User reviews

Good grief...the attacks, the smug, sarcastic asides, the soapboxes on how this country is outta control with political correctness- Momma Mia!! And the truth is, no one would care if this Rodgers & Hammerstein musical classic was redone for a 30th time if the cast was white. There are literally the same complaints over and over again about the audacity of a black Cinderella (or a black queen or a black fairy godmother), but swift denials of any racist feelings or speculations. Yes, this version of the R&H musical is flawed, but the flaws (for me, at least) have absolutely NOTHING to do with the casting. (In this modern day and age, if people want to vocalize racial distaste, they say things are "too PC," which is clearly shorthand for "too-many-black-folks-in-the-room." How does a fairy tale- which has a pumpkin turning into a coach and a dress vanishing at the stroke of midnight- merit a debate about realism based on the fact that some of the actors are ethnic? Who are you fooling with these comments?)

I thought Brandy was lovely- especially in the spotlight solo "In My Own Little Corner." And I loved "Ten Minutes Ago-" the elaborate waltz which pairs Brandy and Paolo Montalban (an Asian prince?! Eeek!!) in a rather extravagant duet which gains in scope with a spinning 360 degree camera and lots and lots of dancers. What didn't I like about it? That the medium was completely changed from a TV play to a CGI-heavy movie. The first two productions had exclusively been done for television, in a television medium. The original live 1957 broadcast could not be taped (tape wasn't thoroughly invented yet), but thank goodness the 1964 broadcast was (some of that live feel is retained in this middle version). I would've loved for the 1997 production to be videotaped, where it would've felt a touch more intimate and warm. But it ventures out-and-over the top too often, such as in the elephantine "The Prince is Giving a Ball" and "Impossible," which seems to be all about the crazy light effects surrounding the floating carriage. I think the latest version needed more intimacy. For instance, one of the best scenes in the entire production features a minuscule epilogue not in either of the previous versions. Following the ball (and "A Lovely Night"), Cinderella's fairy godmother emerges one more time to persuade her charge to find her prince and tell him the truth, underscoring that she believe in herself and trust the prince to love her for exactly the way she is. A lovely, powerful moment which relies on nothing but simple, honest sentiment.

I have been reading all of the other reviews of this title and I found them quite confusing. The complaint that the cast is mixed race and that the sets are fantastical fit perfectly with the concept of "fairy tale" which, in fact, this is.

The second complaint that I would like to address is the problem everyone seems to have with the "new" music. None of this music is new, just new to this version of the show and all of it has been written by Rogers and Hammerstein. Since these are songs that I like from shows that are never seen, I appreciate the use of them in this production.

This is definitely more ornate than the original teleplays but the originals were rather bland. People complain about Brandy but Leslie Ann Warren does not have much of a voice to speak of. I enjoyed her version but singing was not the reason.

I feel that people should look at this for what it is. You either like it or not but for what it is not what you want it to be.

I, for one, am a fan.

I saw this version as I have always liked Bernadette Peters and Whitney Houston. And although it is not perfect and I do much prefer the 1965 and 1957 versions, I enjoyed this movie. For a TV movie it is well made and completely delightful to watch. The effects are above average, the costumes and sets are gorgeous and the ballroom sequence with its enchanting photography was the highlight of the film. The story is timeless, the choreography is dazzling and danced with gusto and while slightly corny at times the dialogue amuses. Rodgers and Hammerstein's songs are outstanding, with too many highlights to list. I wasn't so taken with the more contemporary numbers though, the style jarred with those of R&H's and other than to suit the voices of some of those involved I personally didn't see much point in adding them. Overall, the cast are just great, the multicultural issue didn't bother me at all. I wasn't a fan of Brandy as Cinderella, she's not terrible by all means, she's beautiful, charming and whimsical and interacts well with everyone, but there are times where she's made to look passive and this felt forced to me. Also I never quite warmed to her voice, the tuning and style are fine. It was more the tone, I've never liked singers who sound as though they are singing through their nose. However, the rest of the cast fare much better, Whitney Houston is a slightly overplayed but vocally outstanding Fairy Godmother, Bernadette Peters is a wonderfully wicked and somewhat tragic step-mother, Jason Alexander is hilarious as Lionel and as the prince Paolo Montalban is dashing. The stepsisters are suitably odious and Whoopi Goldberg seems to be enjoying herself as the Queen. Overall, credible version but not the best, that belongs to the 1957 version with Julie Andrews. 7/10 Bethany Cox

We received this movie as a gift and it sat unwatched for a year until my 3-yr old pulled it out. I don't usually tear up during movies, but this production is stunning to watch, and lovingly detailed. The costumes, the sets, the colors are hypnotic, very much like a dream. I particularly appreciate the inclusive, multi-racial cast, especially because we're used to seeing all combinations of families here in Cambridge. Whitney Houston's voice gives new meaning to the idea of fairy godmother. It's really her show; the whole theme that "nothing is impossible" rings even truer when you know about Houston's own history as a young housewife singing in her basement, dreaming of something better. Brandy makes a most sympathetic Cinderella-- she's not passive, she just doesn't know what to do, and her transformation from scullery maid to conficent princess is as believable as it is lovely to watch. This production is also unpretentious in that it's not preachy, or divisive. There is no one evil or bad; everyone's clearly trying to do the best they can. What more can you ask for? I'm in love with this movie, and credit Houston with a clear vision of how the dusty Cinderella story can become timeless and compassionate with just a few strategic modern touches!

Overblown, but extremely colorful 3rd version, doesn't hold a candle to the original 1957 version with Julie Andrews, although it is better than the dull 60's remake with Leslie Ann Warren. Multi-racial casting is somewhat odd, but not distracting from Rodgers' & Hammerstein's classic television musical. What IS distracting is the freedom taken with the score. R&H should be done exactly the way they wrote it. They did know what they were doing, after all. Houston's Fairy Godmother is annoying, what with her wailing away her songs. Brandy makes a lovely Cinderella; but her breathy vocal ability just doesn't cut it. Palo Montalban, as the prince, is the lone standout. He truly belongs in musicals. The score has been needlessly padded with Rodger's music with Larry Hart (Boys From Syracuse) and himself (No Strings). While it leaves something to be desired, this version of "Cinderella" will be enjoyed by children.

I love this movie soooo much. I have seen it over 100 times. I have the video and I taped all the songs off of the movie and listen to it on a daily basis. I have memorized all the songs and words. The acting is great. I love all the people and how well they act together. Also I think the prince is just so cute!! I am a big fan of Brandy and Whitney Houston and I love all the dancing and music in the musical. My favorite scene is in the village at the beginning. I love this musical and if you haven't seen it you don't know what you are missing !!!!

While different from the Rodgers & Hammerstein TV version with which I grew up, this whimsical Whitney Houston produced rendering of the classic tale provides a healthy alternative to white royalty, overcoming stereotype for many a young girl. Bernadette Peters, Jason Alexander and Whoppi Goldberg are hilarious, using slapstick and tarty words to add goofiness to an often told serious fairy tale. Brandy is fine and certainly helps to break the mold of whimpering, helpless Cinderellas, providing a stronger (though not so self-determined as Barrymore's performance)characterization. Young girls will love it and parents will appreciate its overall harmlessness, since, every once in a while, just about every girl wants a princess tale.

I'm probably one of the greatest suckers for a Rodgers and Hammerstein musical in existence. THE SOUND OF MUSIC is my all-time favourite movie. Each day I probably unconsciously hum half a dozen of their legendary show tunes. And if there's one type of movie that I need in my staple film diet, you betcha it's a musical.

That probably makes me a suitable candidate to be enchanted by this remake, in a current modern day tundra of literally no musical films in production, right?

However, as much as I'd like to see the genuine musicals of yesterday back into production bringing out more Freed units, Busby Berkleys and Judy Garlands, I might as well keep on dreaming. This not only embarrasses the genre, it throws a giant obstacle into the path of the musical making a comeback into mainstream popularity.

The cast of CINDERELLA may have big names to back it up, but what is Brandy, Whitney Houston, Whoopi Goldberg, Jason Alexander and Bernadette Peters without a decent screenplay which not only doesn't fit together, but isn't in the slightest bit funny? And although I appreciate a movie that runs under two hours, I also happen to like something called believability. The costumes and sets bog down the production in a syrupy mess, in a village that looks like something like a candy factory and successfully removed all the whimsy, and added all the pitifulness with the wishes and dream message.

The only performance I enjoyed was Bernadette Peters, but her image which has made her difficult casting in movies, only proves too well why she should stick to Broadway, where she has not forged a brilliant career with material worthy of her talent, but is able to show why Broadway audiences have loved her for over three decades.

Shirley Jones, the star of the film versions of OKLAHOMA! and CAROUSEL stated once when asked if there was a way to sing Rodgers and Hammerstein, she said, "Yes, *exactly* as it is written". Watching the cast attempting to defy the perfected combination of lyrics and music by adding obvious sounds of R&B music to those tunes and turkey new offerings is somewhat stomach churning. In fact, I couldn't make it through the first hour before I got up from my chair and ran terrified from the TV set. As much as I wanted to like an offering from Rodgers and Hammerstein, I don't think the current production was really what they had in mind.

Perhaps I'm being too judgemental on a family movie, but I didn't really go into watching the movie expecting the standard of THE SOUND OF MUSIC. The only thing that saves the film remotely from complete doom are the wonderful, romantic songs, like "Ten Minutes Ago", "In My Own Little Corner" and "Do I Love You Because You're Beautiful".

Rodgers and Hammerstein's only foray into TV is probably best seen left in the hands of professionals, like Julie Andrews. Tailor-made for her role, she is undoubtedly the quintessential Cinderella. If her 1957 version of the classic was ever made available publicly, it'd probably be extremely popular.

As a result of this forgettable and disastrous film, are Rodgers and Hammerstein turning over in their graves?

I wouldn't be at all surprised if they are.

Rating: 4/10

After growing up and wearing out the video of Lesley Ann Warren playing Cinderella, I couldn't wait to see this one. Only to see that they ruined a beautiful play. The multicultural part was good. But adding songs and Brandi's whinny, nasal voice cannot be compared to Lesley Ann Warren's or especially Julie Andrew's. I have not seen this movie since it first aired on television. A couple of months ago it was on again, I tried to watch and give it a second chance, I didn't make it through the first 1/2 hour. If they would have found someone to play Cinderella who had a more full and trained voice I could have enjoyed it. If you liked this play, watch the older versions and you will see what I mean. As I have kids of my own I will have them watch the older versions and avoid the 1997 version all together. I do not want them to be tainted with something so awful when their minds could be enlightened.

Every thing about this rendition of Cinderella is perfect.

The songs seem like they were almost made for the people who sing them, the lines written with the intent for only this specific cast to read them. Intelligent (very Disney approved) lines with clever delivery. This is the only Cinderella that I want to watch more than once.

When I first saw the 1997 television production of Cinderella, I had heard very little about it. At that time, I knew very little about the two previous incarnations - with Julie Andrews in 1957 and Lesley Ann Warren in 1965. In fact, I had seen only clips of the former, while I had been somewhat unimpressed by the latter when I had taken the soundtrack album out of the library. Seeing this newer version, with Brandy Norman, brought the material to life with me and has, over the past decade, given me great pleasure each time I have revisited it.

I find Brandy very compelling in the central role. Yes, she has a contemporary edge to her voice, the appropriateness of which has been debated with fervour on musical theatre boards over the years. But, like everything else in this version, singing in a traditional musical theatre style is by no means a hard and fast rule to be followed. And Brandy delivers where is counts - she creates a character in whom you can believe and for whom you really root.

She is supported by some very able performers. Paolo Montalban is a handsome prince with a pleasant singing voice, and gives his duets Norwood (the exuberant "Ten Minutes Ago" and the remarkably perceptive "Do I Love You Because You're Beautiful?")with an immediacy that really reflects the sudden journey from strangers to lovers that is a trademark of the Cinderella story. The step-family - with Broadway diva Bernadette Peters as the Stepmother and Veanne Cox and Natalie Desselle as the stepsisters - manage their comic supporting roles well, with Peters delivering a knockout "Falling in Love With Love", a classic Rodgers and Hart song added to the score for this adaptation. The trio are also superb when that combine with Brandy in the recollection of the ball in "When You're Driving Through the Moonlight" (sadly cut down here) and "A Lovely Night".

There are only two performances that don't really work well in the telefilm. Whitney Housten, as the Godmother, is just in a completely different film that is all about Whitney Housten. Although delivering a pop-vocal in a similar style to Brandy, Housten's performance grates against the score where Brandy's remains bound by the given circumstances of her character. Jason Alexander, in an attempt to characterise a characterless role, falls back on the trick of an accent to do the job for him and then forces the humour, and particularly the physical comedy, to such an extent that he isn't particularly funny.

The direction, by Robert Iscove, keeps things moving along swiftly but is by no means masterful, particularly when one considers the moments that don't quite work - the aforementioned physical comedy from Alexander, for example. The choreography, by Rob Marshall, is a highlight of telefilm and the musical staging and choreography is wonderfully executed - particularly in the ballroom sequence.

Robert L. Freedman's adaptation of Oscar Hammerstein's teleplay (as well as the other adaptations thereof) conceives some fine moments, particularly in the ballroom scene where the dialogue between Cinderella and the Prince is far less sticky while remaining blatantly sentimental. It does miss others, however: for instance, the arc of the Queen's character seems to miss a few beats between her original appearance and the reprise of "Do I Love You Because You're Beautiful?".

The score remains fairly intact. The biggest adaptation to the existing score is the combination of the shameless establishing exposition number "The Prince is Giving a Ball" and the pretty pointless, one-joke, lame duck of a list song, "Your Majesties". This works really well, particularly because the revised number now incorporates (however fleetingly) Cinderella and the step-family, making it somewhat more deserving of it's "stage time".

Of the three additions to the score, "The Sweetest Sounds" probably works the best and forms the basis of a scene that gives the teleplay a lovely symmetry. "Falling In Love With Love" is nothing but a showcase for Bernadette Peters, excused as a number that helps to create sympathy for the Stepmother. But it's never really explored, nor is the need to create sympathy for a character that has a couple of moments where she says some truly detestable things to her stepdaughter. The final addition, for the Godmother, is "There's Music In You" is really just a moment where Housten's pop vocals clash horrendously with the song and its regal orchestral arrangement. This probably would have worked better being sung by a "Hollywood chorus" as the wedding took place on screen.

Overall, I still enjoy this version of Cinderella when I pop it into the DVD player. It's a modest entertainment as most made for TV musicals are. But it has magic. And great songs. And the world always needs more of both.

After performing Rodger and Hammerstein's version of Cinderella, I decided to watch the movie to see what Disney had done with the masterpiece. What I saw was not a pleasant surprise. It was overdone. All overdone. A main point that was made in the play was that Godmother was not known to be magical, and that everything that Cinderella was dreaming would never come true. After seeing Whitney Houston, we know that point was never made. Whitney Houston was as fairy godmothery as she could get. I was also disappointed with the new songs added to the movie. I was in fact, rather glad that most of the originals were there. If you are looking for a Rodgers and Hammerstein piece, I don't recommend this one, but if you have children who love musicals with everything overdone, it is great.

If there's anything to be criticized in the Cinderella story, it's the fundamental premise that Cinderella is passive...but then it's a one-plot story that doesn't give her the chance to "evolve" as Harry Potter does. But don't we all wish to have our problems solved and our dreams made to come true for us?

I love this updated version of the story because, at least for me and my family, it represents a double fantasy of the way the world should be. While the multi-colored cast might be jarring for those who knew the original version (which I saw as a kid), I thought it was brilliant. My kids don't look like me--my daughter is Chinese and my son is Guatemalan. So for them to see a black queen and a white king with an Asian son, who falls in love with the beautiful but misused black stepdaughter of a white woman with one black and one white daughter--neither of whom look remotely like her--isn't as un-real (or merely PC) as some people might think. For my family, it's an affirmation of modern reality. For my daughter to see a handsome Asian prince fall in love with a beautiful dark-skinned Cinderella is incredibly powerful.

Also, while I am not a huge fan of any one person in the cast, I thought they all performed wonderfully within the limits of the genre. Peters' "Falling in love with love" blew me away, because it actually gives you a moment of real sympathy for the stepmother--no one is wicked always, it seems to say, and heartbreak has hardened her heart against her beautiful stepdaughter. Instead of merely evil, she becomes tragic.

The costumes and sets were great--firmly placing this in the vaguely "old world" romantic place that fairy tales live--the pop stylings and characters of the actors instantly make this a period piece of the late 20th century--but that's just fine. Cinderella will be reborn many times in the coming generations.

It would be nice to see a subtle re-working of Cinderella with even more sympathy for the stepmother and sisters, and a little more complexity of character and plot to make the heroine and hero less two-dimensional--but then it wouldn't really be a children's movie, would it?

Overall, I enjoyed watching this. The acting was okay, with the best performance undoubtedly being Bernadette Peters', who as the Stepmother is one minute hilariously over-the-top, the next minute dead-serious wicked. And she's a great singer, too! Even if the song she sings wasn't in the original libretto of this musical, it's a great showcase for her talent. Otherwise, the rest of the cast was just okay, though Paolo Montalban was as good as he could be as the Prince. The sets had that fairy tale quality, and the whole production was pretty charming. The songs were pretty good, too, and performed well, even though they often sounded suspiciously like R&B/gospel/pop tunes when being sung by Whitney Houston and Brandy. That's a problem with this movie; while, as I said, the songs are performed well, most of the performances are probably not what Rodgers and Hammerstein had in mind. This modern approach is somewhat jarring, and isn't an asset to the updated script. The message Whitney delivers as the Fairy Godmother, that you should do what you want to do yourself instead of just dreaming about it, is fine... until she does all the work in providing transportation and clothes for Brandy (Cinderella) to go to the ball while Brandy just stands there in awe. These flaws are annoying, but otherwise this was an enjoyable movie. Your kids will probably love it no matter what I say, anyway.

I am a Rodger's "enthusiast," as Ted Chapin of R&H once characterized me, and I agree there are certain ways to perform his music--generally, exactly as he wrote it, since that was his general direction. But this version of CINDERELLA, which I admit has some faults in the musical arrangements, is as good a CINDERELLA as one can hope for.

For starters, the fantasy element allows for the non-traditional casting, which works quite well for me. I'm perfectly happy with every major character, but especially so with Whoopi as the Queen and Bernadette as the Step-mother. I'm also fond of Whitney's Fairy Godmother (much more so than Celeste Holm in the 1965 version).

Okay, so they tried to R&B some of the numbers--this version was aimed as bringing more young people in the R&H fold--and if it interests more young people in the art of the American musical, then it has done its job (please don't get me started on the animated version of KING AND I, which is an abomination in my opinion). I find much of the script very funny, and I enjoy the step-sisters, who are in comical vein Hammerstein intended (for the poster who thought Bernadette played too young as the Step-mother, take a second look at Pat Carroll and Barbara Ruick as the step-sisters in 1965--as much as I adored those performances, too, can you say "OLD MAIDS.")

All in all, put the previous versions out of your mind--and open that same mind up to this new, modern interpretation (if not, you may never be able to enjoy the new FLOWER DRUM SONG, which I haven't seen, but for which I am anxious.)

First thing's first: I'm glad the prince and Cinderella have more depth than the all-too-well-known Disney classic. I'm delighted that they have FANTASTIC musical actors in this movie like Bernadette Peters (whom I absolutely adore), Jason Alexander, and Whitney Houston. But the thing is that Brandy just cannot act. A character like Cinderella has to be loved by everyone for the movie to be great, but she made Cinderella sound weak with her soft, breathy vocals. Don't get me wrong, I like Brandy as a singer. But she doesn't bring anything to the role of Cinderella, and quite frankly, she brought the movie down. She can't act well at all. She could have done well had it been a high school production, but there are thousands of actresses and singers who could have done a better job. It could have been great, but it really, really wasn't. Not to mention that there was a lot of color, but it was all too much to handle--it was just blues and purples and pinks.

It's worth watching for Bernadette Peters of course, and the stepsisters are hysterical. Jason Alexander is quite comical as always, and the king and queen are great examples of some of today's parents. Overall, it's a good movie, especially for the younger little kids, but don't get your hopes high before watching.

There were two other versions of Rogers and Hammerstein's Cinderella made for TV before this version. I recommend either of those two over this version any day. The music and story and everything is really good, I mean come on it's by Rogers and Hammerstein, but this version really just isn't that great.

The original version, which attracted millions to watch it the day it aired on TV, has Julie Andrews in it and you can now buy it on DVD but the quality isn't the best because it is so old and it is put on more like a stage show and was recorded live. It really is a treasure though.

The other good version has Leslie Ann Warren playing Cinderella and Ginger Rogers as the fairy godmother.

Basically what it comes down to is the cast. This cast on the most recent version isn't good.

Honestly, unless you are a reincarnation of Ebeneezer Scrooge, I don't see how in the world you could hate this film. Fairy tales do not get much better than this. Cinderella has gorgeous costumes and sets, first-rate actors(and singers) galore, and has some of the best music around.

It's hard to believe this is a made for TV movie considering how extravagant the backdrop for Cinderella is. The costumes are not only beautiful, they are bright, wacky and ingeniously co-ordinated. The sets and effects are also remarkably good- not cheesy, but you never lose the "fairytale" quality.

The actors present kind of blow the mind. Of course Whitney Houston delivers a knock-out as the fairy godmother. It's definitely her show, no mistake. But everyone else delivers a rock solid, dare I say, stellar performance as well. Not a crack, as one would expect. Brandy in the titular role does a wonderful job in her debut project. Her unusual, kind of raspy voice takes some getting used to, but grows on you quite easily. Hands down, Paolo Moltalban was my favorite performance. I have never been so attached to a fairy tale prince as I was in this performance. He played the part to perfection- always a gentlemen, not overly-confident and truly interested in the object of his affection (OK, OK, not to mention A-mazingly hot).

What really drives the film home is the music. Every single tune is insanely hummable. But what gives this the edge over the 1950's version is the picked up tempo and slight modernization of the accompaniment. Honestly, the original was beautiful, but too slow to really get into. It is a crime there is no soundtrack to this version, especially with all the star power poured into it.

So yeah, every creature that can speak could recite you the story of Cinderella by heart, but why would you expect to find anything new or suspenseful or surprising here? Cinderella is the comfort food of the cinematic world. This movie is in tune with the heart of a fairytale: to take us away for a while and satisfy some deep desire lurking within us for a more beautiful world where good always wins and we can burst into perfect pitch whenever we feel so inclined. It's like Bread and Jam for Frances. "When I watch this movie, I always know what I am getting, and I am always pleased."

I've only seen one other version of the made-for-TV Cinderella's, and that was the one with Lesley Ann Warren. Even though Warren can't sing a lick, I think I liked that one more a bit more than this (not by much, though.) First of all, the multi-racial casting seemed like a good idea, but it wasn't the MULTI-RACIAL CASTING that was the film's downfall, it's the casting in general. For example, Brandy is not a great actress in particular, and her singing is about five times worse. She has that pop-star wanna-be flavor in her voice, which makes her singing breathy and not meant for musical theatre. So right away, Brandy is a weakness in the movie. However, the Prince had a beautiful voice, but let's face it; he looked nothing like a Prince. Sure he was rather attractive, but not the Princey material. His acting was passable compared to some of the other ham-jobs done by the other performers.

Speaking of hammy, what about those stepsisters? I thought they were way too over the top, not even in a funny way. Bernadette Peters completely outshines them with her superb beauty and talent. Even though Bernadette's song had little to do with the rest of the show, it was brilliantly performed and beautifully vocalized as usual, and I was happy to see that she was given the chance to sing.

Whitney Houston was rather unlikable. I hated her hair, her costumes were tacky, and her added song at the end was annoying and unnecessary. The way she tried to up-stage Brandy in Impossible/It's Possble was pathetic, because even a drunk money could upstage Brandy.

The things I thoroughly enjoyed were the performances by Jason Alexander and Whoopi Goldberg. They had me laughing hysterically every time they cracked a joke, and their characters turned out to be some of the more interesting, well-portrayed ones out of the bunch. I just love "The Prince is Giving a Ball," it's so much fun and I find myself getting up and dancing with the rest of the cast while the song goes on.

The use of color was creative and pleasing. It's always wonderful to see bright colors. And the sets were a bit bizarre, but made the film feel more fairytale-like, along with the elaborate costumes (my favorites being Brandy's ball gown and all the clothes of the stepmother.) Even though the film has it's faults, it's certainly worth seeing if you love Rodgers and Hammerstein. Without it's flaws, it's quite a competent movie.

This is not very good and fails to meet anywhere near the previous editions. These reviews about it being good to be "diverse" is nauseating judge it on it's on merit. I say this as a Ethnically diverse person.

I watched this movie when it first aired on TV in 1997 with my grandmother. I enjoyed it then and I have enjoyed it with my daughter on Disney plus. It's not my favorite version, but I like it. However, I have to say that Brandy as Cinderella has never made sense to me. Her voice is underwhelming especially next to montalban and Whitney Houston. Honestly, thinking back to the 90's, Monica would have made a better Cinderella, vocally anyway. I definitely still enjoyed the movie and now I'm rambling on because apparently these reviews have a length requirement that is obnoxiously long. So, I will go on and on and on until this review is over.

I'm sorry but this movie was unbelievably horrible. It seems to have ruined the original story. I am a big fan of musicals. I have never seen so much singing. There is like one song every five minutes. All other musicals don't do that. I have seen better, been in Rodger and Hammerstein's Cinderella a while ago. Our production actually done much better job and it was only a community theater.

I have never never seen such awful movie. Hello, the story takes place during the Reinassance (sp?) period... Black and Asian were probably hated at that time. Maybe I'm wrong. The production was too much and overexgerrated. The movie was very unbearable. And I didn't watch the whole thing, from the beginning to the end. I watched from the middle to the end. I immediately knew that I will NEVER watch it again.