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'Cinderella' (2021): A Damsel not so Distressed

 'Cinderella' (2021): A Damsel not so Distressed

- Anzala Anwar Khan

Cinderella is an exemplary fairy tale that has survived from generations to generations, each having a version of their own to imitate, interpret and lend down. Among the various versions and adaptations in books, films or on television, the most modern version of Cinderella that stood out for me in terms of its plot twist and gender dynamics is the film 'Cinderella' (2021). Written and directed by Kay Cannon, this film stars Camila Cabello as ELLA or Cinderella, Nicholas Galitzine as a crown Prince Robert, Minnie Driver as Queen Beatrice, Pierce Brosnan as the King Rowan, Billy Porter as Fabulous Godmother, and Idina Menzel as Ella’s stepmother. 

The modern subversions of sexism connoted by the traditional version of Cinderella are evident right from the beginning wherein Ella can be seen designing dresses and singing a song expressing that she wants everyone to 'know her name'. Living in an era heavily characterized by patriarchy which is reflected in the remarks of her stepmother teaching her daughters to be perfectly fit for a suitor and to "marry rich", Ella is an independent woman who has dreams of her own, that might appear to be entrapped in the basement she is living in, but she is certain they would someday unravel into reality. And for that, she doesn't wait for a Prince Charming to come to her aid, she determines her own path and sustains it by her hard work. This is evident when she sneaks out of her own house, precisely from the clutch of her stepmother and goes to the market to sell a dress she designed herself. She sees all the shops run by the male heirs and stands in the middle of the market, exhibiting her dress and calling people to attention. Even though she only receives taunts and scoffs by the patriarchal audience who labels her as a thief, as a mindless woman trying to assume a man's role, she doesn't give up and stays persistent in her zest. 

This unhindered ambition is exceptionally seen when the Prince proposes to her and she declines his offer stating that, "I don't want a life stuck waving from a royal box any more than a life confined in a basement, I have dreams that I have to chase. So, if it's a choice, I choose Me". I think this is the most distinct plot twist differing from the traditional narrative wherein Cinderella claims her individuality and can't afford to lose her dreams even if it meant the luxurious life of a royalty. Hence, this impression has a very significant implication on all the minds of the viewers, especially the young ones, that a woman doesn't need to give up her dreams for anyone or anything, be it for survival or for the sake of societal stature. Ella chose to live in the imprisonment of her stepmother with her dreams liberated than being tied to a royal institution with her dreams imprisoned. 

Another subversion of the former narratives happens to be in terms of Ella being magically transformed to go to the ball. In contradiction to a Godmother coming to Cinderella's rescue, we see a 'genderless' God Fairy come to her aid, who transforms from a caterpillar Ella had saved in the beginning of the film. Hence, it is implied that the magic or help she receives is out of her own doing, rather than the enchanting spirits of the universe pitying her. It is also to be noted Ella didn't go to the ball to woo the Prince; she goes there to create an impression for herself as a dressmaker and seal potential deals. This furthers the independence and zeal Ella had for her dreams. 

Even when Ella is compelled by her stepmother to marry a man against her wishes, she doesn't wait like a damsel in distress for a Prince Charming to come and rescue her, rather she takes the help of her three mice and jumps off a moving cartwheel to meet a Queen whom she had to meet to show her collections of self-designed dresses. Thus, her sense of independence is very well reflected in this instance where she leans on her own intellect to rescue herself. 

A profoundly distinct twist to be noted is when the Prince comes searching for Ella, he is ready to give up the prospect of becoming the King and says, "You inspire me. Watching you, I feel that anything is possible. I don't want to be a king, it's not what I want anymore. I choose me and choosing me means choosing us". Unlike a conventional take on companionship wherein for the institution of marriage, the woman sacrifices her career and dreams for the man, here, the Prince himself has given up on his Royal lineage to become the King for the dreams of Ella. Not only has he given up the Royal lineage which only meant a noble stature of power for him, he also remarks that it was Ella who inspired him to do so, who made him realize what matters for him and that treading on an alternative path is possible. 

Apart from these significant breakthroughs, the other subordinate female characters are also portrayed to be strong and upfront. For instance, towards the end, Queen Beatrice, confronts her husband and outrightly admits that he had changed as a person and as a husband after he had become the king. He has given into the Royal notions of 'Kings yell' at their wives and they have to have their chairs an inch taller than their Queens. She vulnerably expresses how desponding it is to be his wife and that their marriage isn't sustained on love anymore. Her confession causes the King to change as a husband and he also lets the Prince choose a life and wife of his own. And this ultimately leads to the royal ruling lineage being given to their daughter and princess, 'Glen', who since the beginning was interested and seemed apt for the position. 

Therefore, this modern version of Cinderella defied the stereotypical gender norms portrayed by the older versions to a great extent. 


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