First shot of animation: child Cinderella and her father at a fountain, just before the narrator says he died

With the studio returning to features proper, it feels very much like the plan was to do Snow White again, since it worked so well the first time. Same ornate storybook opening, same source material, and Cinderella is mostly the same character. Except, she understands her situation.

Where Snow White was terminally naive, Cinderella will roll her eyes at her stepsisters and is frustrated at her treatment. It makes her goodheartedness a choice she makes, a personal goal she works at. The whole family dynamic is the best part. The sisters are too dumb to learn anything but cruelty from their mother, and I love the way Lady Tremaine uses them as weapons. The dress ripping scene is chilling. So much great acting between the three of them.

This is the invention of the animal sidekick. You might say Jiminy Cricket or Timothy J Mouse, but those were equal partners. These mice are sidekicks. But they’re also funny talking little guys who go on slapstick adventures branching from the plot: they’re the Minions. The King and Grand Duke are made from the lessons of the package films: exaggerated movement and design to make an immediate impression.

Cinderella’s first meeting with the Prince is perfect. The Grand Duke is mockingly describing storybook love at first sight as it’s happening, and it’s only stronger for standing up to dismissal. Earnestness cuts through irony. It works because even the fairy tale people think it’s impossible, love conquers all.

Cinderella has no toes.