Cinderella has gotten a lot of grief in recent
years for being anti-feminist, but does the movie really deserve this hate? The 1950 film is often assumed to be a story
about a weak, passive woman who has to be rescued by Prince Charming and becomes a rich,
happy princess thanks to pure dumb luck and a pretty face. The film has become a straw man for the argument
that Disney princesses are not good role models for girls. But if we look closer at the actual movie,
this is all a misreading that doesnāt pan out. Painting Cinderella as no more than a damsel
in distress ignores the context of her life and blames a victim of emotional and physical
abuse for being unable to escape her situation. This unnuanced view cheapens what is actually
an empowering message at the heart of Cinderella. This isnāt a story about a man stepping
in to save a helpless woman. Itās about a woman who faces adversity head
on, who chooses kindness and optimism even when itās hard, and who uses her own creativity
and inner strength to rescue herself. The story of Cinderella is so familiar to
us, itās easy to assume we know everything about it and watch the film passively. Disney itself now even plays into the Cinderella
fallacy, as we can see in The Cheetah Girls. āI donāt wanna be like Cinderella / Sittinā
in a dark cold dusty cellar / Waitinā for somebody to come and set me free.ā But the criticisms usually focus on our cultureās
shared interpretation of Cinderella, not what the character actually says and does in the
film. "That means I can go, too!" "Huh! Her, dancing with the prince!" "Well, why not?" Sure, the princess culture at large markets
unfair beauty standards and other problematic ideas to young girls, but it doesn't actually
make sense to saddle this film in particular with so much blame. Critics of the movie probably feel theyāre
espousing girl power by attacking the damaging idea that a happy ending equals a handsome
prince. But, counterintuitively, the tendency to dismiss
Cinderella is actually a little sexist. The characterās chief personality traits
-- kindness, caring and optimism -- are stereotypically feminine. "Cinderella likes you too! She's nice, very nice." "Poor little Gus! Here!" Cinderella doesnāt stand up to her abusers
in a traditionally masculine way. She doesnāt physically fight back, make
daring plans of escape, or hold back her tears. So writing off Cinderella is on some level
buying into masculine standards of strength and weakness. Saying her traits of kindness and perseverance
arenāt good enough devalues femininity. And it also unfairly presumes that a victim
of abuse should fight back. Because weāre primed to watch Cinderella
passively, people tend to willfully ignore the context of Cinderellaās upbringing and
the trauma she suffers as a child. Even though the opening scenes of the film
literally state that her stepmother abused her. "Cinderella was abused, humiliated, and finally
forced to become a servant in her own house." Lady Tremaine is lit in a way that reminds
us of a horror movie. The visual contrast between her and Cinderella
makes it clear that Cinderella has no power in their dynamic, and she has no choice but
to obey. We witness a truly disturbing scene of abuse
when Cinderellaās stepsisters rip the clothes from her body, while Lady Tremaine watches
with satisfaction. Cinderellaās eyes widen in total terror
as she backs away from her stepmotherās advances. And her expression communicates to kids that
Lady Tremaine is as scary and powerful as any dragon or witch. The black background as Anastasia and Drizella
rip Cinderellaās dress frames and emphasizes the terror in Cinderellaās face. The stepsisters leave Cinderella feeling destroyed,
her dress in tatters. And the scene leaves us feeling we've just
watched a violent assault. "Through it all, Cinderella remained ever
gentle and kind, for with each dawn she found new hope that some day, her dreams of dreams
of happiness would come true.ā Cinderella has to retreat into her imagination
in order to stay sane. Our first interaction with her shows her using
fantasy as a coping mechanism, and remarking that dreams are the only aspect of her life
she can control. "Well there's one thing -- they canāt order
me to stop dreaming.ā A key thing our culture often misses is that
Cinderellaās dreams donāt revolve around a man, but around a vision of future happiness,
where she can live free from her abusers. "If you keep on believing / the dreams that
you wish will come true." Cinderellaās inner strength and tireless
imagination manifest physically as the Fairy Godmother. āIf youād lost all faith, I couldnāt
be here.ā Itās when she believes sheās hit rock
bottom that her Fairy Godmother materializes, and the reprise of āA Dream is a Wish Your
Heart Makesā "It's just no use..." -- tells us that she is the embodiment of
Cinderellaās dreaming or her heart's wish. When she needs it most, Cinderella has willed
a loving maternal figure into existence. Since she has no real family, the fairy represents
her determination to mother herself. The Fairy Godmotherās magic works through
imagination, creativity, and resourcefulness -- all qualities that Cinderella relies on
for her survival, as that represent the true powers. Each magical transformation finds hidden potential
in what Cinderella already has. A pumpkin becomes the carriage, the mice become
horses, and Cinderellaās horse, who assumes heāll pull the carriage, becomes the coachman. Gusās transformation especially symbolizes
how imagination can help us overcome our oppressors. When heās transformed into a horse, heās
finally able to escape Luciferās clutches,. Cinderellaās ability to remain positive
makes her fantasy of freedom become a reality, at least for the night of the ball. Cinderella proves that imagination can be
power, offering joy and independence when the outer world seems bleak, and training
the mind to be resourceful. "Well, maybe this is a little old-fashioned,
but I'll fix that." So Cinderellaās fantasies really displays
of strength from within, not the passive, mindless daydreaming they're often seen as. Her ultimate triumph over evil comes when
Lady Tremaine shatters the original glass slipper, and Cinderella reveals that she has
the other. Her imagination and inner strength brought
her the Fairy Godmother, her night at the ball, and thus the glass slipper, so Cinderella
provided herself with the one thing that could free her from this abusive household. This slipper is physical, hard evidence that
Cinderella willed her fantasies into a reality. A glass slipper is the perfect symbol of a
dream made real. Itās made of glass, delicate and fantastical,
not the most practical footwear -- even the idea of a āglass slipperā seems otherworldly. But it is real. It can be felt and seen. Lady Tremaineās act of breaking the slipper
is her symbolic attempt to shatter Cinderellaās dreams, but those dreams canāt be destroyed. So we see that the shoe isnāt a frivolous
accessory at all, but the tool Cinderella needs to break free. āAfter all, I suppose it would be frightfully
dull, and boring, and completely...wonderful.ā For Cinderella, wanting to attend the ball
actually has nothing to do with finding a prince. Itās about freedom, choice, and agency over
her own life. "Oh, no. What do they want?" Itās a much-needed fun night off, a much
needed brief escape from the oppression of her daily life. āHave a good time! Dance! Be gay! Now off you go, you're on your way!ā Itās not Cinderella, but her stepfamily,
who are preoccupied with the princeās eligibility. "Every eligible maiden is to attend." "Well that's us!" "And Iām so eligible!ā In the scene where the prince first sees Cinderella,
she doesnāt even see him. Sheās enamored of her surroundings, excited
to explore a new place she normally wouldnāt have the privilege of visiting. She doesnāt even realize sheās dancing
with royalty. "Oh, the prince. I haven't met the prince." "A prince?" The unexpected love she finds functions as
poetic justice for her cruel step family, who are punished for their vanity and greed
by witnessing the object of their hatred receive the very thing they coveted. Cinderella's good heart makes her capable
of true love, whereas her stepsisters are far too petty and selfish for a true connection. The experience of falling in love is also
an unforeseen reward for Cinderellaās righteousness and perseverance. She escapes her abusive family to start a
new one that will reflect her values and understanding of what a positive loving environment can
be. The prince is also absent not just from Cinderellaās
dreams but also her final escape. Ultimately, she saves herself. When Lady Tremaine discovers Cinderella was
the one dancing with the prince at the ball, she follows Cinderella to her room and imprisons
her there, in yet another undeniable act of abuse. Itās Cinderella who retrieves the key to
her door through teamwork with her animal friends. The term āCinderella Storyā is often applied
to sports or other situations when someone unknown comes seemingly out of nowhere for
a huge win beyond anybodyās expectations. But the Cinderella in these stories has struggled
and worked to bring about their success. So while it may it look like dumb luck to
an outsider, the Cinderella is generally receiving the just rewards of hard work, grit, humility,
and believing in dreams that seems unrealistic, all things that Cinderella herself exemplifies. āWhere? In the trap?! Why didnāt you say so?ā Cinderella demonstrates that real kindness
is active, not passive. Rescuing her friends in this oppressive household
is brave and heroic. The film establishes Cinderellaās compassion. She clothes and feeds the animals, and they
show their gratitude by helping with her morning routine. Itās reciprocity for the care and love she
generously offers them. When Gus gets stuck in a mousetrap, we see
that Cinderella is quick to help those who canāt help themselves. And sheās spirited -- she doesnāt hesitate
to tease her friends -- āServes you right for spoiling peopleās
best dreams!ā -- or stand up for herself in her interactions
with Lucifer. "You mean, old thing! I'm just going to have to teach you a lesson." These interactions are important to show us
that Cinderellaās not a pushover. She knows when sheās being treated unfairly,
and, when she can object, she does. But there's a distinction between this and
someone who represents a truly grave threat to her safety. When Cinderella tells Bruno to stop dreaming
of chasing Lucifer, itās because disobeying Lady Tremaineās orders could result in losing
his home. "Suppose they heard you upstairs...You know
the orders. So if you don't want to lose a nice, warm
bed, you'd better get rid of those dreams." She knows that Brunoās situation could become
parallel to her own, and sheās been forced to value practicality over justice in order
to survive. Nearthe end, we see a return to the parallel
between Cinderella and Bruno "Bruno...Yes, Bruno! Quick! Get Bruno! Get Bruno!" At this critical moment, Cinderella decides
that Bruno should disobey orders, despite the danger, because they have a real opportunity
to escape. Her changed attitude toward Bruno reflects
that sheās newly emboldened in own situation. But the help of her friends -- and her concern
for them as well -- are key to all of their rescue. In the end, the friendships Cinderella has
built through kindness make her escape possible. It's unfair of us to expect that Cinderella
should be able to escape her situation sooner just by being a little bit sassier. She grows up in an abusive environment where
she lacks all power. Her kindness and ability to cope through fantasy
actually represent her strength and bravery in the face of adversity. In the time since the filmās release in
1950, perhaps qualities like kindness and optimism have come to seem simple, obvious
and naive. But in reality, these qualities are undervalued,
difficult to practice and not at all common. This is a story about a woman who is both
feminine and strong, who doesnāt have to rely on a man, or take on traditionally masculine
characteristics, to triumph over evil. The movieās not perfect and certainly reflects
its times, but the desire to oversimplify Cinderella as backward reflects a hidden disdain
for femininity. A closer look at the character reveals that
this has been a story about a strong woman all along. "Oh, well, it's over and..." "Cinderelly. Look! Look! Your slipper. Your slipper." "Thank you. Thank you so much for everything."
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I needed this. Iāve always identified with her but hated the flak she got. But the symbolism is spot on though.
She suffered childhood trauma and abandonment issues for sure. Her line of work was one of servitude( codependency/people pleasing) mainly to her stepmother (the voice in your head that beats you when you do something stupid).
Her freedom came when she decided to do something for herself. By putting herself first she got more than she ever anticipated.
This is very common and part of why some (or many) men feel entitled to treat very feminine women with an extra lack of respect and feel more at ease with using them as a sexobject
I think it is no coincidence that one of the most frequently violated statues is one of the few female statues, the little mermaid in Copenhagen
In a world where I was force-fed misogynistic religious and cultural messages, I chose Cinderella as my example of how best to deal with my abuse and oppression. It is true power to retain your kindness and optimism in the face of cruelty and trauma.
This exploration of Cinderellaās themes is spot-on. Just check my username. š
Iāve always seen Cinderella in a different light than many of my peers. My father is an emotionally abusive narcissist, much like Lady Tremaine, and while I wasnāt the scapegoat all the time (like Cinderella), I still identified with her. To me, Cinderella was a young woman who wanted a night of freedom from the abuse, who eventually escaped that situation. Instead of letting her abusive upbringing make her nasty and abusive as well, she chose to break the cycle and remain kind.
Mods, just occurred to me that this may not belong here, but I thought it warrants a discussion that stereotypically feminine characters are deemed sexist by our culture and girls are told to favor badass characters who wield more masculine traits. I think as a culture we've been unfair to Cinderella, simplifying her as some passive character who waited to be rescued by a prince, which is not the story at all.
This warmed my heart ā” There are different types of strengths but they are all equally valid. I love that feminine strength was noticedā”ā”
LOL so your problem is that you think any female character who is not a passive actor is automatically āa manā? Women have always been soldiers and fighters, that doesnāt make them men. Most modern disney princesses are not sword wielding heroes yet they actually get stuff done. Anna and Elsa? Moana? All the āpushbackā seems to be against older princesses who frankly werenāt very interesting characters. Most media is still saturated with girls who solely exist to look pretty and find a man. All these ābadass warriorsā you seem to hate are not real. And if this is all youāre seeing you need to watch and read other genres.
Oh, the sequels are much better. We actually explore her character and she doesnāt exist to find a prince who rescues her. Have you watched āEver afterā? Now thatās a Cinderella version I can get behind.