looking for

[robert3750 · 4/10 · 26 March 2020]

I'm too young to have any memory of this version. I saw the 1965 version when it originally aired, and recently rediscovered it. It utterly captivated and enchanted me. When I heard that the show was originally done in 1957, I watched one of the songs (Ten Minutes Ago) from it on Youtube out of curiosity. What I saw was two professional actor/singers performing a part, and that was all. The sincerity, the tenderness, the romantic magic was absent. Lesley Anne Warren put her heart and soul into the part, and it showed. She also had the sweet innocence that will forever endear her performance to me. I love Julie Andrews in other things, but she simply didn't convey that special intangible quality. I've also read that the production put a more modern, farcical spin on the story, which I don't want. I want the CLASSIC FAIRY TALE, and it's the Warren version that provides it-in spades. In an interview with Charles Dubin, he stated that Richard Rodgers himself wasn't satisfied with the '57 version, which is why he redid it. I'm eternally grateful that he did.

Kinescopically gorgeous!!

[movibuf1962 · 14 December 2004]

I'm gonna piggy-back right along with the previous comments. I just saw it on Maryland Public Television and it was a real event for me. I know both of the remakes, the Disney cartoon, the Prokofiev ballet, and the film EVER AFTER. But I'm a vintage T.V. junkie at heart, and more than anything else, this production was a phenomenal advancement in TV entertainment. Differing from the broadcast adaptation of the Broadway musical PETER PAN- and as Julie Andrews herself mentions in the opening monologue- this production was originally written for television by Rodgers & Hammerstein themselves. And it is the quirky, tongue-in-cheek script which is one of the show's delights. The biggest delight by far, is the fact that this was a LIVE performance, shown warts and all- like a boom mike shadow on a draping wall or a missed song cue in the second act. This performance occurred roughly six months ahead of the first ever videotaped images. No CGI or ILM movie effects here. Once you fully understand that, you can suspend yourself completely into a more innocent and wondrous frame of mind and let the performances and especially the music speak for themselves. A cleaned up, remastered kinescope film, you'll notice the unusually high contrast in some of the darker images and nighttime sequences. But the "Impossible" Act 1 finale with Andrews and gorgeous fairy godmother Edie Adams is still a stellar moment, from the sparkler lighting effects to the final shot inside the moving coach. And it is nice to see so many surviving cast members (Kaye Ballard, Edie Adams, and Jon Cypher) comment on this 47-year-old production. I loved it!!

Simply marvelous--Great adult and family entertainment

[ciocio-2 · 9/10 · 19 December 2004]

I sincerely hope that many parents and other grownups will share this wonderful, witty musical with their kiddos and kiddo friends. Start them early with quality fare like this, and don't let them develop a prejudice against black & white viewing, or intelligent creations.

It really is a shame that later television CINDERELLAs messed with the script, and particularly that they cut the ball- and banquet-planning scene with the King, Queen, Chef, Tailor and...I forget who else. The King and Queen are such stronger roles here than in the later versions. Actually, all the roles seem stronger here, as directed and played. (I don't mean to bash the later two TV CINDERELLAs, both of which have their good points, and good intentions, but end up falling so short of the original, for all their larger budgets, full color, more ethnically diverse casting--the last a plus in my book. A shame they didn't stick with the many strengths of this original script, and build and embellish from there. It also helps to have a Cinderella with a gorgeous, majestic voice.)

Besides the wit, humor and intelligence of this musical's book, the big, winning ingredient is the basic sense of love and good will, strong but not cloying. A very Hammerstein element, which, for the most part, he wielded deftly throughout his works. There is an unfortunate tendency to screw with that strong ingredient when people try to adapt and "improve" Rodgers & Hammerstein shows. For a particularly heinous example of this, see the ABC TV, Glenn Close SOUTH PACIFIC. Better yet, don't subject yourself to that horrible desecration of a beautiful work. Watch the good stuff, like this original Cinderella.

Ah! The Early Day's of Live T.V. Programs

[joseph952001 · 10/10 · 12 December 2005]

I was around when there was no televisions in the homes and you had to go to the movie theaters to see movement on a screen, in fact, a very large screen we thought until Cinerama came into our lives. Everything was live. There was no filming for perfection and the first person to come up with the idea of filming live programs was Desi Arnaz when they started "I Love Lucy" on television, but I'm getting ahead of myself.

Think of it! Every week, Sid Ceasar and Imogene Coca and others were rehearsing for a one and a half hour variety program called "Your Show of Shows" and even during the live T.V. Show, they made such mistakes that made the show funnier than if it was filmed. "Your Hit Parade" was live ever week. Snooky Lansen once had the hit song of the week and had a problem remembering lyrics and one time wrote them on the floor of the studio in chalk and when it come time to sing the song, someone had erased the lyrics! Ah, the days of live television! Then came along Rogers and Hammerstiens "Cinderella" in which they starred their new found personality Julie Andrews who was wowing Broadway in "My Fair Lady". So, they got the right cast together and put of a live musical version of Cinderella with wonderful music and Edie Adams camping it up as the Fairy Godmother when Cindereall, Julie Andrews, claims to Adams, "Oh! Fairy Godmother; what a beautiful dress!" and Adams with disdain in her voice says, "Oh! This old thing! It's 550 years old!" For years, it was rumored that they could never show the old Kinsoscope copy of Cinderella is because it was either destroyed of lost. After seeing all the talent in the show, it would have paid a lot of royalties out, but no more since most of them have passed away, so why not release it on D.V.D.? One thing about years later is that both Julie Andrews and Leslie Ann Warren played Cinderella on T.V. and they both starred together in "Victor Victoria" with Andrews playing a woman playing a man playing a woman and Warren playing a Chicogo Mobsters Whore! YOu must admit they both went from Saints to Sinners through the years.

Thank God for the restoration of this wonderful show, and, of course, the original record album, always available, and now on C.D. can still be heard in it's original recording by Columbia! Wonderful show! Let the young'ins see what the fun of live T.V. was like in the golden age of television!

The biggest live TV musical production ever

[SimonJack · 8/10 · 24 February 2019]

Two decades into the 21st century, this 1957 TV special , "Cinderella," remains the most lavish and splendid live musical production ever done on TV. Thankfully, CBS recorded the broadcast and it's now on DVD. So, many decades later, people can still enjoy this splendid classic just as it aired on the night of March 31, 1957. Many other staged musicals and theatrical productions have been made since. But this is the original and benchmark fairy tale musical brought to life.

Julie Andrews stars in this super-sized stage production. A previously unknown singing actor leads the supporting cast. John Cypher plays Prince Christopher in his first ever film. Two superb Broadway masters play the king and queen - Howard Lindsay and Dorothy Stickney. The rest of the major roles are all excellently cast.

Of course one can tell that this is a stage production by the sets. But they are nevertheless well done. Everything about this production is excellent.

Andrews brings the story of Cinderella to life with the wonderful music of Richard Rodgers and Oscar Hammerstein II. This is a fine film of a classic fairy tale that the whole family should enjoy.

A treasure!

[bmbdsm · 10/10 · 31 March 2006]

This is, in my opinion, Rodgers and Hammerstein's masterpiece! Based on the beloved fairy tale, Cinderella comes to life in this spectacular TV production! Julie Andrews (who would later star in MARY POPPINS and THE SOUND OF MUSIC), is a joy to watch, and Jon Cypher as the Prince is great too. Other fine performances come from Howard Lindsay and Dorothy Stickney as the King and Queen, Ilka Chase as the Stepmother, Kaye Ballard and Alice Ghostley as the Stepsisters (they are HILARIOUS), and Edith Adams as the Fairy Godmother. The sets and costumes are good. The score is one of R+H's best. Everything about this production just impresses me.

When broadcast on March 31, 1957, it got an audience of about 107 million people! Unfortunately, it was broadcast on that night only, so, in 1965, it was remade with Lesley Ann Warren playing Cinderella (this version was great too). It was also remade in 1997, with Whitney Houston as the Fairy Godmother and Brandy as Cinderella (again, another great production). Finally, in 2004, this classic 1957 version was finally released on DVD! The disc, released by Image Entertainment, has good picture and sound quality, and extras including interviews, galleries, and an appearance by R+H on THE ED SULLIVAN SHOW. A treat for musical fans everywhere! Recommended. 10/10

A Budding Andrews Shines in a Rustic Record of Rodgers and Hammerstein's TV Musical Classic

[EUyeshima · 9/10 · 17 May 2008]

It was estimated that 107 million people saw the original broadcast of this made-for-television musical created by no less than the legendary team of Richard Rodgers and Oscar Hammerstein II. That represents an astonishing 62% of the U.S. population at a time when there was no pay-per-view, no cable, no TiVo. Having just read Julie Andrews' remarkable early-life autobiography, "Home", I have to admit my interest was piqued to see this seminal production. Andrews was all of 21 on the night of March 31, 1957, when she performed the title role live, and it's fascinating to watch her screen persona so fully formed seven years before her big-screen debut in "Mary Poppins". Rodgers and Hammerstein wrote the musical specifically for her talents as she was then wowing Broadway audiences as Eliza Doolittle in the smash hit, Lerner and Lowe's "My Fair Lady". The evidence refutes Jack Warner's later claim that she was not photogenic enough to be in the film version, and the 2004 DVD is the closest many of us will get to see what her Eliza was like.

Captured in black-and-white kinescope, the show is definitely a product of the Golden Age of Television with its flickering images and claustrophobic, sometimes awkward staging. However, as directed by Ralph Nelson ("Father Goose"), the story's universal charm and farcical touches, the expert cast of mainly Broadway veterans, and the memorable musical score more than offset the technical deficiencies. Andrews' bell-like soprano is at its best in her sadly hopeful ballad, "In My Own Little Corner". As the King and Queen, playwright Howard Lindsay (he co-wrote "Life with Father" and the original book for "The Sound of Music") and his real-life actress wife Dorothy Stickney prove to be a comically adroit pair. Fellow stage legend Ilka Chase plays the malevolent stepmother with catty aplomb, and the comic duo of Kaye Ballard and Alice Ghostley fulfill the comic possibilities as the jealous stepsisters. Edie Adams lends a more saucy twist to the ethereal role of the Fairy Godmother. Much later a reliable character actor best known as the Chief of Police on "Hill Street Blues", a stalwart Jon Cypher fits the cardboard dimensions of the gallant, smitten Prince and showcases a surprisingly robust tenor voice first in a soaring duet with Andrews on "Ten Minutes Ago" and then on the show's best song, "Do I Love You Because You're Beautiful?".

Like most of my generation, I am more familiar with the 1965 color remake (starring a very young Lesley Ann Warren) since the original production aired only once. Running a fleet 77 minutes, it's a shame that the original color footage could not have been saved since the fairy tale atmosphere begs for it. Luckily, as part of the DVD, there is a gallery of color production and rehearsal stills to give you an idea of what the original audience may have seen if they owned a color TV set, a rarity at the time. Other DVD extras include rare archival footage of Rodgers and Hammerstein appearing on "The Ed Sullivan Show" to publicize the show (including a recited performance by Hammerstein of "Do I Love You Because You're Beautiful?"), as well as a recently filmed introduction by Andrews. The best extra is a half-hour retrospective featurette, "A Lovely Night: the Making of Rodgers and Hammerstein's Television Classic", which features Andrews, Adams, Ballard and Cypher fondly recalling the experience. Children may not be able to tolerate the black-and-white, but baby boomers will find particular joy in seeing this particular production.

This Version for the Cinders

[edwagreen · 1/10 · 20 January 2006]

1/2* goes to this dreadful version of "Cinderella."

Julie Andrews must have been thinking about more in terms of her favorite things. This production is certainly not one of them.

Ilka Chase plays the wicked stepmother with a kindness never seen. Actually, it should never be seen. What was Chase thinking of when she went before the cameras? Probably, when she was Bette Davis's compassionate sister-in-law in "Now, Voyager." A Yiddish bubbe could be meaner than her.

Howard Lindsay, as the prince's father, appears annoyed with the whole situation and rightly so. Wife, Dorothy Stickney, plays his queen and I'm wondering what the casting people had in mind when they put these people in. Stickney, who lived to 101, had all those years to wonder how she ever got into such a miserable production.

The prince is a charming bore. That best describes him. He is terribly stiff in his scenes. He says his lines as if he is reading them from a card.

Kaye Ballard, as the wicked step sister has one thing going for her-the person who made her up for this. Man, is she ugly. That churlish giggle of hers is absolutely annoying.

Somewhat of a bright-note is the singing and dancing which should have dominated the production.

You can't root for Cinderella to win the prince since that is certainly no bargain for her.

This version of Cinderella was kept in storage for years. Reviving it was a big mistake. A colossal bomb in every sense of the word.

Cinderella: One of the best musicals of all times!

[NM407 · 8 January 2002]

Rodgers and Hammerstein's Cinderella is one of the most exciting films of all time. This is a very well written musical with wonderful songs! I highly recommend this muscial to watch and to perform. I have played the Prince before on Broadway.

Outshines All the Other Versions by Far

[benadam-1 · 10/10 · 29 June 2005]

I vaguely remembered seeing this version when I was five years old on a black-and-white set, so seeing it in this black-and-white kinescope version did not cause me any major trauma; it was not that different than how it was for me years ago except that now I have the advantage of more than forty years of experience and knowledge. There is absolutely no comparison between this version and the versions that came after it. In this version, the acting and plot are much more substantial, and Julie Andrews as a singer and actress dwarfs those women who played in the title role after her. The 1965 version had the advantage of color and more video effects but was all glitz and rather shallow. The Disneyized, multiracial version that was created later failed to take into consideration the need for acting ability on the part of the singers in the leading roles. The original version far surpasses both in terms of overall content and performance. Had the same technology been available for the original version as was available in the versions that followed it, there would be no contest at all.

I recall that when the 1965 version came out, the justification for making it was that when the 1957 version was produced, videotape did not exist so that once the production was aired, it was lost forever. Had the producers tried to recreate the 1957 version rather than to mangle it, perhaps they could have been forgiven, but Lesley Ann Warren could not easily have replaced Julie Andrews.

This version is truly Broadway brought to the small screen. In addition to Julie Andrews as Cinderella, Kaye Ballard and Alice Ghostley are the two stepsisters, Ilka Chase plays the stepmother, and the original version gives a much clearer picture of how Cinderella is excluded from the family structure than in the other versions while the talents of the actresses truly shine through. Edie Adams plays a very smart and savvy Godmother (the term Fairy Godmother is not used in the show at all) and is quite sly in how she "turns in" Cinderella to the palace guards so as to trick them into trying the glass slipper on her at the end. Her baton-twirling "magic" introduces the Waltz for a Ball, a true Rodgers and Hammerstein dance specialty number that is the hallmark of many of their great musicals. Howard Lindsay and Dorothy Stickney, both Broadway theater royalty, play the King and Queen and have very significant roles in the play in a way that was totally lost in the versions that followed; the scenes with the King and Queen are entertaining and endearing. The young Jon Cypher was a total unknown at the time of the production and gives an impressive performance; he had the best debut any novice actor could have dreamed of having. The magic of live theater is very evident throughout the show in a way that the later versions totally lack. Even without the comparison, this production of Cinderella is superb entertainment.

For those persons who remember the initial screening of Cinderella, watching this performance is a powerful experience. For those seeing it for the first time, it is a valuable milestone in the history of television and musical theater that has fortunately been captured for future viewing.

The best Cinderella

[TheLittleSongbird · 10/10 · 10 April 2012]

This is excluding the Disney film and Ever After with Drew Barrymore, both of which I love. Here we're talking about Rodgers and Hammerstein's Cinderella, of which there have been three versions, this, one from 1965 and one from 1997. Of the three, this one's the best, though I love the 1965 one too and found the 1997 Cinderella decent for the supporting cast and the production values. This Cinderella looks beautiful, with Cinderella's ballroom dress gorgeous and the rest of the costumes and sets suitably sumptuous. The photography is also fine, with the transformation sequences suitably magical and the ballroom sequence enchanting. The music and songs are simply amazing, I can't say which is my favourite as I love them all equally, the script is witty, the story timeless and the choreography dazzling. The performances are great, with the stepsisters suitably wicked and funny, the King and Queen's parts more prominent, the prince dashing and Edie Adams' Fairy Godfather suitably benevolent. But it is Julie Andrews who is the main draw, she has the beauty and allure, the vulnerability, the charm and the angelic quality of the voice, far surpassing Lesley Ann Warren(who I also loved, she was enchanting but I prefer Andrews vocally) and Brandy(who I didn't care for much, too passive and nasal for my liking). In conclusion, wonderful and the best Cinderella. 10/10 Bethany Cox

Ignored Rodgers & Hammerstein work

[n_r_koch · 8/10 · 5 March 2008]

This obscure production includes some of the best songs the pair wrote, especially Hammerstein (who was freed here from the need to write in the bogus "folk" dialect of his best-known work). The show was written with Julie Andrews in mind and she sings the songs beautifully here. Although the musical was shot and broadcast in color, the recording is in B&W (how most Americans in 1957 would have seen it, too). The decor looks more like that of a high-school play and the whole setting is pretty claustrophobic, but this doesn't detract from the enjoyment. What's fun about the show, apart from the good songs, is watching the nervous excitement of these players who knew they were doing a live show-- and doing it in close-up, no less-- in front of 100m. This unpretentious (for R&H) charming show is still the best of the animated and TV Cinderellas. The backstory video (on the DVD) is also interesting.

Bringing Broadway to the People

[newkidontheblock · 10/10 · 9 April 2009]

Before the TV movie musicals explosion of the later 90's and early 2000's, there was Cinderella, a Rogers and Hammerstein adaptation of a classic fairy tale. In the 1950's, color T.V. was the new thing and everyone wanted to show off their capabilities. This was also a time when art of all kind was for show on commercial television.

Not to be outdone by rival NBC, CBS announced that they would get the legendary team of Rogers and Hammerstein to write a for-T.V. musical based on the beloved tale of Cinderella. The show would use such talent as Howard Lindsay, Dorothy Stickney, Edie Adams, and a young up and coming Broadway star named...oh...what's her name...Julie something or other, I think. I'll remember later. You've probably never heard of her, anyway.

Though only black and white kiniscopes exist now, the show was filmed in glorious color and live in a cramped studio. What we'd find out later is that this was shown in front of the biggest audience at that time.

ANDREWS! Of course.

I've seen all three televised version of Cinderella, and I can say that the original is, without question, the best of the three. It had the one quality all great musical performances have...engagement. I was absolutely sold on everything that happen throughout the musical. Only the best shows and performances can do that. Andrews showed the country why she was a mighty force on Broadway and why she would become a beloved actress the world over. The old, familiar faces and the new people from different places, this was a meeting of all of them. I only hope we can see this again on the small screen again in the near future.