The embodiment of feminine grace

An explanation of Why Cinderella Remains A Classic

Cinderella is an animated musical fantasy released in 1950 by Walt Disney Productions. It is a timeless tale of hope and perseverance. Despite the many challenges that she faces, including the death of her father and mother, the abuse by her stepfamily and the loss of her fortune, Cinderella never loses faith in herself or her dreams. She is the embodiment of feminine grace, which I define as the beauty, harmony, and balance in a woman’s actions and interactions. It is this grace and beauty that captures the heart of the audience, the animals and most importantly the Prince. A fairytale about perseverance and hope in the face of adversity is one that I find deeply inspiring and uplifting, and it is one of the main reasons why I love Cinderella.

Cinderella's story provides a unique take on the damsel in distress trope because it focuses on her strength and ability to overcome adversity. Although she is in a vulnerable position due to the abuse she endures from her stepfamily, Cinderella is not ignorant of her situation. The Take argues that "writing off Cinderella is on some level buying into masculine ideals" (2017, 2:29) since she does not confront her abusers in a masculine manner. Critics unfairly dismiss her feminine traits and belittle her for being rescued by the prince. However, it is these very traits that allow her to hold onto her dreams, which ultimately lead to her dreams coming through. At the beginning of the film, Cinderella sings “A Dream is a Wish Your Heart Makes” with the lyrics explaining that if you continuously believe in your dream your wishes will come through. After the stepdaughters attack Cinderella, the background music plays the same song as the fairy godmother materialises, symbolising that Cinderella’s wish is coming through, the godmother confirming this by telling Cinderella “if you lost all your faith, I wouldn’t be here.” 

Cinderella's dream is not explicitly stated in the movie, but it becomes clear that meeting the Prince is not a part of it. In the scene where the Prince first notices her, she is in the background admiring the castle. Throughout the night, she dances with him but does not realise that he is the Prince and is focused on the experience of the ball rather than the possibility of meeting royalty. When she realises that it is late and that she must leave before the magic wears off, she explains that she has not yet met the Prince as her excuse to leave, further emphasising that meeting him was not her ultimate goal. However, Cinderella's feminine grace is what leads The Prince to be drawn to Cinderella, which ultimately changes his perspective on love. This transformation in the Prince's perspective is symbolised by the scene where they dance together while singing "This is Love." Their love, seemingly softly illuminating the gardens, creates a dreamy, romantic atmosphere that highlights the deepening connection between the two characters and the purity of their love. 

This single encounter causes the Prince to fall so deeply in love leading him to search his entire kingdom, declaring he will only marry her. The archetype of feminine grace is a common trope in romantic films and literature, and it often leads to a transformation in the male character's perspective on love. In the film Sabrina, the main character Sabrina embodies feminine grace, which causes the male protagonist, Linus, to reconsider his perspective on love and what truly matters in life, nearly ending an important business deal for Sabrina’s happiness. This archetype highlights the power of a woman's grace and how it can affect those around her, particularly in matters of love and relationships. The feminine grace cannot be replicated through magic nor can it be triumphed over by evil. This is evident in the sequel, where the stepmother attempts to deceive the Prince by transforming Anastasia into a replica of Cinderella and erasing his memory. However, the Prince is able to discern that this artificial Cinderella is not the real one because of Anastasia's lack of feminine grace. This further reinforces the idea that Cinderella's appeal to the Prince was not based solely on her physical appearance but rather on her inner qualities. A person who embodies feminine grace can inspire and influence others through their elegance, kindness, and inner strength. It is a powerful archetype that can have a positive impact on society and the people around us.

In contrast to Cinderella’s archetype, the stepmother is a classic example of the "wicked stepmother" archetype, a figure who is often portrayed as cruel and tyrannical through being passive aggressive and manipulative. The narrator in the opening scene states that “Cinderella was abused, humiliated, and finally forced to become a servant in her own house” telling us of the cruelty of the stepmother. In the scene where Cinderella is ready for the ball, the stepmother uses this technique to manipulate Cinderella and her stepsisters. At first, she appears to be reasonable, acknowledging the bargain that she made with Cinderella. However, her tone and inflection suggest that she is not actually satisfied with the situation and we see a close up of Cinderella’s face as she recoils in fear, confirming our suspicion. Further in the scene, she subtly commands her daughters to attack Cinderella and during the attack the camera focuses on Cinderella as the sisters tear apart her dress, highlighting her vulnerability and helplessness in the face of their aggression. The use of a dark background, disorienting camera angles and background music adds to the sense of chaos, as we see parts of her dress being ripped apart and hear the desperation in her voice as she cries for them to stop. The stepmother commands to "hurry along now, both of you" ending the attack serves two purposes. First, it reinforces her authority over Cinderella and her daughters, making it clear that she is in control of the situation. Second, it allows her to maintain her facade of civility, as she appears to be concerned about her daughters' well-being and does not want them to upset themselves further.

Another scene that highlights the stepmother’s cruelty is when she figures out that Cinderella was the one that dances at the ball with the prince and locks Cinderella in the room. The use of lighting and camera work helps to emphasise her anger and malice towards Cinderella. The darkening of the lighting and the focus on the stepmother's eyes create a sense of foreboding and danger. It also shows that the stepmother is willing to do whatever it takes to keep Cinderella under her control. As the stepmother follows her up the staircase, she has yellow eyes with shadows cast across her face, creating a visual contrast between her and Cinderella; the music adding to the tension helping to heighten the emotional impact of the scene. Further in the scene, when the stepmother locks Cinderella in the room, the camera zooms in on the key turning in the lock, emphasising the sound of the lock clicking shut and trapping Cinderella inside. It further highlights the stepmother’s cruel nature and proves her archetype is the complete opposite of Cinderella’s. What makes Moana or Mulan more worthy of praise than Cinderella or Ariel despite all of them being driven by courage? The answer to this is simple, a misconception of the importance of love in our society and the devaluing of traditionally feminine traits. All Disney princess characters embody traits that young girls should aspire to, whether the princess aids in saving the village or she is saved.

References:

Billy Wilder (Director). (1954). Sabrina. Paramount Pictures.

Clyde Geronimi, Wilfred Jackson, & Hamilton Luske (Directors). (1950). Cinderella. Walt Disney Productions.

Frank Nissen (Director). (2007). Cinderella III: A Twist in Time. Walt Disney Pictures & Walt Disney Studios Home Entertainment.

The Take. (2017, November 11). Cinderella: Stop Blaming the Victim [Video]. YouTube.