Ever After (1998)
Director: Andy Tennant Cast: Drew Barrymore, Anjelica Huston, Dougray Scott, Patrick Godfrey, Megan Dodds, Melanie Lynskey Screenplay: Susannah Grant, Andy Tennant, Rick Parks Producers: Mireille Soria, Tracey Trench Runtime: 120 min. US Distribution: 20th Century Fox Rated PG-13: mild violence and profanity
By Nathaniel R. Atcheson (nate@pyramid.net)
While watching Ever After, I realized that the only rendition of the classic tale of Cinderella I had seen is Disney's animated version. I became aware of this about halfway into the film, when I noted that it was going to be hard for the director, Andy Tennant, and his writers to include fairy godmothers, talking mice, and carriages that turn into pumpkins after midnight. Like most children's' stories, I have no affinity for this particular fairy tale, but Ever After is a delightfully entertaining re-interpretation of the story.
Drew Barrymore takes center stage in this version, cast as the young Danielle. After the untimely death of her father (she's only eight when he dies), Danielle falls under orders of her stepmother, Rodmilla (a very wicked Anjelica Huston), and stepsisters (Megan Dodds and Melanie Lynskey). Danielle is, of course, a very strong girl because she was raised from an early age by her father. Rodmilla sees this as an advantage, and puts Danielle to hard labor for ten years. When Danielle reaches the ripe age of eighteen, she's a confident and hard-working young woman, in addition to being fantastically attractive.
So, when she meets the Prince Henry (Dougray Scott), heir to the French throne, he's instantly enthralled with her intelligence (she likes to read) and passion (she's a socialist). But, feeling that her status is not good enough for him, she spins a lie in which she pretends to be a rich Baroness whenever he's around. What she doesn't realize is that Henry is looking for his bride, and that her stepsister, Marguerite (Dodds), is successfully attempting to win the right to be his wife.
It takes a lot of talent to wring interest out of a story told so many times, and Tennant proves that he's up to the task. Visually, the film is impressive, with nice cinematography, and fantastic sets and costumes. I never got the feeling that I was watching something artificial, or that any of it took place on a sound stage. Some of the scenes are truly fantastic, such as the infamous ball. It's refreshing to see a Hollywood period piece that actually pays attention to details (although all the actors have British accents, despite the fact that they're living in France).
Tennant is also a gifted storyteller, and he makes this clear in the passion with which this story is told. True, some of the scenes are nearly overdone, but Tennant is a master at payoffs -- there are numerous segments that thrilled me, and had the audience around me cheering with excitement. There won't be an indifferent mind in the house when Danielle finally has her way with Marguerite, or when Tennant shows us the best way to take revenge of a wicked stepmother. And the film never regresses into banality or stupidity -- Ever After is a fairy tale, but it's an imaginative and well-executed fairy tale.
Barrymore is luminous in the lead role. It's nice to see a child actor that actually made it through the teenage years; Barrymore, in addition, was one of the few child actors who had talent. Here, she perfects a British accent (but shouldn't it have been a French accent?), while injecting Danielle with multiple layers of intelligence and strength. She is the heart of this film, and manages to elevate the already-high quality of the overall package. The supporting roles are colorful, particularly from Huston. She was clearly born to play this role; her eyes seethe wickedness even when she isn't speaking. Scott is also very good (and very funny) as the spoiled prince. Dodds, as the bitchy stepsister, is perfect, while Lynskey (who was fantastic in Heavenly Creatures) is likable as the good stepsister.
The previews for Ever After didn't look promising; I expected a thoughtless and dry interpretation of the story. Instead, I got this film, which is energetic and charming -- this is Hollywood storytelling at it's finest. In addition to crafting a great picture all-around, Tennant has discovered the best possible way to avoid the magic spells and talking animals that most people will expect from the story. He deserves double bonus points for that.
*** out of **** (7/10, B)
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Nathaniel R. Atcheson
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