Cinderella: Once Upon a Time in the West

A fairy godmother magically turns Cinderella's rags to a beautiful dress, and a pumpkin into a coach. Cinderella goes to the ball, where she meets the Prince - but will she remember to leave before the magic runs out? Méliès based the art direction on engravings by Gustave Doré. First known example of a fairy-tale adapted to film, and the first film to use dissolves to go from one scene to another.

Good-hearted Cinderella is mistreated by her stepmother and stepsisters, but she is able to go to the Royal Ball with the help of the Fairy Godmother. Based on Charles Perrault's fairy tale, and featuring unforgettable chemistry between Pickford and then-husband Owen Moore as Prince Charming.

After the success of the live 1957 Cinderella on CBS (with Julie Andrews), the network decided to produce another television version. The new script hewed closer to the traditional tale, although nearly all of the original songs were retained and performed in their original settings. Added to the Rogers and Hammerstein score was "Loneliness of Evening", which had been composed for South Pacific but not used.

Cinderella, with the help of her "fairy" godmother, is granted heightened sexual prowess to win over Prince Charming. After a blindfolded orgy at the royal castle, the nerdy Prince must sleep with every willing woman in his kingdom until he finds that one, mysterious lover who so "stood out" on the night of the sex Ball.

Cinderella has faith her dreams of a better life will come true. With help from her loyal mice friends and a wave of her Fairy Godmother's wand, Cinderella's rags are magically turned into a glorious gown and off she goes to the Royal Ball. But when the clock strikes midnight, the spell is broken, leaving a single glass slipper... the only key to the ultimate fairy-tale ending!

Georges Méliès's first attempt at Cinderella was in 1899. That film was extraordinary then for having multiple scenes and a semblance of a narrative; additionally, the use of dissolves as transitions in it influenced other filmmakers for years to do the same. Méliès was the cinema world's preeminent leader then. By 1912, however, that was no longer the case; frankly, as evidenced by this feature, his style had become dated. Moreover, Méliès had begun to adopt techniques from other filmmakers, such as direct cuts instead of dissolves, and there's even a match on action shot during the slipper trying-on scene.

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