Have you considered analysing how different adaptations depict Cinderella running away from the ball and how she transforms back? Most of us love the transformation right before she goes to the ball, but it is equally visually impressive how they depict the de-transformation and stroke of midnight scene on movies and TV adaptations.
There are indeed some very memorable versions of this moment in different adaptations.
Disney's animated film was especially innovative in its choice to have Cinderella get back into her carriage, ride away, and almost reach home before the last stroke of twelve changes everything back, with the palace guards chasing after her on horseback all the while. This obviously doesn't happen in Perrault's tale: there the de-transformation happens before she exits the palace grounds, as when the Prince asks the guard at the gates if he saw a lady leaving, he says no, just a peasant girl in rags. But Disney adds great suspense by having her ride away at breakneck speed, with the guards in hot pursuit, and then at the clock's last chime, having her hair come loose, the coach change from white to pumpkin-orange, and the wheels turn back into vines before everything fully changes back.
It's no wonder that several other versions copy that sequence closely. These include the 1979 Russian animated short, the 1996 anime Cinderella Monogatari, Disney's 2015 live action remake of course, and the 2021 Sony/Amazon musical. Although they usually add their own unique touches too. After the 1979 Russian Cinderella de-transforms, she sits down in tears under a statue of the Virgin Mary (which probably represents her own mother's spirit still watching over her), and the Prince, King, and royal courtiers don't even notice her as they run past her in search of the "lady." The 2015 remake adds the slightly melodramatic CGI touch of having the horses slowly regain their mouse features and the coachman and footmen slowly regain their animal features – and cleverly, has one of the footmen take advantage of this and use his newly-reformed lizard tail to slam the castle gate shut and keep the Grand Duke and guards from following them any further.
And then there's the cheesy comedy added in the 2021 musical, where the James Corden footman keeps his human head for just a few seconds after the rest of his body has changed back into a mouse, where the coachman changes back into a mouse while the coach is still moving, which forces Girlboss Cinderella to take the reigns herself to save them from crashing, and the drawn-out pause where they think they're all going to fall when the coach changes back, only to be relieved when it doesn't, but then, WHAM, it does change back and they fall after all. But before all that silliness happens, I do like the way Cinderella's gown de-materializes – since it was conjured up out of tree blossoms, at midnight it slowly flurries away into floating petals. (Which recalls some adaptations of the Grimms' Aschenputtel, where the gown forms from the leaves of the tree on her mother's grave, then changes back into leaves which return to the tree when she gets home.)
Another version of the de-transformation that especially stands out is in 1976's The Slipper and the Rose. There, the palace's outdoor staircase isn't just a single flight of stairs, but several flights of stairs that wind this way and that, each ending with a newel post topped with flowers in a stone pot. Each time Cinderella reaches a landing, turns a corner, and is momentarily hidden by the post and flowers, her gown becomes more disheveled and gradually changes from pink to gray as it turns back into her work dress, while her white wig comes loose and slowly turns brown as it changes back to her own hair. All this happens amid magical showers of pink rose petals from the air above her. By the time she reaches the bottom of the stairs, she's changed entirely back to her former self, and then she sees that the coach, horses, and coachman have changed back too.
In the 1985 Faerie Tale Theatre version, the fact that all the magical transformations and de-transformations take place in explosions of smoke and sparkles reinforce how jarring the sudden reversion is for Cinderella, as she's just about to climb into her coach when the explosion happens, and when the smoke clears we see her sprawled on the ground in her rags, knocked down by the blast, next to the pumpkin, mice, and rat.
But even simple versions that just have an instant, non-explosive de-transformation as Cinderella runs down the stairs, and then have her run past the pumpkin and mice as she escapes into the night, can be very effective. In the 1997 version of Rodgers and Hammerstein's musical, the wave of golden sparkles that sweeps over her and changes her finery back to rags is beautiful and magical despite its simplicity. The 1947 Russian version uses a simple stage-like trick of having Cinderella slip behind a column, then reemerge on the other side in her rags, but then has a tense and poignant moment as she hides behind the column to keep the Prince from seeing her as he comes outside. And the emotions a Cinderella actress conveys can be just as important as any magical effect. Mary Pickford in the 1914 silent version and Brandy in the 1997 musical both poignantly look themselves over in disbelief and disappointment that their finery is gone, but then quickly shift to fear of getting caught and hurry away. And even more heartbreaking is Lesley Ann Warren's 1965 Rodgers and Hammerstein Cinderella, who is truly distraught to see her gown become rags again and runs away sobbing.
The two cruelest de-transformations, however, are in the two French silent versions directed by Georges Méliès, where the Fairy Godmother appears at the palace, angry that Cinderella disobeyed her by failing to leave the ball before midnight, and personally transforms her gown back to rags as punishment. The 1899 version is the worst, because this takes place in the ballroom in front of the Prince and the whole court, and the stepsisters other ladies in laughing at her when they see who she is. At least in the 1913 version, the Fairy Godmother spares her such humiliation by letting her escape into a hallway first.
I've also noticed that several adaptations have the pumpkin shatter after it changes back from the coach. In Disney's animated film, the guards run over it on their horses, while in other versions it just shatters when it falls to the ground. Either way, the sight of its destruction definitely reinforces that Cinderella's night of magic is over.
I hope future adaptations find creative new ways to handle this scene.
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