Movie Review & Reflection: LA LA LAND

Movie Review & Reflection:  LA LA LAND

Fr. James DiLuzio C.S.P.

Do you have to enjoy Hollywood musicals to enjoy LA LA LAND?  Yes and No.  YES, if you have ever had the urge to break into a song and dance in moment of comfort and joy.   YES, if you enjoy dancing and appreciate it as one of humanity’s greater pleasures.  YES, if you have a trace of nostalgia for that great AN AMERICAN IN PARIS ballet. (I956, MGM, Gene Keely, Leslie Caron; available on Blu Ray and Streaming.)  Director Damien Chazelle and Choreographer Mandy Moore’s (not the actress /singer) song and dance finale (almost finale) is a tribute to that ballet and it’s charming and magical.  But, oh, how I wish they had kept the company dancing in a flowing, ever-enlarging dance spectacle. So.  If you answered YES to all the above: GO!  If you answered “No” because you are the kind of person who interiorizes your moments of joy and/or never add a dance to your step or skip about for the fun of it, or find musicals silly, silly, silly, then stay home.  But before you settle in beside your Christmas / Hanukkah fire, be forewarned: there’s more to LA LA LAND than song and dance.

LA LA LAND focuses on the creative artistry, goals and objectives of two young lovers who, as they fall in love, exemplify the simple joys of love, music and art for their own sake.  These segments are the heart of the film and offer its greatest pleasures (the “almost-finale” notwithstanding). Ryan Gosling plays Sebastian, the consummate jazz pianist seeking ART not popularity, and he plays the role well. As always, he’ a photogenic, attractive leading man and, in this film, he even has a dancer’s physique so when he glides aspiring actress Mia (the charming Emma Stone) into the gentle choreography of a starlit summer night, it all seems (almost) natural.  Now don’t expect Fred Astaire and Ginger Rogers because Gosling and Stone are not polished professional dancers or singers. But that reality is precisely one of the points this movie makes:  Don’t leave everything to the professionals!    Sing a little, dance a little.  Walk on the “Sunny Side of the Street.”  (Or live in Los Angeles along with everyone else who wants to be Fred and Ginger who never get to sing or dance or act for pay and just keep basking in the sunshine year-round.)

The First Act of LA LA LAND could be tighter.   Gosling and Stone have chemistry, so we would have a lot more fun if the sparks of antagonism, approach/avoidance were ignited more fully at the onset.  (There’s a moment after the opening number where you think the sparks will fly but the script postpones the joy.)  Instead we get a good deal of the clichés of “the struggling artist.”  (The limited National Endowment for the Arts notwithstanding – will Americans ever truly support the ARTS in Education and local communities beyond buying high-priced concert tickets?)  But once Sebastian and Mia’s romance is in bloom, the film enchants and gives us a bit of punch, too, in some very well acted dramatic scenes.  Odd for a musical but it’s these dramatic scenes that help us care about the couple and give us reason to want to care more.  The songs they and others sing are better than serviceable but I found only a couple memorable.  I liked the ballads CITY OF STARS, the emotional and dramatic context of FOOLS WHO DREAM (engaging lyrics) and the rhythmic START A FIRE, the latter enhanced by the performance of John Legend, a most welcomed guest star. The jazz arrangements and orchestrations for all the numbers are excellent.  (Music by Justin Herwitz, Songs by Hurwitz, Benj Pasek, Justin Paul.)

LA LA LAND is a Hollywood Musical more about the ordinary than the glamorous, more about the reality than fantasy of show business. Meanwhile, it kind of insists that we keep romance and music in the picture.  As it is in this picture, may it be in YOUR picture, too.

Questions for Discussion:

  1. Now most people would agree that “popular’ isn’t necessarily better (although it can be). BUT how can creative people earn their living when their work does not prove popular, remunerative or classifiable as genius?
  2. Is it a waste of time to attend to things you enjoy (especially singing, dancing, acting/ play-acting) if you are merely good but not spectacular at them?
  3. Can people follow their bliss, carve out a generative, joyful life without having to be on the big screen, the great white way or go viral streaming on the internet? Must there always be an audience for every act of creativity? (Can “ART” be its own reward?)
  4. Our competitive culture practically demands SUCCESS. How do you identify it?  Is it all relative? How important is it to you? Is it the same as recognition (an important human dynamic) or is it recognition-run-amuck?
  5. No one wants to be “left behind.” No one wants to be taken for granted yet society offers a living template of “winners” and “losers.”  Who “wins” and who “loses” in LA LA LAND?  Sebastian or Mia?  Director / Writer Damien Chazelle or YOU as a moviegoer?

 

 

 

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Fr. DiLuzio’s Short Movie Reviews: FANTASTIC BEASTS and BIRTH OF A NATION

 

The best of FANTASTIC BEASTS and WHERE TO FIND THEM occurs in ACT THREE—the last 1/3 of the movie. It’s engaging, exciting and a fine example of the kind of storytelling one would expect from author J.K. Rowling and team.  Unfortunately, the first two acts don’t build the appropriate suspense primarily because the characters and elements that should contribute to the climatic conflict have not been presented well.  They are ambiguous and hint at possibilities rather than clearly foreshadow them.  For my part, one important clue was particularly obscure.  Too bad because the characters are interesting and they are wonderfully portrayed by a fine cast and the movie embraces important themes.  And, yes, there is one more problem:  the supporting characters are more intriguing than the leading character, Newt, played coyly and with charm by Eddie Redmayne but poorly written.  And some of the “Fantastic Beasts” he tries to preserve and protect take a bit getting used to.  Too many look like they stepped out of STAR WARS CANTINA BAND.  I found them off-putting even though they embody an essential moral: we must not judge by appearances.  Furthermore, we spend a lot of time in Act One with one of the cuter critters named Greedy who does provide humor and exasperation but who doesn’t factor much into the balance of the script.  In the end, I enjoyed the film. But, oh, it could have been so much better.

 

THE BIRTH OF A NATION lost a lot of momentum since its debut in theaters and you may be hard pressed to find it – although it may get a re-release if OSCAR dubs it worthy.  I DO dub it worth your time and consideration.  It’s a well-made in the very best old-fashioned sense of movie-making as it tells the story of Nat Turner, the infamous anti-hero who staged a revolt against the horrors of slavery.  The movie takes a romanticized view of his heroics very much akin to BRAVEHEART.  Because we see slavery’s cruelty first hand, one feels compelled to root for Nat and companions with all the emotional empathy of an unquestioning adolescent:  YES!  Kill all those cruel slave owners AND THEIR wives and children. The music swells triumphantly and “Why Not?”  American and European characters who dealt similarly with their adversaries have been hailed and honored for centuries.  GET those Indians!  Wipe out the evil doers!  Who cares about collateral damage? AND MAN, can my “INNER CHILD” HATE all those people who still have the audacity to want to raise the Confederate Flag!  (How easy it is watching movies like this to indulge my emotions and put my priestly identity aside!)  At the film’s conclusion, there is genuine catharsis and sadness.  For no matter the situation, violence breeds violence and more violence and prefigures more violence to come.  WHY MUST THE WORLD BE THIS WAY?  Is violence the only way to address injustice, cruelty, racism, sadism? The fact that BIRTH OF A NATION leaves you with that question makes it a valuable piece of film-making, wondering what kind of true nobility Nat Turner could have nurtured if he were born into a different era, a different economy (and YES, our current economy still embraces forms of slavery), a different United States?

Disney’s Moana: Know Your Story Movie Review and Theological Reflection by Rev. James M. DiLuzio C.S.P.

Water. The Disney Animation Studio has mastered the look and feel of the ocean—a most difficult animation art.  It’s keep-your-mouth-closed-before-your-jaw-drops brilliant.  And that is fitting, indeed, for water is the source of life and without it, there can no life and no stories. In this mash-up of Ancient Hawaiian Mythology’s Creation Tales, the earth and its fruits are dying.  Centuries ago, the demigod Maui stole the heart of Mother Earth and offered humanity its power.  Interestingly, the consequences of this subjugation have only begun to surface in the here and now—in the time frame of our story.  What happened?

Apparently, humanity abused its power and even the tribe that kept itself apart from “the others,” i.e. “the abusers,” have come to face what the rest of the world faces: reckoning day. Thankfully, for the children in the movie theaters, there are only small signs of nature’s imbalance at the film’s onset (contemporary allusions notwithstanding).  These Hawaiian folks, however, are intuitive enough to know that small signs are indications of larger event to come.  Who will find Maui and convince him to return the heart of the earth to Mother Nature?  What will happen when he or she does?  That is the crux of the drama and it’s a good one.  I don’t know how many people will read Pope Francis’ encyclical Laudato Si (“Praise Be (to the Lord) for Creation) with its challenges for us to care for our earthly home and all who live within it, but I imagine far more will see this movie. I hope MOANA keeps the conversation going and inspires more civil action to care for the earth and everything in it.

Fittingly, the Ocean—the original conduit of life in all its forms at earth’s beginning–is a character all its own.  Its animated spirit inspires a young girl Moana (pronounced MWAH-nah) to go where her island people have feared to go.  Although she is heir to the island’s throne, Moana refuses to be “a princess” until she first becomes “a person” — a person concerned about other persons and the world beyond her.   She knows this because she has learned her peoples’ story and that of her family as well—stories that equip her to respond to the call of the waters—a call initiated in her toddlerhood, several years before Moana grew in consciousness, talent and will power.  (Thoughts of Baptism, Mikveh, Confirmation, Bar / Bat Mitzvah, Dedication anyone?)  Moana will journey to Maui and beyond, moving forward on a quest that the adults are unwilling to attempt. Children manifesting a wisdom eschewed by adults is an oft-encountered theme in Disney and innumerable other sources.  I’m sure you can think of a few.

Watching the film, I thought of the innumerable ways the great myths of so many societies overlap in points of intersection that reveal essential truths, no matter the peoples, the culture or setting.  Hopefully, in reading this article, Biblical references like the following already are flowing through your mind:

Genesis 1:28   God blessed them, and God said to them, “Be fruitful and multiply, and fill the earth and subdue it; and have dominion over the fish of the sea and over the birds of the air and over every living thing that moves upon the earth.”

Isaiah 3:14   The Lord enters judgment with the elders and princes of his people: It is you who have devoured the vineyard; the spoil of the poor is in your houses.

Jeremiah 12:10  Many shepherds have destroyed my vineyard, they have trampled down my portion, they have made my pleasant portion a desolate wilderness.

 Jeremiah 31:5  Again, you shall plant vineyards on the mountains of Samaria; the planters shall plant, and shall enjoy the fruit. 

Isaiah 11:6  The wolf shall live with the lamb, the leopard shall lie down with the kid, the calf and the lion and the fatling together, and a little child shall lead them. [1]

In the Hawaiian Myth, Moana is the child who will lead. And lead she can, because as among the best of Biblical, Religious, Myth and Folk Tale heroes, Moana is not, “a self-made hero.”[2]   Her ancestors’ history and stories told to her by her grandmother play an essential role in her evolving self-understanding and mission. Because she is initiated into these deeper realities, Moana is ready to live her life, find her purpose and embark on her adventure.  (Do we only go to the movies for “adventure?”  Don’t our spirits long for worthwhile quests and accomplishments in our daily lives?  Don’t we depend on others–past, present and future–to find our way?)

The movies’ emphasis on knowledge of the past compelled me to ask “How many of us who follow Biblical Religions, who have a wealth of stories from Bible and history, the knowledge of our family trees and ancestors at our fingertips, utilize these gifts?  Well, don’t fret.  Most of Moana’s family and friends don’t know or understand their history either.  But Moana does.  Heroes do.  Prompted by her grandmother Moana sets out to fix, to heal, to restore—a universal challenge for each new generation.  You next?

MOANA’s screenplay is credited to Jared Bush (Zootopia) and he’s done a fine job.  But let us be sure to recognize that he was inspired by a small village of collaborators. The movie’s story evolved through the minds of its four directors Ron Clements (Little Mermaid; Aladdin), Don Hall (Big Hero 6) John Musker (Hercules; Princess and the Frog), Chris Williams (Bolt) PLUS three others: Pamela Ribon, Aaron Kandell and Jordan Kandell.  Who’s the “self-made” man here?  Together they have created an engaging and thought-provoking entertainment in which each major character evidences light and shadow in addressing the complexity in the choices before them.  The songs they sing also identify these inner struggles.  One song lyric states “You can find happiness right where you are” while another emphasizes the drive to go beyond the comfortable: “How Far I’ll Go.”  These drives are not in opposition but part of an essential balance.  We need to appreciate our life as it is AND go beyond what we have and know to grow into mature adults. Hopefully, we never stop growing. There’s a Buddhist saying: “We’re perfect as we are AND all life is change.”

Regarding the film’s music, the songs by Lin-Manuel Miranda are exactly what we could expect from the composer/ creator of HAMILTON, THE MUSICAL: rhythmic and joyful with playful lyrics.  Not coincidentally one of the questions MOANA asks its audience is the same question that HAMILTON does “Do you know your story?” http://www.linmanuel.com

And for cultural authenticity and local color, the film offers songs by Opetaia Foa’I (of the band Te Vaka, specialists in indie /South Pacific music).  Beautiful!   http://disneyexaminer.com/2016/11/04/moanas-music-will-highlight-the-culture-of-the-south-pacific-an-interview-with-composer-opetaia-foai-of-te-vaka/

The score by Mark Mancina is refined, well-tuned and effective.  His work conveys excitement and intimate sentiments equally well.  https://en.wikipedia.org/wiki/Mark_Mancina

As for the rest: the voice talent fits the characters felicitously and the host of animators have collaborated for a feast for the eyes. In brief, MOANA is well worth your family’s time and treasure spent in a trip to your local theater.

In conclusion, I am thankful that the creators of MOANA are engaging us in the big issues of personhood, climate change, manhood / womanhood among other concepts.  As you leave the multiplex, you may wish to entertain some of these questions the MOANA experience poses should you like to move beyond its entertainment value alone:

  • How well do you know your stories—Biblical, national, familial and personal? Are you willing engage them, learn from them, be humbled by them, gain wisdom through them?  Do you tend to focus more on current trends and fashions and neglect the insights of history?
  • Are you actively engaged in life’s adventures or content to be a consumer?  Have you negotiated a “proper balance?”  Typically, our leisure comprises watching movies (I love movies!) and TV (there are some great TV shows these days) — but how much, how many and to what end?  How may we utilize the gift of entertainment toward the realm of action for a greater good?
  • How may we better honor our seniors, gain from the insights of their experiences?
  • Are we willing to take the risk of blessing other peoples and their faiths, myths and stories and find and cultivate the points of commonality and so experience harmony in diversity?

For more information on MOANA:   http://movies.disney.com/moana

http://disneyexaminer.com/2016/11/04/moanas-music-will-highlight-the-culture-of-the-south-pacific-an-interview-with-composer-opetaia-foai-of-te-vaka/

http://www.imdb.com/title/tt3521164/?ref_=nm_knf_i1

[1] All citations from the New Revised Standard Version of THE BIBLE (NRSV)

[2] God is always at work. And heroes are cultivated by others who hand on a belief system, ethics and a culture. For all our “American Independence” there is no such thing as a truly “self-made man” or “self-made woman.”  We are more “inter-dependent” than we like to admit.

Film Reviews: SPOTLIGHT and THE BIG SHORT

Film Reviews:  SPOTLIGHT and THE BIG SHORT

by Fr. James DiLuzio

It’s a no-brainer to review these two films together.  Each in its own way is a variation on the classic Hans Christian Anderson tale THE EMPEROR’S NEW CLOTHES.  Both waltz around an “elephant in the room:” something rotten is taking place and decisions have to be made.  Both films expose those who pretend it is “business-as-usual,” revealing the horror of the sound of silence and both reveal what happens when moral codes are abandoned to the detriment of millions directly and indirectly: disillusionment wreaks havoc with the heartland.

In the case of SPOTLIGHT, Boston Globe reporters (uniformly portrayed with excellence by a fine roster of actors, especially Mark Ruffalo and Rachel McAdams) play the child crying out: “the emperor is wearing no clothes!” Here, we see the drama of investigative reporting as it prepares to expose the horrendous deceit of the Catholic Church hierarchy protecting pedophile / ephebe-ophile priests. They do so with a strong moral righteousness on behalf of the children and teenagers who were abused and those who could or would be.  The irony in a very brief scene as Mark Ruffalo’s reporter sees children singing SILENT NIGHT in a church’s Christmas pageant is heartbreaking. Moreover, SPOTLIGHT reflects the important role journalists play in free societies exposing abuses of power in institutions from Church to State. In that, I think it is superior to the other fine journalist-centered film ALL THE PRESIDENT’S MEN (1976 directed by Alan J. Pakula).

Director Tom McCarthy keeps the pacing at an exciting pulse and he and his co-screenwriter Josh Singer keep the dialogue clear and illuminating.  Furthermore, the tone and style of the movie is not one of grand standing but of insight, sobriety and even humility as it exposes the failures of people in power. Not only is the Church guilty (beyond the hierarchy so were so many parents and clueless parishioners) but Boston’s civic leaders, lawyers and even the reporters’ own paper, the Boston Globe.  There are many meanings to Jesus’ statement “The truth will set you free” (John 8:32) and here is an excellent example of the power of truth when it is, at last, set free, however horribly delayed.  I suggest Bishops involved in the cover- up see this movie annually as part of their Lenten Penance.  But not only our bishops, but all clergy and leaders in every field of church, state, education, medicine –wherever fears of liabilities and the temptation to protect reputations could prevail at the expense of victims and the public good.  Admitting wrongs may be considered shame in social circles but in truth, and in true religion, it is deliverance toward the greater good insuring the cessation of evil and preventing future harm.  SPOTLIGHT makes it very clear how admitting one or two scandals early on (and implementing clear preventative guidelines now in place but only after the Boston Globe’s exposé) would have spared hundreds of victims and put the bishops on the humble path all people of faith should walk.

 

THE BIG SHORT takes a different point of view exposing (and explaining) the debacle of Wall Street and USA Banks.  The protagonists here also see the truth of what is going on but unlike the whistle-blowers of SPOTLIGHT, they prefer to keep the story to themselves in order to benefit by it.  What seems like a gamble to most is a matter of certainty to them: the financial real estate bubble is ready to pop.  Our heroes (irony intended) position themselves to become millionaires / billionaires by investing in what is a kind of insurance policy: when the mortgages and real estate investments fail, they’ll collect big time!  And there isn’t one character concerned for “the greater good.”  Should any one expose the oncoming avalanche none of our brilliant geek insiders would benefit.  A shred of moral thinking enters into the investors mindset:  some believe they are teaching Wall Street a lesson by using its greed against them, but this amounts to nothing more than a self-serving rationalization.  Many will suffer; a few will strike it rich.

THE BIG SHORT makes for good drama revealing subterfuge at its most manic but because it explores the complexities of the financial world, it also is a contemplative film. Director Adam McKay and his co-screenwriter Charles Randolph inspired fine-tuned performances from another great ensemble cast (Steve Carell and Ryan Gosling were stand-outs for me) and offer seasoned insights into human nature, particularly the fallibilities of materialism and greed.  Ironies abound in this film, too. For one thing, all the focus and concentration required to attend to the script only makes it clear how so much of Wall Street’s shenanigans went undisclosed.  With sadness and cynicism, the film conveys how industry insiders” bypassed moral deliverance and opted for greed.  The rest of us were unaware and/ or didn’t care. And how was it that the government and the media turned a blind eye?  Answers to that question may inspire some scrutiny regarding presidential and congressional candidates this November.

 

Movie Review: BROOKLYN

Movie Review:  BROOKLYN

An Age of Innocence Tested

It’s the 1950’s and a young Irish Lass, Eilis, played with luminosity by Saoirse Ronan leaves her mother and sister in Ireland to pursue life in the Irish section of Brooklyn.  Fighting back homesickness and fear of the unknown, Eilis navigates seasickness, Mrs. Keogh’s women’s boarding house with assorted residents (Julie Walters in top form as Mrs. Keogh) and a salesgirls job arranged by a benevolent Irish Catholic priest (a jolly and deeply humane Jim Broadbent) and overseen by a caring and classy Jessica Paré (of Mad Men fame).

Enter Tony, an Italian American plumber from the neighboring Italian quarter whose sweet and tender disposition and attentiveness to Eilis is remarkably portrayed by Emory Cohen.  The chemistry between these two is utterly captivating.  Watching so honest, so genuine an interplay between the two almost-soon-to-be-maybe lovers is heartbreakingly beautiful.  Anyone with any dating history is bound to recollect the joys and vulnerabilities of his or her own early romance.  If you have experienced them, you may find yourself shedding a tear of gratitude for those blessed early encounters.  If not, you might sigh deeply over what might have been. Romanticized as they are, these two young people are not perfect, but I’ll let you enjoy witnessing their imperfections for yourselves.  That’s part of the fun.

The film’s third act teeters nervously on a potential fall from grace both before and during Eilis returns to Ireland.  Once back in her homeland, she finds herself torn between Tony (who represents, among other things, the life she’s begun in Brooklyn) and the familiarity of her home turf.   Family and friends attend to her homecoming with considerable fanfare and Eilis finds herself a sudden celebrity on account of her new, confident persona and Americanized sensibilities.  See how beautifully Ms. Ronan conveys her enjoyment of her new-found acceptance from people who hadn’t paid much attention to her before.  Enjoy and empathize as you watch Eilis basking in the esteem of others, toying with the advances of a never-would-have-been—otherwise potential flame (Domhnall Gleeson, absolutely right!) as she negotiates allures and temptations she may never have imagined.  Ms. Ronan’s performance takes your breath away.

But, in truth,  all the actors offer outstanding performances.  There is not a fake or phony word or expression to be found. You’ll also enjoy Eilis’s relationships with her sister Rose (Fiona Glascott also perfect!) and their mother (Jane Brennan, excellent) that not only justify Eilis’s homesickness but add layers of meaning about family and the importance of intimate relationships in every aspect of life.  To all this, I must add that John Crowley’s direction is, well, impeccable and cinematographer Yves Bélanger creates just the right atmosphere in both Brooklyn and Irish locales.  I urge you all to take a trip to Brooklyn.    

THE AVENGERS: ULTRON a brief commentary

I saw THE AVENGERS: Ultron last night.  It is a riff on Noah and the Ark!  In this case Ultron plays God who is fed up with humanity and wants to start over.  It reminds me of how we need to read the Noah epic differently than the ways our ancestors did.  NOAH expresses how humanity often has the urge to “start over,” and wipe out the past. It is far more human centered story than an exploration of God. So, too, Ultron, though a robot, is a simplistic expression of human’ nature’s shadow side. Not a bad story, nor a bad movie.  This time the Hulk and Black Widow have the greater focus.   Enjoyable but with a couple battle scenes too many.

Disney’s CINDERELLA

Let’s cut-to-the-quick: With its beautiful Art and Set Direction, outstanding Costumes, lush Special Effects (a perfect pumpkin-turned-coach sequence), and a gorgeous waltz-laden score (composer Patrick Doyle a most excellent choice!), the film deserved a superior script. Having chosen “Courage and Kindness” as the film’s central theme, (the values Cinderella embraces from childhood) seasoned screenwriters Chris Weitz and Aline Brosh McKenna could have been far more clever and less heavy-handed in their set-up.* The result: the first third of Disney’s CINDERELLA is ponderous and overly simplistic up to and including the Stepmother and her daughters’ arrival. The early scenes with the child Ella (to become Cinderella) and her parents are superficial. Her mother’s story would have been better served in the form of memory (or even flashback) instead of the short moments provided here to portray her dying words to her daughter. Moreover, the writer’s attempt to convey Cinderella’s apprehension regarding her father’s remarriage lacks sufficient motivation until we actually meet them. With no nuance, no subterfuge –even in the presence of Cinderella’s father!–the characters as written provide no sense whatsoever as to why Cinderella’s father would have chosen them or tolerate their behavior! Worst of all, the script handicaps Cate Blanchett’s captivating performance as the calculating Stepmother with far more caricature than depth. Her two poignant motivational scenes arrive a bit too late and they feel more like inserts than part of an organic whole. Anticipating those scenes, I would have welcomed a little more guile and giddy manipulation from the Wicked Stepmother earlier on. Instead of the abrupt way she banishes Cinderella to the attic, for example, I could easily have accepted Stepmother sending Cinderella on an errand to allow the stepsisters moved into Cinderella’s room! And, alas, in regard to style and pacing, I expected more from Director Kenneth Branagh whose HENRY V and HAMLET remain among the most outstanding modern Shakespeare films. He does a fine job, however, in the scenes between Cinderella and her Prince. Indeed, Branagh makes “Love at First Sight” believable. Overall, once Cinderella’s father is out of the picture, the pace quickens, the performers take flight and the magic begins.

Kudos to all the actors! Lily James is an enchanting Cinderella. We need and want her in every scene. As noted, Cate Blanchett is a wonderfully menacing and wounded Stepmother and I liked Holliday Granger’s and Sophie McShera’s buffoonery as the selfish step-sisters. As the Prince, Richard Madden is fittingly charming and understated. Helena Bonham Carter makes for a most bewitching and fun-filled fairy godmother in both her old lady and youthful guises. Oh, what fun had her role been expanded! Still, what we have in CINDERELLA is, in the end, enough to be good. Once our impatience to “get to the magic” is addressed, a grand time at the ball awaits.

*FYI: Weitz’s best films are IN GOOD COMPANY and A SINGLE MAN; McKenna is best known for THE DEVIL WEARS PRADA.