"a dazzling rendering of the Cinderella story" (The Washington Post) brought new life to an age-old legend and made us believe in the strongest magic of all: the power of the human heart. Drew Barrymore and Anjelica Huston star in this enchanting adventure about having the courage to make your dreams come true. A "modern" young woman of the 16th century, Danielle (Barrymore) is as independent and wise as she is beautiful and kind. Against remarkable odds, she stands up to her scheming stepmother (Huston) and works miracles on the lives of everyone around her, including the crown prince of France (Dougray Scott)!Now you can relive this captivating, contemporary retelling of the classic fairytale. No matter what you're looking for, "action, romance, adventure...'Ever After' delivers it all!" (ABC-TV).
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The story is:
The myth of the plucky girl with the glass slipper has suffered quite a bit of criticism in the modern era. Disney's film about the peasant-princess portrayed her as a passive pollyanna whose miceworked harder to change her fate than she did. She even became the archetype of The CinderellaComplex , a 1981 book which purported to examine women's hidden fear of independence.The media often applies the phrase "Cinderella story" to someone who has risen from rags toriches, but it's a favorite pastime of reporters to find the secret fairy god mothers who make it all possible; though we're told to admire them, we're also trained to be suspicious of people who rise to power entirely on their own initiative, especially women.
Clearly, in the era of Mulan and President Barbie,some revisions are in order merely to make Cinderella marketable, let alone a heroine. Enter the irresistible Drew Barrymore -- and let me addquickly that if you don't find Drew Barrymore irresistible, you might as well skip Ever After . She plays Danielle de Barbarac, the daughter of aRenaissance land owner whose fortunes have begun to decline, but whose values are in the right place. Auguste de Barbarac has taught hisdaughter literature and philosophy, giving her Thomas More's Utopia as a gift. When he marries the widowed Baroness Rodmilla de Ghent,Auguste hopes her daughters Jacqueline and Marguerite will become companions for Danielle,but after his untimely death, Rodmilla forces Danielle to work as the family maid.
Though the story will look familiar, the characters come across as fresh and believable. Rodmillacannot get over her disappointment at being trapped on de Barbarac's rural estate. Her overweight daughter Jacqueline struggles for maternal and masculine approval, while slender,snobby sister Marguerite primps and preens inpreparation for an aristocratic marriage. But it's Danielle who meets Prince Henry, impressing himwith her idealism and passion. He's been groomed for a conventional reign and arranged marriage to a foreign princess. Though Henry isn't as clever as Danielle, his sense of adventure and disdain for oppressive tradition make him likable. Danielle convinces her prince to treat servants like human beings and renews his appreciation for books so much that he wants to found a university.
By fortuitous chance, Leonardo da Vinci happens to be nearby to become Danielle's fairy godfather when she needs a ball gown and a shoulder to cryon. This is a fairy tale Renaissance, where famous people pop up at convenient moments, modern printing presses mass-produce literature, and the daughter of landed gentry calls herself a peasant despite the "de" in her name. Yet it's easy tooverlook occasional anachronisms amidst the beautiful cinematography, which casts a rosy glowover pigpens and gives all servants a fresh-scrubbed country-clean image except in sceneswhere they're revealing their rustic charms rolling in the mud.
Though some may be disappointed by theabsence of magic in the story, it's refreshing to see the role of spiritual advisor played by alegendary explorer who celebrates the miracles of science. The bloodiness and sense of predestination that permeate the Brothers Grimmare entirely absent. While it might be nice to havea fairy godmother in the absence of a loving parent,this lack causes Danielle to become the woman she wishes her stepmother could be -- someonewho tries to be kind even to the hard-hearted, who changes her fate by trying to live on her own terms.
Yet despite occasional fits of feminism, this version of Cinderella often uses its heroine as the exception who proves all the old rules. Danielle is feisty and educated and shares a sisterly bondwith Jacqueline, but every other girl in the town is shown to be after one thing: the handsome prince and, of course, his money. Even women who aren't victims of bad husbands, cruel parents or poverty won't stop scheming, not unless they're considered completely unpromising like Jacqueline, in which case they're not treated much better than servants.
Danielle's behavior towards her cruel relatives,though amusing, ultimately leaves little hope that she has real plans for a workers' revolution. The charming twists on fairy tale convention don'textend to the social structure. Disney fables constantly emphasize a social order, a sense that hierarchy is natural and high-born beings will riseto their proper place; Ever After suggests a similar world view, even if education and spirit offer obvious advantages over accepting socially prescribed roles for women.
Though ostensibly the film depicts the triumph of common values over aristocratic airs, it stars two Hollywood blue-bloods -- Barrymore and AnjelicaHuston as her wicked stepmother. They're bothgreat fun to watch, even if Barrymore's adorable pout can't compete with Huston's towering fury.Sharp-boned Megan Dodds' nasty sneer makes phoney-baloney Marguerite despicable, so it's that much more satisfying when Danielle gives her ablack eye. The so-called "fat" sister, played byMelanie Lynskey, is actually quite lovely, but clearly she's being evaluated by Hollywood standards rather than those of the Renaissance.
Besides Jacqueline, Danielle is the least-anorexic 'eligible maiden' in the film; she looks as healthy and luscious as the apples she picks. Barrymore never disappears into the role -- underthe gorgeous period costumes; she's still thep retty pixie from E.T., yet she's a perfect blend of sweet and vivacious, a girl-next-door with surprising intelligence and an unexpected daredevil streak. As a lighthearted twist on convention, EverAfter offers many pleasures and, as a fantasy of a Renaissance woman out to transform her own fortunes if not her society, it has the virtue of a happy ending.
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