Review of The Glass Slipper

Leslie Caron deservedly became an international star at a young age for very similar performances in other movies yet the Glass Slipper did not provide a vehicle which matched her talents. Its failings become obvious early on - its at times ponderous wordiness, the excision of the magical elements and their replacement by prosaic matter-of-factness, the underplaying of her mistreatment at the hands of her step mother and sisters - all together entirely blunt the dramatic edge of this perennially popular fairy-tale. The choreography is uninspired yet accompanied by a musical score whose constantly emphatic highs and lows are not at all justified by the visuals. Michael Wilding (the Prince) has little to do during a number of the dance numbers other than to stand smiling at (Cinder)Ella. The Fairie God Mother is replaced by an unattractive kleptomaniac bag-lady who sleeps rough and, not to put too fine a point on it, consequently one is inclined to wonder about her personal hygiene. Odd directorial gaffes occur like the dreamt giant cake which grows to the size and appearance of a large snowman then abruptly jump cuts to its final version - a 30 foot tall finely featured wedding-cake. The Glass Slipper makes one appreciate the consummate crowd-pleasing professionalism of the early Disney productions.

British actor Barry Jones is surprisingly sprightly, comic and effective in his role - in utter contrast to many of his other screen roles which tended towards the extremely doom-laden. The great Elsa Lanchester does her best as do most of the others of a sterling cast but fight a losing battle against director and writer. So curious that it had been this pairing who had been responsible just two years earlier for Leslie Caron's magical and charming film: Lili.