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Cinderella

Cinderella

Fantasy · Romance · TV Movie · 1965

After the success of the live 1957 Cinderella on CBS (with Julie Andrews), the network decided to produce another television version. The new script hewed closer to the traditional tale, although nearly all of the original songs were retained and performed in their original settings. Added to the Rodgers and Hammerstein score was "Loneliness of Evening", which had been composed for South Pacific but not used.

Movie details

Cinderella

“TV-version of the classic fairy tale, set to a Rodgers and Hammerstein score.”

1965 Fantasy · Romance · TV Movie 1h 18m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

After the success of the live 1957 Cinderella on CBS (with Julie Andrews), the network decided to produce another television version. The new script hewed closer to the traditional tale, although nearly all of the original songs were retained and performed in their original settings. Added to the Rodgers and Hammerstein score was "Loneliness of Evening", which had been composed for South Pacific but not used.

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 Cinderella?

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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Names above the title

The people responsible.

Directed by

Charles S. Dubin

Written by

Joseph Schrank

Lesley Ann Warren

Lesley Ann Warren

Cinderella

Stuart Damon

Stuart Damon

Prince

Ginger Rogers

Ginger Rogers

Queen

Walter Pidgeon

Walter Pidgeon

King

Celeste Holm

Celeste Holm

Fairy Godmother

Jo Van Fleet

Jo Van Fleet

Stepmother

Pat Carroll

Pat Carroll

Prunella

Court is in session

Put Cinderella 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.