Ever After:

Cinderella is not merely a fairytale

Ruwini JAYAWARDANA

Nestled in the framework of an enchanting fairytale Andy Tennant’s Cinderella-inspired ‘Ever After’ is not just another take on the well-loved fable but gives a surprisingly convincing French twist to the legend. The Mireille Soria production may have hit theaters nearly 15 years ago but it still possesses the enchantment that many modern-day Cinderella stories like Mark Rosman’s ‘A Cinderella Story’ failed to possess. ‘Cinderella’ has no doubt inspired many young women who have to go through hardships to find happiness but the beauty of Tennant’s production lies in its ability to convince the viewer that these incidents could have really taken place. It does not dwell too much on the most unlikely girl in college turning from ugly duckling to a white swan as in the case of ‘A Cinderella Story.’Nor does it go all the way into striking a questionable relationship between two misfits who happen to meet up by chance as in the case of Wayne Wang’s ‘Maid in Manhattan.’

Opening in typical fairytale mode, ‘Ever After’ begins with an old lady offering to tell the true story of ‘the little cinder girl,’ who she says really existed before becoming immortalised in the Brothers Grimm myth.

Though set in France during the renaissance the magical quality of the tale is by no means lost in film. After a brief prologue of how the Brothers Grimm are summoned to listen to the story the films centers on Danielle, seen first as the 8-year-old daughter of a wealthy, widowed land-owner in 16th century France. He returns from his travels with a new bride accompanied by her two daughters. Soon after his return he succumbs to a heart attack leaving Danielle at the mercy of her stepmother. A decade later we see Danielle reduced to the status of a servant.

The story shifts to the male protagonist of the film, Prince Henry, who has fled the palace refusing to accept an arranged marriage to a Spanish princess. Mistaking him for a thief when she sees him taking a horse from the farm, the beautiful young Danielle knocks Prince Henry off his perch with an apple. Only then does she recognise the royal crest and begs his forbearance.

Danielle is no ordinary servant. Besides being plucky she is learned, thanks to her father’s upbringing. The prince notices her when she poses as a lady to free another servant who’s been sold to a New World exploration team. Using an argument from Thomas More, she wins the man’s freedom for him. Thus begins a romance between two star-crossed lovers. However there is no fairy god mother to come to Danielle’s aid. That character has been substituted by a certain Leonardo da Vinci.

The film is clearly aimed at youth and lovers. It embodies the essence of romance in its untainted form. Drew Barrymore makes an enchanting version of the belle of the ball. She carries off her part convincingly. This performance no doubt cemented her path to making it big in Hollywood.

Anjelica Huston too shines as Rodmilla. Her character is not that of the stereotyped evil stepmother but one of a cold, calculating a woman who does show a bit of sympathy towards Danielle in rare occasions. Though she puts Danielle to work as a maid, she is more concerned with getting her daughters married into higher places than ill-treating her step daughter.

Dougray Scott is not given much to do in his character as Prince Henry. Though he is the lead actor of the tale Scott is overshadowed by Barrymore and Huston.