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The Slipper and the Rose

The Slipper and the Rose

Fantasy · Romance · Music · 1976

Prince Edward wants to marry for love, but the King and court of the Kingdom of Euphrania are anxious for the Prince to wed no matter what. When the Prince meets Cinderella at a ball, he's sure she's the one, and when she loses her slipper upon exiting the dance, the Prince is determined to find and marry her.

Movie details

The Slipper and the Rose

“You'll forget every other love story you ever saw . . . or sang to.”

1976 Fantasy · Romance · Music 2h 26m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

Prince Edward wants to marry for love, but the King and court of the Kingdom of Euphrania are anxious for the Prince to wed no matter what. When the Prince meets Cinderella at a ball, he's sure she's the one, and when she loses her slipper upon exiting the dance, the Prince is determined to find and marry her.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Slipper and the Rose?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Thumbelina

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Cinderella III: A Twist in Time

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Names above the title

The people responsible.

Directed by

Bryan Forbes

Written by

Bryan Forbes · Robert B. Sherman · Richard M. Sherman

Richard Chamberlain

Richard Chamberlain

Prince Edward

Gemma Craven

Gemma Craven

Cinderella

Annette Crosbie

Annette Crosbie

Fairy Godmother

Edith Evans

Edith Evans

Dowager Queen

Christopher Gable

Christopher Gable

John

Michael Hordern

Michael Hordern

King

Margaret Lockwood

Margaret Lockwood

Stepmother

Court is in session

Put The Slipper and the Rose on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.