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Changed line(s) 18 (click to see context) from:
* AdaptationalVillainy: The stepmother is given several additional KickTheDog moments toward Cinderella compared to the original, at one point she even goes so far as [[SpeakIllOfTheDead to insult Cinderella's late father]] [[TheReasonYouSuckSpeech while telling her the prince would never love a common girl like her.]], then during the climax she attempts to lock Cinderella in the kitchen to keep her from reuniting with the prince.
to:
* AdaptationalVillainy: The stepmother is given several additional KickTheDog moments toward Cinderella compared to the original, at one point she even goes so far as [[SpeakIllOfTheDead to insult Cinderella's late father]] [[TheReasonYouSuckSpeech while telling her the prince would never love a common girl like her.]], then ]] Then during the climax she attempts to lock Cinderella in the kitchen to keep her from reuniting with the prince.
Changed line(s) 24 (click to see context) from:
* BeautyEqualsGoodness: Really, this trope is completely discarded. In addition to the aforementioned AdaptationalAttractiveness of the stepmother, it isn't ugliness that the stepsisters use to contrast with Cinderella. In this version, instead, they're clumsy, improper, stupid (even the stepmother shows signs she can't stand this; see SurroundedByIdiots below), and have some strange bad habits.
to:
* BeautyEqualsGoodness: Really, this trope is completely discarded. In addition to the aforementioned AdaptationalAttractiveness of the stepmother, it isn't ugliness that the stepsisters use to contrast with Cinderella. In this version, instead, they're clumsy, improper, stupid (even the stepmother shows signs she can't stand this; see SurroundedByIdiots below), below) and have some strange bad habits.
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Changed line(s) 18 (click to see context) from:
* AdaptationalVillainy: The stepmother is given several additional KickTheDog moments toward Cinderella compared to the original, at one point she even goes so far as [[SpeakIllOfTheDead to insult Cinderella's late father]] [[TheReasonYouSuckSpeech while telling her the prince would never love a common girl like her.]]
to:
* AdaptationalVillainy: The stepmother is given several additional KickTheDog moments toward Cinderella compared to the original, at one point she even goes so far as [[SpeakIllOfTheDead to insult Cinderella's late father]] [[TheReasonYouSuckSpeech while telling her the prince would never love a common girl like her.]] ]], then during the climax she attempts to lock Cinderella in the kitchen to keep her from reuniting with the prince.
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Deleted line(s) 108 (click to see context) :
* YouAreBetterThanYouThinkAre: The main message the godmother tries to get across to Cinderella.
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* YouAreBetterThanYouThinkAre: The main message the godmother tries to get across to Cinderella.
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* DaddysGirl: Cinderella is heavily implied to have been this to her late father, who is described as a kind man who encouraged her dreams. Notably, [[OOCIsSeriousBusiness the only time Cinderella openly expresses anger and defiance towards her stepmother]] isn't caused by any cruelty towards her, but by [[SpeakIllOfTheDead the stepmother insulting her father and calling him weak.]]
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Changed line(s) 18 (click to see context) from:
* AdaptationalVillainy: The stepmother is given several additional KickTheDog moments toward Cinderella compared to the original, at one point she even [[SpeakIllOfTheDead insults Cinderella's late father]] [[TheReasonYouSuckSpeech while telling her the Prince would never love a common girl like her.]]
to:
* AdaptationalVillainy: The stepmother is given several additional KickTheDog moments toward Cinderella compared to the original, at one point she even goes so far as [[SpeakIllOfTheDead insults to insult Cinderella's late father]] [[TheReasonYouSuckSpeech while telling her the Prince prince would never love a common girl like her.]]
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Added example(s)
Added DiffLines:
* AdaptationalVillainy: The stepmother is given several additional KickTheDog moments toward Cinderella compared to the original, at one point she even [[SpeakIllOfTheDead insults Cinderella's late father]] [[TheReasonYouSuckSpeech while telling her the Prince would never love a common girl like her.]]
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Changed line(s) 46 (click to see context) from:
* EstablishingCharacterMoment: Cinderella's very first line of dialogue is in response to her stepsisters trying on a hideously tacky hat and then demanding her opinion of it. She politely replies, "Well, I don't know very much about hats, but I don't think it's very becoming to either of you." This response immediately sets her up as a courteous, gentle young woman who is nevertheless unafraid to speak her mind and tell the truth, nor does she allow herself to be intimidated, which establishes her as somewhat stronger-willed than previous incarnations.
to:
* EstablishingCharacterMoment: Cinderella's very first line of dialogue is in response to her stepsisters trying on a hideously tacky hat and then demanding her opinion of it. She politely replies, "Well, I don't know very much about hats, but I don't think it's very becoming to it flatters either one of you." This response immediately sets her up as a courteous, gentle young woman who is nevertheless unafraid to speak her mind and tell the truth, nor does she allow herself to be intimidated, which establishes her as somewhat stronger-willed than previous incarnations.
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Changed line(s) 94 (click to see context) from:
** Cinderella's blue ballgown looks similar to the one she wears in [[WesternAnimation/{{Cinderella}} Disney's animated version]]. Other similarities to the animated version include the stepfamily’s signature colors, the stepmother pointing out that Cinderella (in her ball gown) looks vaguely familiar, and the stepmother locking Cinderella in her room.
to:
** Cinderella's blue ballgown looks similar to the one she wears in [[WesternAnimation/{{Cinderella}} Disney's animated version]]. Other similarities to the animated version include the stepfamily’s signature colors, colors (the stepmother tending to wear purple, while one stepsister wears red-based colors and the other wears green), the prince yawning out of boredom at the ball before Cinderella arrives, the stepmother pointing out that Cinderella (in her ball gown) looks vaguely familiar, and later, the stepmother locking figuring out that Cinderella ''was'' the girl at the ball and locking her in her room.
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Changed line(s) 37 (click to see context) from:
({{Beat}})\\
to:
Changed line(s) 73 (click to see context) from:
--> '''Prince Christopher''': Ohh. ''Cinder''ella.
to:
Changed line(s) 97,100 (click to see context) from:
--> '''Lionel:''' You know, I honestly wish there were something between us.
--> '''Stepmother:''' Really?
--> '''Lionel:''' Yes. A ''continent.''
--> (leaves)
--> '''Stepmother:''' Really?
--> '''Lionel:''' Yes. A ''continent.''
--> (leaves)
to:
--> (leaves)
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Changed line(s) 35,36 (click to see context) from:
-->'''King Maximillian''': Why, if I were a young man I'd...\\
'''Queen Constantina''': Yes, dear?\\
'''Queen Constantina''': Yes, dear?\\
to:
-->'''King Maximillian''': Maximillian:''' Why, if I were a young man man, I'd...\\
'''QueenConstantina''': Constantina:''' Yes, dear?\\
'''Queen
Changed line(s) 38,39 (click to see context) from:
'''King Maximillian''': Well, I'd be younger, wouldn't I?\\
'''Queen Constantina''': Yes, dear.
'''Queen Constantina''': Yes, dear.
to:
'''King Maximillian''': Maximillian:''' Well, I'd be younger, wouldn't I?\\
'''QueenConstantina''': Constantina:''' Yes, dear.
'''Queen
Changed line(s) 44,45 (click to see context) from:
* EarnYourHappyEnding: The fairy godmother encourages Cinderella to stop sitting around and dreaming and just get out there and make it happen. Even after she gives Cinderella the carriage and ballgown she wished for, the godmother leaves her to go inside the palace alone; she'll easily get Prince Christopher's attention, but she'll have to make him love her for herself.
-->'''Fairy Godmother''': I got you to the ball. The rest comes from you.
-->'''Fairy Godmother''': I got you to the ball. The rest comes from you.
to:
* EarnYourHappyEnding: The fairy godmother Fairy Godmother encourages Cinderella to stop sitting around and dreaming and just get out there and make it happen. Even after she gives Cinderella the carriage and ballgown she wished for, the godmother leaves her to go inside the palace alone; she'll easily get Prince Christopher's attention, but she'll have to make him love her for herself.
-->'''FairyGodmother''': Godmother:''' I got you to the ball. The rest comes from you.
-->'''Fairy
Changed line(s) 66,67 (click to see context) from:
-->'''Christopher''': Just like those royals, isn't it? Not caring if they're in anyone's way?\\
'''Cinderella''': Well, I'm sure they were going somewhere very important.
'''Cinderella''': Well, I'm sure they were going somewhere very important.
to:
Changed line(s) 69,71 (click to see context) from:
--->'''Cinderella''': Cinderella.\\
'''Christopher''': Cinderella. I like it.\\
'''Cinderella''': It grows on you, I guess.
'''Christopher''': Cinderella. I like it.\\
'''Cinderella''': It grows on you, I guess.
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Changed line(s) 76 (click to see context) from:
-->'''Prince Christopher''': ''(exasperated)'' Mother!
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-->'''Prince Christopher''': ''(exasperated)'' Christopher:''' ''[exasperated]'' Mother!
Changed line(s) 91 (click to see context) from:
* SassyBlackWoman: The fairy godmother and the queen. Especially since they're played respectively by Whitney Houston and Whoopi Goldberg.
to:
* SassyBlackWoman: The fairy godmother Fairy Godmother and the queen. Especially since they're played respectively by Whitney Houston and Whoopi Goldberg.
Changed line(s) 97,99 (click to see context) from:
--> '''Lionel''': You know, I honestly wish there were something between us.
--> '''Stepmother''': Really?
--> '''Lionel''': Yes. A ''continent.''
--> '''Stepmother''': Really?
--> '''Lionel''': Yes. A ''continent.''
to:
--> '''Lionel''': '''Lionel:''' You know, I honestly wish there were something between us.
-->'''Stepmother''': '''Stepmother:''' Really?
-->'''Lionel''': '''Lionel:''' Yes. A ''continent.''
-->
-->
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Changed line(s) 31 (click to see context) from:
* ColorblindCasting: Although the story could hypothetically have any race, this trope applies because a white man (Victor Garber) and a black woman (Whoopi Goldberg) can have a Filipino son.
to:
* ColorblindCasting: Although the story could hypothetically have any race, this trope applies because a white man (Victor Garber) and a black woman (Whoopi Goldberg) can have a Filipino son. Likewise, the stepfamily consists of a white mother, a white daughter and a black daughter.
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Changed line(s) 94 (click to see context) from:
** Cinderella's blue ballgown looks similar to the one she wears in [[WesternAnimation/{{Cinderella}} Disney's animated version]]. Other similarities to the animated version include the stepfamily’s signature colors, the stepmother pointing out that Cinderella (in her ball gown) looking vaguely familiar, and the stepmother locking Cinderella in her room.
to:
** Cinderella's blue ballgown looks similar to the one she wears in [[WesternAnimation/{{Cinderella}} Disney's animated version]]. Other similarities to the animated version include the stepfamily’s signature colors, the stepmother pointing out that Cinderella (in her ball gown) looking looks vaguely familiar, and the stepmother locking Cinderella in her room.
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Changed line(s) 21,22 (click to see context) from:
* AntiInterferenceLockUp: Cinderella gets locked in the kitchen when the prince arrives, in an effort to prevent her from revealing herself to him. However, she manages to meet up with him outside anyway, easily foiling her stepmother's plans despite her efforts.
* BaitAndSwitch: After the slipper fails to fit the stepsisters and stepsisters, they deny that there's anyone else in the house, while blocking the prince's view of the doors to the kitchen where the stepmother has [[AntiInterferenceLockup locked Cinderella]]. But the prince notices the doors and, after some drawn-out back-and-forth, finally insists that the stepfamily let him look inside. The music swells, preparing us for the prince and Cinderella's reunion... but as it turns out, the kitchen is empty, because Cinderella has escaped and is running away from home. Fortunately, the prince finds her outside a few moments later.
* BaitAndSwitch: After the slipper fails to fit the stepsisters and stepsisters, they deny that there's anyone else in the house, while blocking the prince's view of the doors to the kitchen where the stepmother has [[AntiInterferenceLockup locked Cinderella]]. But the prince notices the doors and, after some drawn-out back-and-forth, finally insists that the stepfamily let him look inside. The music swells, preparing us for the prince and Cinderella's reunion... but as it turns out, the kitchen is empty, because Cinderella has escaped and is running away from home. Fortunately, the prince finds her outside a few moments later.
to:
* AntiInterferenceLockUp: Cinderella gets locked in the kitchen by her stepmother when the prince arrives, in an effort to prevent her from revealing herself to him. However, she manages to meet up with him outside anyway, easily foiling her stepmother's plans despite her efforts.
* BaitAndSwitch: After the slipper fails to fit thestepsisters stepmother and stepsisters, they deny that there's anyone else in the house, while blocking the prince's view of the doors to the kitchen where the stepmother has [[AntiInterferenceLockup locked Cinderella]]. But the prince notices the doors and, after some drawn-out back-and-forth, finally insists that the stepfamily let him look inside. The music swells, preparing us for the prince and Cinderella's reunion... but as it turns out, the kitchen is empty, because Cinderella has escaped and is running away from home. Fortunately, the prince finds her outside a few moments later.
* BaitAndSwitch: After the slipper fails to fit the
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Changed line(s) 6,7 (click to see context) from:
''[[Series/WaltDisneyPresents The Wonderful World of Disney]]''[='=]s 1997 [[TheFilmOfThePlay film adaptation]] of ''Theatre/CinderellaRodgersAndHammerstein'', which was in turn an adaptation of the [[Literature/{{Cinderella}} fairy tale of the same name]]. It starred Music/{{Brandy}} as the title character, along with Music/WhitneyHouston as both an executive producer and the fairy godmother. This version had a slightly more modern feel to it, and featured a multiracial, {{colorblind cast|ing}}, along with an added character named Lionel and three other Richard Rodgers songs added to the score.
to:
''[[Series/WaltDisneyPresents The Wonderful World of Disney]]''[='=]s 1997 [[TheFilmOfThePlay film adaptation]] of ''Theatre/CinderellaRodgersAndHammerstein'', which was in turn an adaptation of the [[Literature/{{Cinderella}} fairy tale of the same name]]. It starred Music/{{Brandy}} as the title character, along with Music/WhitneyHouston as both an executive producer and the fairy godmother.FairyGodmother. This version had a slightly more modern feel to it, and featured a multiracial, {{colorblind cast|ing}}, along with an added character named Lionel and three other Richard Rodgers songs added to the score.
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Changed line(s) 50 (click to see context) from:
* FreudianExcuse: Cinderella lampshades that the stepmother became bitter after her father died, implying that the reason why she treats his daughter like servant is because she reminds her of him.
to:
* FreudianExcuse: Cinderella lampshades that the stepmother became bitter after her father died, implying that the reason why she treats his daughter like a servant is because she reminds her of him.
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Changed line(s) 6,7 (click to see context) from:
''[[Series/WaltDisneyPresents The Wonderful World of Disney]]''[='=]s 1997 [[TheFilmOfThePlay film adaptation]] of ''Theatre/CinderellaRodgersAndHammerstein'', which was in turn an adaptation of the [[Literature/{{Cinderella}} fairy tale of the same name]]. It starred Music/{{Brandy}} as the title character, along with Music/WhitneyHouston as both the co-producer and the fairy godmother. This version had a slightly more modern feel to it, and featured a multiracial, {{colorblind cast|ing}}, along with an added character named Lionel and three other Richard Rodgers songs added to the score.
to:
''[[Series/WaltDisneyPresents The Wonderful World of Disney]]''[='=]s 1997 [[TheFilmOfThePlay film adaptation]] of ''Theatre/CinderellaRodgersAndHammerstein'', which was in turn an adaptation of the [[Literature/{{Cinderella}} fairy tale of the same name]]. It starred Music/{{Brandy}} as the title character, along with Music/WhitneyHouston as both the co-producer an executive producer and the fairy godmother. This version had a slightly more modern feel to it, and featured a multiracial, {{colorblind cast|ing}}, along with an added character named Lionel and three other Richard Rodgers songs added to the score.
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Changed line(s) 8,9 (click to see context) from:
The film roughly follows the plot of the fairy tale and the musical. With the help of her fairy godmother, the put-upon Cinderella defies her cruel stepmother (Creator/BernadettePeters) to attend a ball, where Prince Christopher (Paolo Montalban) is seeking a bride at the behest of his parents (Creator/VictorGarber and Creator/WhoopiGoldberg). Having previously run into Cinderella at the marketplace, Christopher feels that the beauteous young woman he is drawn to is familiar and wants to get to know her. But the Fairy Godmother's spell only lasts [[WhenTheClockStrikesTwelve until midnight]], and so Cinderella flees the scene, leaving only a single glass slipper...
to:
The film roughly follows the plot of the fairy tale and the musical. With the help of her fairy godmother, the put-upon Cinderella defies her cruel stepmother (Creator/BernadettePeters) to attend a ball, where Prince Christopher (Paolo Montalban) (Creator/PaoloMontalban) is seeking a bride at the behest of his parents (Creator/VictorGarber and Creator/WhoopiGoldberg). Having previously run into Cinderella at the marketplace, Christopher feels that the beauteous young woman he is drawn to is familiar and wants to get to know her. But the Fairy Godmother's spell only lasts [[WhenTheClockStrikesTwelve until midnight]], and so Cinderella flees the scene, leaving only a single glass slipper...
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* BaitAndSwitch: After the slipper fails to fit the stepsisters and stepsisters, they deny that there's anyone else in the house, while blocking the prince's view of the doors to the kitchen where the stepmother has [[AntiInterferenceLockup locked Cinderella]]. But the prince notices the doors and, after some drawn-out back-and-forth, finally insists that the stepfamily let him look inside. The music swells, preparing us for the prince and Cinderella's reunion... but as it turns out, the kitchen is empty, because Cinderella has escaped and is running away from home. Fortunately, the prince finds her outside a few moments later.
Changed line(s) 25 (click to see context) from:
* {{Bowdlerise}}: The DoubleEntendre mentioned in the earlier versions became reduced to: "Oh, Your Highness!"
to:
* {{Bowdlerise}}: The DoubleEntendre mentioned in the earlier versions ("Oh la, Your Highness! You shouldn't say such things!") became reduced to: "Oh, Your Highness!"
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Changed line(s) 17 (click to see context) from:
* AdaptationalPersonalityChange: The king and queen's personalities from the 1957 version have been swapped here: now the ''queen'' is the bumbling parent, while the king is the more level-headed of the two. The queen is still the one most eager to see their son married and the driving force behind the ball, though.
to:
* AdaptationalPersonalityChange: The king king's and queen's personalities from the 1957 version have been swapped here: now the ''queen'' is the bumbling parent, while the king is the more level-headed of the two. The queen is still the one most eager to see their son married and the driving force behind the ball, though.
Changed line(s) 25 (click to see context) from:
* {{Bowdlerise}}: The DoubleEntendre mentioned in the earlier versions became reduced to, "Oh, your highness!"
to:
* {{Bowdlerise}}: The DoubleEntendre mentioned in the earlier versions became reduced to, to: "Oh, your highness!"Your Highness!"
Changed line(s) 45 (click to see context) from:
* EstablishingCharacterMoment: Cinderella's very first line of dialogue is in response to her stepsisters trying on a hideously tacky hat and then demanding her opinion of it. She politely replies "Well, I don't know very much about hats, but I don't think it's very becoming to either of you." This response immediately sets her up as a courteous, gentle young woman who is nevertheless unafraid to speak her mind and tell the truth, nor does she allow herself to be intimidated, which establishes her as somewhat stronger-willed than previous incarnations.
to:
* EstablishingCharacterMoment: Cinderella's very first line of dialogue is in response to her stepsisters trying on a hideously tacky hat and then demanding her opinion of it. She politely replies replies, "Well, I don't know very much about hats, but I don't think it's very becoming to either of you." This response immediately sets her up as a courteous, gentle young woman who is nevertheless unafraid to speak her mind and tell the truth, nor does she allow herself to be intimidated, which establishes her as somewhat stronger-willed than previous incarnations.
Changed line(s) 72 (click to see context) from:
--> '''Prince Christopher''': "Ohh. ''Cinder''ella."
to:
--> '''Prince Christopher''': "Ohh.Ohh. ''Cinder''ella."
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Changed line(s) 45 (click to see context) from:
* EstablishingCharacterMoment: Cinderella's very first line of dialogue is in response to her stepsisters trying on a hideously tacky hat and then demanding her opinion of it. She politely replies "Well, I don't know very much about hats, but I don't think it's very becoming to either of you." This response immediately sets her up as a courteous, gentle young woman who is nevertheless unafraid to speak her mind, tell the truth, or allow herself to be intimidated, which in turns establishes her as somewhat stronger-willed than previous incarnations.
to:
* EstablishingCharacterMoment: Cinderella's very first line of dialogue is in response to her stepsisters trying on a hideously tacky hat and then demanding her opinion of it. She politely replies "Well, I don't know very much about hats, but I don't think it's very becoming to either of you." This response immediately sets her up as a courteous, gentle young woman who is nevertheless unafraid to speak her mind, mind and tell the truth, or nor does she allow herself to be intimidated, which in turns establishes her as somewhat stronger-willed than previous incarnations.
Changed line(s) 48 (click to see context) from:
* FourthDateMarriage: The Fairy Godmother conjures up the couple's wedding outfits and ceremony right after Cinderella puts on the glass slipper. Christopher and Cinderella had only interacted a handful of times prior to this.
to:
* FourthDateMarriage: The Fairy Godmother conjures up the couple's wedding outfits and ceremony right after Cinderella puts on the glass slipper. Christopher and Cinderella had only interacted a handful of times prior to this. Of course, that was Christopher's plan all along.
Changed line(s) 53 (click to see context) from:
* HollywoodOld: The only reason we know Bernadette Peters is middle aged in this movie is because [[OlderThanTheyLook the dialogue tells us so.]]
to:
* HollywoodOld: The only reason we know Bernadette Peters is middle aged middle-aged in this movie is because that [[OlderThanTheyLook the dialogue tells us so.]]
-->'''Prince Christopher''': ''(exasperated)'' Mother!
Changed line(s) 81 (click to see context) from:
* PainfulRhyme: Discussed. The Fairy Godmother rhymes "Fol-de-rol and fiddle-dee-dee, fiddley, faddley, foodle--all the dreams in the world are...dizzy in the nooodle!" Cinderella replies "That's horrible," and Godmother thinks she's referring to the couplet ("YOU try coming up with a rhyme on the spot!"), although the girl actually meant the sentiment behind it.
to:
* PainfulRhyme: Discussed. The Fairy Godmother rhymes "Fol-de-rol and fiddle-dee-dee, fiddley, faddley, foodle--all the dreams in the world are...dizzy in the nooodle!" Cinderella replies "That's horrible," terrible," and Godmother thinks she's referring to the couplet ("YOU try coming up with a rhyme on the spot!"), although the girl actually meant the sentiment behind it.
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Changed line(s) 19 (click to see context) from:
* AndStarring: The opening credits list Veanne Cox (Calliope) and Natalie Desselle (Minerva) under "Also Starring", and gives Paolo Montalban (Prince Christopher) the "Introducing" treatment.
to:
* AndStarring: The opening credits list Veanne Cox Creator/VeanneCox (Calliope) and Natalie Desselle (Minerva) under "Also Starring", and gives Paolo Montalban (Prince Christopher) the "Introducing" treatment.
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Changed line(s) 92 (click to see context) from:
** Cinderella's blue ballgown looks similar to the one she wears in [[WesternAnimation/{{Cinderella}} Disney's animated version]].
to:
** Cinderella's blue ballgown looks similar to the one she wears in [[WesternAnimation/{{Cinderella}} Disney's animated version]]. Other similarities to the animated version include the stepfamily’s signature colors, the stepmother pointing out that Cinderella (in her ball gown) looking vaguely familiar, and the stepmother locking Cinderella in her room.
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Changed line(s) 25 (click to see context) from:
* {{Bowdlerise}}: The DoubleEntendre mentioned above became reduced to, "Oh, your highness!"
to:
* {{Bowdlerise}}: The DoubleEntendre mentioned above in the earlier versions became reduced to, "Oh, your highness!"
Added DiffLines:
* FreudianExcuse: Cinderella lampshades that the stepmother became bitter after her father died, implying that the reason why she treats his daughter like servant is because she reminds her of him.
Added DiffLines:
* TroubledAbuser: The stepmother forced Cinderella into servitude and callously dismisses her dreams, but it’s implied that she struggles with the death of her second husband and is aware of her problems, but feels out of resources. This, along with the fact that she falls into the LaughablyEvil category, is among the many redeeming qualities which prevents her from being a complete HateSink.
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Changed line(s) 17 (click to see context) from:
* AdaptationalPersonalityChange: The king and queen's personalities from the 1957 version have been swapped here: now the ''queen'' is the bumbling parent, while the king is the more level-headed of the two. The queen is still the
to:
* AdaptationalPersonalityChange: The king and queen's personalities from the 1957 version have been swapped here: now the ''queen'' is the bumbling parent, while the king is the more level-headed of the two. The queen is still the one most eager to see their son married and the driving force behind the ball, though.
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Changed line(s) 17,18 (click to see context) from:
* AdaptationalPersonalityChange: The king and queen's personalities from the 1957 version have been swapped here: now the ''queen'' is the bumbling parent, while the king is the more level-headed of the two.
* AdaptationNameChange: The stepsisters go from Joy and Portia to Calliope and Minerva.
* AdaptationNameChange: The stepsisters go from Joy and Portia to Calliope and Minerva.
to:
* AdaptationalPersonalityChange: The king and queen's personalities from the 1957 version have been swapped here: now the ''queen'' is the bumbling parent, while the king is the more level-headed of the two. \n The queen is still the
* AdaptationNameChange: The stepsistersgo from are named Calliope and Minerva, instead of Joy and Portia to Calliope (their original names in the 1957 version) or Prunella and Minerva.Esmeralda (from the 1965 version).
* AdaptationNameChange: The stepsisters
Changed line(s) 27 (click to see context) from:
* CastingGag: Lionel, played by Creator/JasonAlexander, is essentially a medieval version of [[Series/{{Seinfeld}} George Costanza]].
to:
* CastingGag: Lionel, played by Creator/JasonAlexander, is essentially a medieval 19th century version of [[Series/{{Seinfeld}} George Costanza]].
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Added DiffLines:
->''"You didn't need my help. You just thought you did. Believe in yourself, Cinderella, and trust him to love you as you really are."''
-->-- '''Fairy Godmother'''
-->-- '''Fairy Godmother'''
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Changed line(s) 1,2 (click to see context) from:
''[[Series/WaltDisneyPresents The Wonderful World of Disney]]''[='=]s 1997 [[TheFilmOfThePlay film adaptation]] of ''Theatre/CinderellaRodgersAndHammerstein''. It starred Music/{{Brandy}}, along with Music/WhitneyHouston as both the co-producer and the fairy godmother. This version had a slightly more modern feel to it and featured a multiracial cast, along with an added character named Lionel and three other Richard Rodgers songs added to the score.
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[[quoteright:300:https://static.tvtropes.org/pmwiki/pub/images/brandyrella.png]]
''[[Series/WaltDisneyPresents The Wonderful World of Disney]]''[='=]s 1997 [[TheFilmOfThePlay film adaptation]] of''Theatre/CinderellaRodgersAndHammerstein''. ''Theatre/CinderellaRodgersAndHammerstein'', which was in turn an adaptation of the [[Literature/{{Cinderella}} fairy tale of the same name]]. It starred Music/{{Brandy}}, Music/{{Brandy}} as the title character, along with Music/WhitneyHouston as both the co-producer and the fairy godmother. This version had a slightly more modern feel to it it, and featured a multiracial cast, multiracial, {{colorblind cast|ing}}, along with an added character named Lionel and three other Richard Rodgers songs added to the score.
score.
The film roughly follows the plot of the fairy tale and the musical. With the help of her fairy godmother, the put-upon Cinderella defies her cruel stepmother (Creator/BernadettePeters) to attend a ball, where Prince Christopher (Paolo Montalban) is seeking a bride at the behest of his parents (Creator/VictorGarber and Creator/WhoopiGoldberg). Having previously run into Cinderella at the marketplace, Christopher feels that the beauteous young woman he is drawn to is familiar and wants to get to know her. But the Fairy Godmother's spell only lasts [[WhenTheClockStrikesTwelve until midnight]], and so Cinderella flees the scene, leaving only a single glass slipper...
''[[Series/WaltDisneyPresents The Wonderful World of Disney]]''[='=]s 1997 [[TheFilmOfThePlay film adaptation]] of
The film roughly follows the plot of the fairy tale and the musical. With the help of her fairy godmother, the put-upon Cinderella defies her cruel stepmother (Creator/BernadettePeters) to attend a ball, where Prince Christopher (Paolo Montalban) is seeking a bride at the behest of his parents (Creator/VictorGarber and Creator/WhoopiGoldberg). Having previously run into Cinderella at the marketplace, Christopher feels that the beauteous young woman he is drawn to is familiar and wants to get to know her. But the Fairy Godmother's spell only lasts [[WhenTheClockStrikesTwelve until midnight]], and so Cinderella flees the scene, leaving only a single glass slipper...
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!!Tropes:
* AdaptationalAttractiveness: BeautyEqualsGoodness is averted since the villain is played by Creator/BernadettePeters.
* AdaptationalBackstoryChange: The stepmother gets a new song, "Falling in Love With Love", implying she was once deeply in love with her first husband and/or Cinderella's father, but his passing left her heartbroken and bitter and determined to never follow her heart again.
* AdaptationalContextChange: "Do I Love You Because You're Beautiful?" originally followed the FirstKiss between Cinderella and Prince Christopher, but this version turns it into buildup to the kiss.
* AdaptationalEarlyAppearance: The Fairy Godmother previously didn't appear until the night of the ball, but here she materializes before the main titles, crooning some of "Impossible" to the viewers.
* AdaptationalPersonalityChange: The king and queen's personalities from the 1957 version have been swapped here: now the ''queen'' is the bumbling parent, while the king is the more level-headed of the two.
* AdaptationNameChange: The stepsisters go from Joy and Portia to Calliope and Minerva.
* AndStarring: The opening credits list Veanne Cox (Calliope) and Natalie Desselle (Minerva) under "Also Starring", and gives Paolo Montalban (Prince Christopher) the "Introducing" treatment.
* AnnoyingLaugh: Calliope snorts when she laughs.
* AntiInterferenceLockUp: Cinderella gets locked in the kitchen when the prince arrives, in an effort to prevent her from revealing herself to him. However, she manages to meet up with him outside anyway, easily foiling her stepmother's plans despite her efforts.
* BeautyEqualsGoodness: Really, this trope is completely discarded. In addition to the aforementioned AdaptationalAttractiveness of the stepmother, it isn't ugliness that the stepsisters use to contrast with Cinderella. In this version, instead, they're clumsy, improper, stupid (even the stepmother shows signs she can't stand this; see SurroundedByIdiots below), and have some strange bad habits.
* BetaCouple: The king and queen.
* BigNo: The stepmother yells this immediately before Cinderella tries on the glass slipper, knowing it to be a perfect fit, before she faints and Lionel says, "Quiet, woman!"
* {{Bowdlerise}}: The DoubleEntendre mentioned above became reduced to, "Oh, your highness!"
* ButtMonkey: Lionel. In spades.
* CastingGag: Lionel, played by Creator/JasonAlexander, is essentially a medieval version of [[Series/{{Seinfeld}} George Costanza]].
* CharacterDevelopment: Cinderella grows from being "as mild and as meek as a mouse" under her stepmother's thumb, to realizing with her Fairy Godmother's help that she needs to do more than wish and dream to [[EarnYourHappyEnding Earn Her Happy Ending]], and taking her future into her own hands.
* CharacterTics: Minerva [[InconvenientItch gets itchy when she's nervous]] and Calliope [[AnnoyingLaugh snorts when she laughs.]]
* ColorblindCasting: Although the story could hypothetically have any race, this trope applies because a white man (Victor Garber) and a black woman (Whoopi Goldberg) can have a Filipino son.
* CoversAlwaysLie: The back of the VHS/DVD case credits Hammerstein with all of the lyrics, even though "The Sweetest Sounds" and "Falling In Love With Love" respectively had lyrics from Richard Rodgers and Lorenz Hart, instead.
* CreditsMontage: The end credits accompany each actor's name with a clip of his or her character.
* DirtyOldMan: When the king and queen are discussing Cinderella, the king is a little too impressed with how beautiful she is.
-->'''King Maximillian''': Why, if I were a young man I'd...\\
'''Queen Constantina''': Yes, dear?\\
({{Beat}})\\
'''King Maximillian''': Well, I'd be younger, wouldn't I?\\
'''Queen Constantina''': Yes, dear.
* DistantDuet:
** Before Cinderella and Prince Christopher meet, they sing "The Sweetest Sounds" from two different parts of the marketplace. After they meet, they reprise it before returning to their respective homes.
** After the ball, Christopher reprises "Do I Love You Because You're Beautiful?" after finding Cinderella's missing glass slipper, and she joins in from the path back to her stepmother's house.
* DoesThisRemindYouOfAnything: The stepmother, who is rich and domineering, is white. Cinderella, who works for her as a mistreated household servant, is black. Although it is relieving that one of the stepsisters and the queen are both black, so this was most likely unintentional.
* EarnYourHappyEnding: The fairy godmother encourages Cinderella to stop sitting around and dreaming and just get out there and make it happen. Even after she gives Cinderella the carriage and ballgown she wished for, the godmother leaves her to go inside the palace alone; she'll easily get Prince Christopher's attention, but she'll have to make him love her for herself.
-->'''Fairy Godmother''': I got you to the ball. The rest comes from you.
* EstablishingCharacterMoment: Cinderella's very first line of dialogue is in response to her stepsisters trying on a hideously tacky hat and then demanding her opinion of it. She politely replies "Well, I don't know very much about hats, but I don't think it's very becoming to either of you." This response immediately sets her up as a courteous, gentle young woman who is nevertheless unafraid to speak her mind, tell the truth, or allow herself to be intimidated, which in turns establishes her as somewhat stronger-willed than previous incarnations.
* EverythingsBetterWithSparkles: While the first two versions' fairy godmothers wielded magic wands, this one uses sparkling magic dust.
* FatAndSkinny: Minerva and Calliope, respectively.
* FourthDateMarriage: The Fairy Godmother conjures up the couple's wedding outfits and ceremony right after Cinderella puts on the glass slipper. Christopher and Cinderella had only interacted a handful of times prior to this.
* FriendlyEnemies: The stepsisters seem to have this relationship with Cinderella--at the very least, they ask for her opinions on fashion (largely to settle their own disputes) and later happily join in her song "A Lovely Night," with all three dancing together. It seems to be more a case of their stepmother forcing her opinions on the girls and them being too foolish to think otherwise, rather than any maliciousness on their part.
* TheGirlWhoFitsThisSlipper: Played hilariously straight when Christopher allows a few white girls to try on the slipper, despite Cinderella having been African-American, and then subverted when it fits Cinderella's stepmother and Christopher refuses to believe she is the girl he danced with.
* GoMadFromTheRevelation: After the shoe fails to fit either of the stepsisters, Cinderella's stepmother becomes so desperate she'll do anything for the prince's money. She locks Cinderella in the kitchen (knowing her identity), offers ''herself'' to the prince by trying on the shoe, helplessly begs him to marry one of her daughters, and then when all else fails, she gives a BigNo and then passes out. Doubles as a VillainousBreakdown.
* HollywoodOld: The only reason we know Bernadette Peters is middle aged in this movie is because [[OlderThanTheyLook the dialogue tells us so.]]
* HomoeroticSubtext: There's a very short clip at the ball that involves the stepmother dancing with a woman. She was probably shooing her off so that her daughter could dance with the Prince, but still.
* HypocriticalHumor: Not in-universe, and probably not intentional, but at one point the stepmother tells Cinderella not to "cling to the past" because "it's not very attractive." This is said by Bernadette Peters, [[OlderThanTheyLook who hasn't aged for thirty years.]]
* IJustWantToBeFree: Cinderella, in regards to her servitude, and the Prince, in regards to his royal obligations.
* InconvenientItch: Minerva gets itchy when she's nervous and so keeps trying to discreetly scratch herself while dancing with the prince.
* IneffectualSympatheticVillain: The stepsisters. Then again, this is how they're usually played.
* IronicName: The stepsisters, Minerva and Calliope, are both named after goddesses, which they're anything but. Calliope's name is especially ironic with her AnnoyingLaugh, since it's the name of a lovely-voiced Muse.
* IWantSong: Cinderella's and Prince Christopher's "The Sweetest Sounds", originally written by Rodgers for ''No Strings''.
* KingIncognito: Prince Christopher sometimes leaves the castle in a peasant's guise, to discreetly interact with his subjects in person; he and Cinderella first meet during one such outing.
* LargeHam: Basically everyone except the two leads has moments in this area, notably Whoopi Goldberg, Bernadette Peters, and Jason Alexander. Although Whoopi's portion of it consists of mostly squeaking.
* LoveAtFirstSight: Played with between Prince Christopher and Cinderella: they do seem to fall in love at first sight at the ball, but they had actually met earlier and become fast friends based on their mutual IJustWantToBeFree attitudes, with Cinderella unaware that he was the prince at the time and Prince Christopher unaware at the ball that she's the girl he met before.
* MeaningfulEcho: Cinderella first meets the Prince when he, as a "charming stranger", helps her pick up her bags after a royal coachman runs over them. Later, during the who-fits-the-slipper part of the movie, Cinderella again falls victim to a royal coachman. They say the same lines every time, and as they recite them the second time, both of them are realizing exactly who the other is.
-->'''Christopher''': Just like those royals, isn't it? Not caring if they're in anyone's way?\\
'''Cinderella''': Well, I'm sure they were going somewhere very important.
** Then he asks for her name.
--->'''Cinderella''': Cinderella.\\
'''Christopher''': Cinderella. I like it.\\
'''Cinderella''': It grows on you, I guess.
* MeaningfulName: Cinderella explains that she got her name from sitting in the cinders.
--> '''Prince Christopher''': "Ohh. ''Cinder''ella."
* MeetCute: When Cinderella first meets Christopher, who's disguised as a commoner. They bring back a few lines from that scene at the end; see MeaningfulEcho above.
* MyBelovedSmother: Crosses over with IWantGrandkids in regards to Queen Constantina. She's ''very'' eager to marry off her son and has apparently planned several balls featuring "family...a few friends...and every eligible maiden in the kingdom!"
* MythologyGag:
** "Who dances in glass shoes?"
** Calliope's [[AnnoyingLaugh obnoxious, snorty laugh]] is taken straight from the 1957 version.
* NoIndoorVoice: "I WANT A CHANCE AT HIM!" As well as the stepmother in her last few minutes onscreen.
* OfCorsetHurts: "Beauty knows no pain, girls!" This may be a nod to the girl in the first film who also fell victim to this trope.
* OhCrap: During "A Lovely Night," Cinderella describes what she "supposes" the ball was like, in a detailed and accurate fashion, charming her stepfamily into joining the song... but then she tops it off with the exact same curtsey she used at the ball. This trope is written all over the stepmother's face as she puts two and two together.
* PainfulRhyme: Discussed. The Fairy Godmother rhymes "Fol-de-rol and fiddle-dee-dee, fiddley, faddley, foodle--all the dreams in the world are...dizzy in the nooodle!" Cinderella replies "That's horrible," and Godmother thinks she's referring to the couplet ("YOU try coming up with a rhyme on the spot!"), although the girl actually meant the sentiment behind it.
* PimpedOutDress: Cinderella's stepfamily wears these 24/7. Then, of course, there's Cinderella herself after her transformation.
* PluckyComicRelief: Lionel seems to serve no real purpose other than to be this. ESPECIALLY when he starts to announce any member of the royal family, using their full OverlyLongName.
* RaceLift: This adaptation is well-known for its uniquely diverse main cast; Cinderella, the Fairy Godmother, stepsister Minerva, and the Queen are all played by African-American actresses, while Prince Christopher is portrayed by a Filipino-American. A few minor lyric changes are made to suit this casting: references in "Stepsisters' Lament" to Cinderella's pink cheeks and white neck are replaced with remarks about her "exquisite face" and "long" neck, and during "In My Own Little Corner," she imagines herself as an Egyptian princess instead of a Norwegian one and as a "thief" instead of a "slave" in Calcutta.
* Really700YearsOld: Some dialogue the Fairy Godmother mutters while turning the pumpkin into a coach reveals that she is over 600 years old, while Whitney Houston was only in her 30s at the time.
* TheReasonYouSuckSpeech: The stepmother gives a harsh one to Cinderella that triples with KickTheDog and SpeakIllOfTheDead.
-->"Your father was weak. He spoiled you rotten, he filled your head with silly thoughts and dreams that'll never come true. Never."
* RuleOfThree: In-universe, three members of Cinderella's family try the slipper on before she does; "The Prince Is Giving A Ball" goes through three [[OverlyLongName Overly Long Names]] (including three [[EmbarrassingMiddleName Embarrassing Middle Names]]); and both "Impossible" and the added song "The Sweetest Sounds" are sung three times. Outside of that, three of the leads are African-American, three different shoe sizes were used for the slipper (only one model was actually made of glass), and three songs were added to the score.
* SassyBlackWoman: The fairy godmother and the queen. Especially since they're played respectively by Whitney Houston and Whoopi Goldberg.
* ShirtlessScene: Prince Christopher gets one after removing his peasant disguise, while buttoning up his royal coat.
* ShoutOut:
** Cinderella's blue ballgown looks similar to the one she wears in [[WesternAnimation/{{Cinderella}} Disney's animated version]].
** "There's Music In You" originally lacked a bridge, so the Fairy Godmother fills it by quoting ''Allegro'', the oldest Rodgers and Hammerstein musical never to receive a screen adaptation.
* ShowSomeLeg: The stepmother trying to get on Lionel's good side. It doesn't work.
--> '''Lionel''': You know, I honestly wish there were something between us.
--> '''Stepmother''': Really?
--> '''Lionel''': Yes. A ''continent.''
--> (leaves)
* {{Squee}}: After the stepmother tries on the shoe and it fits, she can't stop squealing. Until the shoe cuts her circulation off and her squealing turns into screams of pain.
* SurroundedByIdiots: The stepmother appears to feel this way with regards to her daughters.
* TriumphantReprise: Prince Christopher last sings "The Sweetest Sounds" before searching for TheGirlWhoFitsThisSlipper. Since they've already met, he skips over all of the lines in which he yearned to meet his true love, instead simply declaring proudly that she's "waiting somewhere" for him.
* TrueBlueFemininity: While the 1957, 1965 and 2013 Cinderellas all wear white gowns to the ball, this version dresses her in sparkling light blue.
* VillainSong: Well, Bernadette Peters had to sing ''something''. The song, "Falling in Love with Love," is more of a statement of her opinion, and it's not done in a villainous manner. That may just be because it was originally written for a different show, ''The Boys From Syracuse'', by Rodgers and ''Hart''.
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