cinderellavariants

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Cinderella

Brown, M., & Perrault, C.(1954).Cinderella: or, The little glass slipper.New York, Scribner.

A classic variation of Charles Perrault's version. I included it here because it evokes a classic Cinderella tale including all the misfortune the young Cinderella endures including a wicked step family and a fairy godmother who helps Cinderella get ready for the ball pumpkin carriage and all. The illustrations also by Marcia Brown are really beautiful in my opinion as well and are evocative of a sumptuous fairy tale that resonate in the mind of many western and English speaking readers.

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Ella Enchanted

Levine, Gail Carson. Ella Enchanted. New York, Avon Books, 2003.

This unique take on the Cinderella story centers on the protagonist Ella who at birth was given the "gift" of obedience by a fairy. This gift forces Ella to do whatever is asked of her. This is to the delight of Ella's evil step sisters and takes an obvious tole on the girls life. This version of Cinderella is interesting because it calls into question many of the critisicsms of the Cinderella story including the lack of autonomy Cinderella has in her own destiny in all her variations.

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Cinder

Meyer, Marissa. Cinder. New York, Scholastic, 2013.

Author Marissa Meyer turned the Cinderella fairy tale into young adult sci fi story in this variation. Cinderella is a cyborg named Cinder that's finds out she is actually the heir to the throne during a galactic tale of interplanetary war. This tell presents Cinderella not only as independent but a strong warrior capable of defending herself and overcoming adversity through her own uniqueness and perseverance. This warrior take on a Cinderella variation is very modern and presents Cinderella as a fighter physically capable of defending herself.

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Cindy Ellen: A Wild Western Cinderella

Lowell, Susan and Jane Manning. Cindy Ellen: A Wild Western Cinderella. [New York], Joanna Cotler Books, 2000.

In this fun western American retelling Cinderella is a cowgirl who experiences all the misgivings of our other Cinderella variants. How ever the setting in the American west makes for some fun imagery. Inluding a rodeo instead of a ball and western garb and events. The scenery and clothing is deeply representative of western American culture. Cinder Elly is also more noticably independent and capable of self determination.

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Prince Cinders

Cole, Babette. Prince Cinders. New York: Putnam, 1997. Print. 

In this fractured version of Cinderella the author has reimagined Cinderella as a boy. I think this is a interesting addition to this list because it is important to present the classic tale in reversed gender rolls. It can be seen as problematic that Cinderella is constantly given a trope of a helpless young woman. This version presents a comical tale where the step sisters are also men and instead of losing a glass slipper Prince Cinder loses his pants. The fairy godmother is also less than perfect and these comedic devices are sure to play well with young children especially young boys and show them a version of Cinderella where a girl is not the one in need of saving.

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Walt Disney Studios

Walt Disney and his massive film and media empire have become intertwined with the history of fairytales due to its sheer impact on society world wide. This impact can be attributed to several reasons including the post WW2 media and economic dominance of the United States and the English speaking film industry. Whatever the reason Disney did not reinvent the Cinderella story but made it palatable to the American and American cultural hegemony's taste. In these versions of Cinderella aesthetics are important. Cinderella is beautiful and contains many of the modern characteristics that would make for a rolemodel particularly for young women viewers. Cinderella is not only beautiful but kind, intelligent, industrious, and submissive. Her fate is largely written in destiny and these Cinderella variants contain all the magical elements of the fairy tale that allow for Cinderella to overcome adversity and ultimately achieve happiness.

Jackson, Wilfred., et al. Cinderella. Burbank, Calif., Walt Disney Studios, 1950.

Branagh, K. (2015). Cinderella. Walt Disney Studios Motion Pictures

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Roger and Hammerstein's musical made for TV (1957,1967,1997)

In the age of TV and mass media, where this post 1950 variant guide lives, Roger and Hammerstein's made for tv musical adaption of Cinderella is important. These adaptions have created a light-heartedness and fantastical--singing--image of Cinderella that resonates in the concious of the hundreds of millions of people who have seen them. These musical variations largely follow the French Cinderella variation from Charles Perrault (1637). Imagery usually reflects this style of medieval costume and set design. In the musical variations Cinderella is hard working young woman who is bright, kind and beautiful but is over shadowing by her step mother and step sisters who shirk responsibility and force Cinderella into a subordinate position. However Cinderella is able to overcome adversity and attend the ball of her kingdoms prince with help of a fairy godmother,animals, and other magical elements.

Hammerstein, Oscar, II, et al. Rodgers and Hammerstein's Cinderella Image Entertainment [distributor], 2004.

Rodgers, Richard: 1902-1979. The 1965 CBS Television Production of Rodgers & Hammerstein's Cinderella. New York, NY: Sony Broadway, 1993

Brandy, et al. Rodgers & Hammerstein's Cinderella. Burbank, CA, Walt Disney Home Video : Distributed by Buena Vista Home Video, 1997.

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Smoky Mountain Rose: An Appalachian Cinderella

Schroeder, Alan., et al. Smoky Mountain Rose: An Appalachian Cinderella. New York, N.Y., Puffin Books, 2000.

An American regional Cinderella Story this variant is full of all the magic and lore we have seen in the myriad of Cinderella variations. There is an evil stepmother and stepsisters and talking animals abound. What is most interesting about this variation is the regional dialect used and the imagery evoked. The prince is a rich man beholden to American ideals of royalty and our Cinderella, Rose would be recognizable to many in the American imagination like a Cinderella Huck Finn.

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The Golden Sandal: A Middle Eastern Cinderella Story

Hickox, Rebecca. and Will Hillenbrand. The Golden Sandal: A Middle Eastern Cinderella Story. New York, Holiday House, 1998.

This Middle Eastern variation of Cinderella follows our protagonist, Maha, a kind young girl who convinces her lonely widowed father to marry a seemingly nice neighbor woman. The woman turns out to be mean and Maha becomes a servant to women. One day while catching fish Maha meets a talking specimen that offers her a gold coin in exchange for Maha sparing the fish. When it's announced the prince is seeking a bride throwing a ball, Maha goes to the fish and is granted a beautiful dress and golden slippers. Leaving the party Maha loses a golden slipper and the search begins to find its owner. This version contains many regional and cultural references including marriage practices like henna tattooing and references to Islam.

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Little Gold Star Estrellita de oro

Hayes, J., Osuna Perez, G., & Perez, L. A. (2000). Little Gold Star: a Cinderella cuento = Estrellita de oro. El Paso, TX, Cinco Puntos Press.

Little Gold Star is a Mexican and Southwest American variation of the Cinderella Story. Arcia, our protagonist, is a young woman who lives in a rural mountainous village who convinces her father to marry a neighbor woman who at first seems kind but is actually wicked and cares only for her own daughters. When the selfless Arcia decides to butcher a sheep from her father to feed her village she goes to the river to wash the intestines of the sheep. Using Mexican and Southwest American images Arcia is supplanted with a gold star on her forehead from a mystical hawk who steals her sheep intestines. Her selflessness separates her from her evil step sisters who are imbued with a cow's horn and donkey ear. Arias' magical gold star shines so bright it captures the local prince's heart.

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The Rough-Face Girl

Martin, R., & Shannon, D. (1992). The Rough-Face Girl.

In this Native American variation of Cinderella author Rafe Martin re tells a traditional Algonquin tale. In this Cinderella Story our Cinderella “Rough-Face Girl” is tormented by her sisters. Her name derives from the years she is forced to spend tending the fire at her home. In this tale Cinderella does not attend a ball or meet a traditional prince. The prince in this variant is “The Invisible Being.” This being is an omnipresent presence to the Algonquin people. The Rough Face Girl is tormented by her people due to her scars and torn clothes. But the Invisible Being is not interested in the fancy clothes and jewelry of the other sisters but only in the kind heart and oneness with nature that Rough Face Girl encompasses. 

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Cendrillon: A Caribbean Cinderella

Souci, R. D. S., & Pinkney, J. B. (1998). Cendrillon: A Caribbean Cinderella

In this variant our protagonist is Cendrillon a well off girl from Martinique whom tragically loses her mother as a baby. Her father remarries in classic Cinderella fashion and she is thrust upon a family with an overbearing step mother and unempathetic step sisters. In this version though Cendrillon’s fairy godmother is her “nannin’” This variant is full of regional culture from local food and clothing. The glass slipper is embroidered but nonetheless still included. The imagery is sumptuous and reflective of the caribbean setting. Cendrillon’s godmother also brandishes a wand made of mahogany and can only help  those whom she loves. 

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A Cinderella Story

Cinderella, too the English speaking world, may present familiar images of a beautiful young woman who overcomes circumstance and with the help of magical forces, achieves her happy ever after. This is likely projected in our minds with the help of Walt Disney and the animations of the 1950 variation. However, Cinderella is a story, a fairytale that has taken root all over the world and has many variations reflecting the diversity of our planet's societies. Cinderella, has also, developed as a popular medium entering the modern world media formats of TV and film as well a traditional written and illustration form. What connects these variations are several characteristics defining the Cinderella story as uniquely identifiable. What physical form or name does not define a Cinderella story only the chief connecting aspects such as a wicked step mother, un loving step sisters, a fairy godmother, magic, a prince or love interest, and a happy ending overcoming adversity.