User Reviews

Leslie Caron was the perfect choice to play Cinderella, a scruffy, rebellious girl living with her step-mother and step-sisters, "not quite a servant and not quite a member of the family". Caron reunites here with much of the team from her best movie "Lili", and if the results are not quite as memorable it may be because the story has been exhausted. Still, director Charles Walters paces it carefully (some may say sluggishly) and keeps the outré magic of the tale to a minimum. The droll observation/narration is dryly amusing and the step-family isn't overly nasty to Caron (they treat her more like a black sheep than a housemaid). The MGM production is modest, but the cast is all quite colorful and the musical direction and balletic fantasy sequences are very good. Lovely, a bit tepid, but sweet and simple. **1/2 from ****

Leslie Caron is Cinderella and Michael Wilding is the Prince in this euhemerized version of the classic fairy tale.

Under the direction of choreographer/director Charles Walter, it's a charming version of the story, with the fantasy taking place in Miss Caron's dreams, as choreographed by Roland Petit and danced by Les Ballets de Paris. Estelle Winwood plays the fairy godmother as a dotty creature who can scare up a ball gown and a coach-and-four through means that turn out to be a matter of knowing people. A lush score by Bronislau Caper offers a simple romantic theme and dance music.

While Caron is fine in the role -- although her Parisian accent in the midst of English speakers is odd -- Wilding's casting is bizarre; he is too old for the role, and is inserted into the ballet sequence in short shots, simply moving while the ballet dancers and Miss Caron -- who had been working with Petit since 1948 -- perform their art gracefully. A sequence in which Wilding teaches Miss Caron how to dance is amusing in a meta way. Walter Pidgeon narrates, Keenan Wynn acquits himself well as Wilding's equerry, and Elsa Lanchester is largely wasted in her role.

In an European town, the folks eagerly await the return of the Duke's favorite son, Prince Charles (Michael Wilding). On the other hand, everybody dislikes Ella (Leslie Caron). She's dirty from cleaning soot and is derided as Cinder-Ella. She claims to one day live in the palace which only embitters the town. She lives under the rule of her stepmother Widow Sonder with her mean-spirited stepsisters Birdina and Serafina. She is befriended by Mrs. Toquet. Next, she encounters Prince Charles and his friend Kovin (Keenan Wynn) but he tells her a false identity as the palace cook's son. Charles is taken with her and invites her to the ball. With help from Toquet, she goes to the ball expecting to meet the son of the cook.

With Leslie Caron as the star, there should be more dancing right from the start. It's almost an hour before Charles is teaching Cinderella how to dance. It's also odd that the dancing are mostly ballets done in dreamscape. Caron should just dance in the story itself. She should be dancing in the town, at the pond, or at home. Charles should be enchanted by her dancing. It's a missed opportunity.

Another problem is that Ella is a slightly unpleasant character. She should probably be more demure. Most of the other adaptations are fair although it would be nice to have more humor. In the end, this pales in comparison to the Disney animated classic from five years earlier.

i first saw this movie on late night family channel as a kid... it tooks me years to find it again, when i FINALY found it i ran out and bought it(2 months on back order!!) this is such a sweet light hearted cinderella tale of a girl named Ella who always told everyone she would grow up to live in the palace... and people just shrugged her off and called her "cinder-ella" because of cleaning out the fireplace and being covered in ashes... a fairy godmother who is accentric and amusing with word games what holds a good message, there are some key moments what always make me laugh every time i watch it... this is the first leslie caron movie i saw and i fell inlove with her and have now seen many more of her movies... she is a very beautiful woman with great skill and always reminds me a bit of Audrey Hepburn(maybe it's just me)...whenever i'm down this movie always makes me smile i can never get bored of it!... if you love light hearted romance comedies or the classics this movie is worth watching!

This is an interesting retelling of the story of Cinderella--interesting because the story is quite different from the French or German or Disney versions. For instance, Cinderella is NOT a very nice person in this film. As a result of being made fun of for her frumpy appearance, she is a rather short-tempered person--making her more complex and interesting compared to the perfect version in the Disney film. Her sisters, too, are NOT ugly--just vain and self-centered. It's also nice because unlike the traditional story, this one is much more romantic--and this is probably the best aspect of the movie. Seeing Leslie Caron in love scenes with the Price (though she thought the character played by Michael Wilding was just a cook) was delightful. The only serious problem with the film were some of the dance sequences. The dream sequence with the ballet just went on way too long and I am sure it tended to alienate many in the audience---I know it did that for me. In many ways, this sequence was so long and overdone it reminded me of the big dance scene from "An American in Paris"--which you either love or you hate (guess which applies to me!). As for the acting, Caron is her usual wonderful self and she made the film a delight. I also adored Estelle Winwood--she made for a very funny and more human sort of fairy godmother--wonderful and very, very different.

This is a hard one to rate. While I loved the film (it really melted my heart), it should have been tightened up by either eliminating or trimming all the fantasy dance sequences, as they tended to make the plot grind to a halt.

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.

This slow, talky, and inept version of Cinderella seems to be written and directed by people who never SAW a movie, let alone made one.

Caron is charming but wasted, along with Elsa Lanchester, some other good players, and the lavish sets and costumes. Ballet scenes are interesting, but you'll be hacking at your wrists with broken glass before you get to them.

Forty excruciating minutes pass before you find out the movie has music and dancing. The tedious exposition is narrated by Pigeon, who sounds here like a pitchman selling vacuum cleaners on 1950s TV. There is so little live sound, you wonder at times if this is a silent film with bad narration added.

Writer Helen Deutsch seems unaware that audiences may have encountered the Cinderella story before, so she draws out each scene to maximum length, with phony sub-Freudian psychologizing and clumsy attempts at "humor".

Ella's poor social skills, we are frequently reminded, are the result of an inferiority complex caused by societal rejection. What did a lovely fairy tale ever do to Deutsch that she should treat it this way?

This is one of the most amateurish major films ever made in Hollywood. Some posters here seem to be fond of it, having seen it first as a child. That's the only way I can explain anyone enjoying it.

I remember seeing this enchanting film for the first time when I was 10 or so and I've been fascinated with Leslie Caron's characterization of `Cinder' Ella ever since. Those beautiful expressive eyes! Some have called Caron's portrayal `bratty' but I think her Ella is not only convincing but also heartwarming. Of course you are supposed to feel bad for this dirty little servant girl who is forced to take out the ashes, but instead of feeling sorry for herself, she continues to `act out' against those who shun her, which I think gives her an appealingly strong character. The art direction and costuming are gorgeous! Cinderella's massive pink and frilly `borrowed' ball gown is exquisitely detailed with crystals and roses, and the glass slippers are pure magic! As a dancer I find the ballet dream sequences quite impressive and exciting to watch, but my one main problem with this film would have be casting Michael Wilding as a ballet dancer in the Princess Tehara dream sequence. Wilding is obviously not a dancer and I wished they had cast someone who could actually hold his own next to Caron's wonderful technique. Estelle Winwood as Mrs. Toquet is certainly worth the price of admission.and then some! She is a funny, poignant and an amusing fairy godmother. Overall I find The Glass Slipper a wonderfully delightful diversion!

I hope that each successive generation of viewers can continue to discover and experience Leslie Caron's magic. This film, The Glass Slipper, is not very good but watching it you get what you might say is the "Leslie Caron Experience".

Anytime you are downcast or blue you can watch a Leslie Caron film from that era and immediately be mood-enhanced and lifted up by her. So, do I recommend you watch this film? You bet I do. You will see what a transcendent film star really is.

Michael Wilding is handsome. And pleasant. That's about it, but thats all he is supposed to be.

I don't care for the choreography, except for when Ms. Caron is doing ballet alone- of course, it is truly magic. Her scene alone in front of a closed door as she drapes herself down the steps is classic and simply beautiful.

The main musical score is excellent.

This film is based around the retelling of the classic fairytale 'Cinderella', with Leslie Caron taking on the title role and Michael Wilding playing the pronce. Although there are some good moments, overall I found this film a disappointment. The acting is stilted at times and there are some dis-jointed ballet sequences that could have easily been removed from the final cut - mainly a showcase for Caron's dancing skills and little to do with the overall plot. I think my main complaint is the mis-casting of Caron as Ella - I never quite empathise with her enough as the ill-treated and lonely young girl and from then on care little about the overall outcome of the story.

"The Glass Slipper" is a modern interpretation of the classic fairy tale. And it's a good one. Leslie Caron is cast as Ella, a girl almost destroyed by the death of her mother and the lack of understanding shown her by her insensitive stepmother (Elsa Lanchester) and haughty stepsisters ("Gunsmoke's" Amanda Blake, and Lisa Daniels.) The local villagers are likewise indifferent to her, and (as narrator Walter Pigeon dryly observes), her spirit is in danger of being broken as a result. Enter local "madwoman/kleptomaniac" Estelle Winwood, who, simply by reaching out to the defiant girl, gives her confidence and hope. Yes, she's the film's equivalent of the fairy godmother, and she is wonderful in the part. Although the prince (a mature Michael Wilding) leaves a bit to be desired in the ''Charming''department, he is perfectly all right otherwise. Keenan Wynn is wasted as his companion, but Barry Jones is amusing as the prince's father, and Miss Lanchester makes a suitably nasty stepmother. what of Leslie Caron? Well, she goes from neglected little spitfire to luminous princess effortlessly, and her appearance at the ball is a treat. The ballet sequences do tend to slow the film down, but Miss Caron did begin her career as a dancer, and she has a grace few others could match. The music by Bronislau Kaper perfectly enhances the mood, as does the modest but tasteful production. Strangely enough, this could be called the original "Ever After", because, except for a delightful twist at the end, the tale is told as if it could have happened. All in all, a captivating version of "Cinderella", and one which will linger in your memory.

(1955) The Glass Slipper ROMANTIC MUSICAL FANTASY DRAMA

Aside from the ballet dancing, this is probably the most realistic live version of "Cinderella" anyone is ever going to see, since there's hardly any special effects, rather use actual human qualities and complicated situations instead. In other words, even the step sisters consist to have some relatable characteristics. And that the step mother is not all evil, pointing out that I am one of few who preferred not to be tied to just one version to the popular fairy tale written by Charles Perrault, since the Disney version was also wasn't faithful to what was initially written just because the cartoon was especially made for children. The small plot that's more of a backdrop to the musical/ ballet sequences has the prince passing through the village with the announcement of finding the girl he want to marry with "Cinderella" played by Leslie Caron not knowing what the prince actually looked like. And by chance, consistently bump into each other while Cinderella was day dreaming by the river. In this movie, the prince, played by Michael Wilding pretends to be somebody else, like in this case the royal cook for the prince. And the fairy godmother isn't like what viewers are going to be accustomed to as well.

They tried to do a rendition of classic and didn't come out too well. The ballet is pretty. Caron, as usual, is strikingly beautiful. However those are the highest points. They make the Ella (Cinderella) character seem like she has developmental or mental issues.. She doesn't seem to understand normal day to day interactions or behaviors, throws tantrums and they made her talk in a deeper slow cadence. Somewhat disappointed. This Ella character just wasn't up to snuff especially for Caron. Also, Wilding seems too old to be the prince. I guess my expectations were just too high. If I was 10 I may have liked it but as an adult it's not my favorite.

I remember seeing this years ago on a family anthology show (now you know how old I am; anthologies are a thing of the past now). One of the things I liked was the fact that they dispense with much of the conventional magic known from the original fairy tale: the fairy godmother is given a name and personality- and portrayed as something of a neighborhood kook who loves funny words and steals for a living. When she helps Ella (the 'Cinder' prefix comes later) go to the ball she 'borrows' a coach and steals a gown- and has something of a needle-in-a-haystack challenge in fixing her charge's unruly hair. Leslie Caron, a positively beautiful dancer in her early years, is made to look less pretty than she really is, and the film throws a symbolic moral at the viewer by making the stepsisters conventionally beautiful, but still harboring nasty personalities. With this scenario we are allowed to judge the central character by her spirit and intelligence (something that would be re-imagined 40 years later in the film EVER AFTER). It is not meant to be taken too seriously- how can it be with Walter Pigeon's extremely dry narration? I didn't care for the Petit fantasy ballets (they just seem to interrupt the action instead of advancing it), but loved the fact that the prince and Ella meet in the glen before seeing each other at the ball- creating something of a real love story. It is a shame that Leslie Caron did not continue to dance on film after this year, as all of her subsequent films were 'Gigi' and then straight dramas. Check this out; it is one of MGM's lesser known, but every bit as impressive.

The plot makes little sense and the Price is way too old. Not a great adaptation of the familiar story of Cinderella. Most of the acting is wooden except for Leslie Caron. It didn't have the magic that this fairytale needed.

With that said, what is great about the film is the dancing and the music. It is magical when Caron is dancing the film goes to another level. The Ballet de Paris elevates the dance scenes. I wish they had dumped the movie script and just made a ballet version of the story.

One bit of trivia. Before movie stardom Leslie Caron was a ballerina along with her friend Bridget Bardot.

There were some lovely parts of the film but others seemed to drag on a little too much. I cannot say much since I've watched only some clips on youtube. I really like the concept of the alteration of the Cinderella plot, it turns it from a fantasy to more "realistic". If the music might've been a little better in some parts.. It is very 1950s in the style of the film, the costumes, and the production. It reminds me of many 1950s Broadway sets, etc

I saw this movie first when I was very young. I was fascinated by Lelie Caron after seeing GiGi and my Granny had this in her vast video collection. It is a great film taking a new twist on the Cinderella story incorporating ballet in it, which is great to watch. Though Michael Wilding is quite a disappointment as Cinderella's prince, but can be overlooked. The fairy godmother is funny and good fun to watch. With her list of favourite words 'Apple Dumpling' 'Windowsill' 'elbow' and of course Cinderella. Leslie Caron is cast well and plays the tortured Cinderella well. The sets and costumes are magnificent. All in all a very pleasant film to watch on a rainy Sunday afternoon

MGM probably hoped for another "Lili" by casting Leslie Caron as the lead in a live-action version of Cinderella. While this effort didn't quite meet with the success of that earlier film, it still delighted a number of people who continue to hold fond memories of the production. Leslie Caron makes an irresistably appealing "Ella" and Estelle Winwood is a glorious fairy-godmother but Michael Wilding does tend to be a rather bland Prince Charming. Watch for Amanda Blake (Miss Kitty on "Gunsmoke")as one of the selfish stepsisters. And just try, after seeing this movie, NOT to hum, "Climbing rose, on the wall ... "

Granted, Leslie Caron is NOT Cinderella, but I did like Michael Wilding (even though he seemed a bit old for the part), and Estelle Winwood was fantastic. I did like some of the twists, especially the use of subterfuge vs. magic (Ella "Borrows" a dress, rather than having her godmother "Create" one for her). But mostly, I agree with dinky-4, the song "Climbing Rose" is what I remember most about the movie. I'm hoping the score has been released on CD, but haven't found it so far.

By the way, if anyone knows where I can get the sheet music and/or CD for that song, please let me know! I've been looking for the music for what seems like forever!

Okay, I admit I have long had a soft spot for Michael Wilding--had a terrific crush on him when I was young and was delighted to see him in this film playing the Prince. He had a nice career going for himself in England before marrying Elizabeth and moving to the US. Hollywood didn't quite know what to do with him and he didn't have that many good or even likely roles here. In England he and Britain's favorite blonde, Anna Neagle, made several films in which she sang and the two of them danced (kind of a poor man's version of Rogers and Astaire), so he did dance in films before this picture, but I'm afraid he wasn't terrifically impressive as a dancer. But, boy, he had charm!

When I first saw this film I thought it was a bit simplistic, but I was won over by Leslie Caron, a favorite of mine. And it was gratifying to see Michael Wilding, though he didn't get to do much here. Loved Estelle Winwood; she too, was always good. Altogether a very pleasant movie, pretty to watch, if just a little slow. (Or maybe it seemed that way because with this story, there are no surprises--you know how it will end!)

Why wasn't this film more successful, and why isn't it more well known than it was and is? It is an utterly delightful and original take on the Cinderella story in which almost every element is just right. Leslie Caron is completely enchanting as Ella. True, she may not be an amazingly gorgeous beauty in her ball gown, but she is radiant nevertheless. Especially those eyes. Oh, those expressive eyes! They show you the true beauty beneath her outward plainness. She is a wonderful actress and phenomenal ballet dancer, as demonstrated in the wonderful dream ballet sequences in which she dances with the Roland Petit ballet company. These sequences may seem unnecceasry at first, but they turn out to do exactly what the ballet dances in the Rodgers and Hammerstein musicals do: They express the character's emotions in ways that not even dialogue and music can. They are indeed a vital part of the film. Estelle Winwood is charming as Ella's eccentric "fairy godmother." Walter Pidgeon's uncredited narration is pithy and wise. True, Michael Wilding is indeed a bit bland as Prince Charming/Charles (though not really all that bad) and this is one of Kennan Wynn's weakest appearences (except for his reaction when he sees Ella at the ball), but all in all these are tiny flaws in one underrated gem of a film.