Der gläserne Pantoffel

Leslie Caron was the perfect choice to play Cinderella, a scruffy, rebellious girl living with her stepmother and stepsisters, "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 tale has been exhausted. Still, director Charles Walters paces it carefully (some may say sluggishly) and keeps the outré magic of the story to a minimum. The droll observation/narration (by Walter Pidgeon, uncredited) is dryly amusing and Cinderella's step-family isn't overly nasty to her (they treat the girl more like a black sheep than a housemaid). While the MGM production is modest, the cast is quite colorful and the musical direction and balletic fantasy sequences are very good. A bit tepid overall, but sweet and simple. **1/2 from ****

"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.

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.

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.

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!