Nama Kelompok ;

1. Irenius Adobala
2. Cimbelia Ina Desi
3. Finalia Palan Senuken
4. Wilhemina Jenita
5. Yohanes Valentino

Cinderella (2021)

Written and Directed by Kay Cannon.

Starring Camila Cabello, Nicholas Galitzine, Billy Porter, Idina Menzel, Pierce Brosnan, Maddie Baillio,
Charlotte Spencer, Minnie Driver, Missy Elliott, James Acaster, James Corden, Fra Fee, Nikkita Chadha, and
Tallulah Greive.

SYNOPSIS:

A modern movie musical with a bold take on the classic fairy tale. Our ambitious heroine has big dreams and
with the help of her fab Godmother, she perseveres to make them come true. To watch writer/director Kay
Cannon’s anachronistically modernized retelling of the classic fairy tale Cinderella is to periodically stop and
question if what’s happening on screen is happening and not some vividly lucid nightmare. That’s also not easy
to write considering the filmmaker does have talent (Blockers is an underappreciated comedic gem, and one gets
the sense that taking things a little less seriously while peppering in some more fun and jokes would do some
wonders, although maybe not where the presence of James Corden is concerned but I digress) and the idea of
exploring the fable through a progressive and diverse lens is appealing, even if the story has been done to death.

Singer-songwriter Camila Cabello has been cast in the titular role, rebranded here as Ella with the full name of
Cinderella serving as a lame insult. Of course, the musician background of Camila Cabello means the approach
here is a musical, albeit a highly frustrating one considering the star’s amateurish acting, autotune vocals, and
subpar singing skill. It’s also possible that my opinion of Camila Cabello’s talents would change outside of
Cinderella as it’s also difficult to lay the blame entirely on her. Simply put, the musical numbers are flat with
next to no imagination, relying on colorful costumes and low-energy dance choreography (the only one that
feels remotely exciting is the finale, but by then, that feeling is offset by the relief of knowing the ending credits
are coming) to entertain.

However, far more baffling is the decision to fill those musical numbers with pop and rock songs spanning
multiple decades for no other reason than the lyrics are tied to the current moment of the plot. There are no
words to describe how jarring and disorienting it is to hear Cinderella open up with a fictional 18th-century
village singing and dancing to the rhythms of Thriller. The song choices only become more absurd, with the
introduction of each one eliciting unintentional laughter. Sadly, the rest of the movie is so beholden to the
typical Cinderella formula (which is disappointing considering how much effort has gone into diversifying the
cast of characters and placing importance on female independence) that it becomes a waiting game of horror and
misplaced dreaded enthusiasm seeing what popular song is next used for a grandiose sequence. All of this also
drowns out any attempt at characterization the film is going for, which is mostly the usual Cinderella beats,
anyway. Ella spends most of her time in the basement sketching designs and fantasizing about being a
dressmaker for high-end clients, with three talking mice serving as her only genuine company (she can’t actually
hear them, which is also a blessing for her since one of them is voiced by James Corden, expectedly unfunny).
Her stepmother Vivian (Idina Menzel, basically playing the polar opposite of Frozen‘s Elsa) consistently
reinforces the notion that her daughters must marry wealthy to lift them out of their financial slump because she
believes that’s the way the world works. Cue a musical number set to Material Girl (God, how I wish I were
joking).

Somewhere off in the distance at the Royal Castle, Prince Robert (a rather bland Nicholas Galitzine) is chastised
for his immaturity and drunken fox catching, refusing to grow up and position himself to become the ruler of the
land. His kingly father (Pierce Brosnan, who is at least trying to add some humor to this dull affair) is more
pressuring, convincing his son to marry strategically, acquiring more land, while also a bit egotistical and high
on himself (amusingly, he repeatedly raises the height of his throne). Meanwhile, Queen Beatrice (Minnie
Driver) is more levelheaded, wanting what’s best for her son, also searching for the love that seems to be lost
between King and Queen.

They also have a daughter, Princess Gwen (Tallulah Greive, the only other bright spot here), that essentially gets
ignored even though she has several great economic and equality ideas. The story of Cinderella is also so
uneventful, predictable, and nowhere near as boldly reinventive as the filmmakers think it is here that there’s
also a feeling the movie would have been far more interesting following an overlooked quirky Princess that has
the qualifications to rule as Queen while everyone else’s too busy concerned with pushing Robert into marriage.

ᴀll of the familiar elements are here, from the glamorous ball (which Ella attends for different reasons as she
finds the idea of a party designed for matchmaking to be old-fashioned) to the Fairy Godmother (known here as
Fab G and played by Billy Porter) working some magic with dresses and carriages (unfortunately, James Corden
does temporarily transform into a human being where he is also given some atrocious comedic material and one
horrific image while reverting to mouse form) to the inevitable search for the owner of the glass slipper.

The main alteration here is that Ella (even after singing Ed Sheeran’s Perfect to each other in supremely cheesy
fashion) is not seeking marriage if it means she has to give up on her dreams. It’s never a mystery for one
minute how Cinderella will end, with the journey there aggressively irritating and blindingly outrageous from a
creative standpoint. A modernized progressive musical interpretation of Cinderella does have potential, but leave
it alone like the utilized song Seven Nation Army says, “leave it alone.”