A KISS FOR CINDERELLA
starring Betty Bronson, Tom Moore and Esther Ralston
It has not plot, this "Kiss for Cinderella," except the beautiful old plot of the Cinderella legend. It has no more sex than sunshine. It has no fashion parade. But it is exactly what its advertisements call it, "A Christmas Gift for All."
Charm and laughter and youth it has, and while it marks no
great advance for Betty Bronson, it ranks Herbert Brenon among
the really important directors.
Because she is starved and cold, she gets a blessed fever that transports her to a fairy ball where she wears the glass slippers and the beautiful gown and meets the Prince, who is really her friend, the policeman. And then when she gets well again well, you go see for yourself. And take every one of the children, even the baby. It's their lollipop.
A KISS FOR CINDERELLA
Starring Betty Bronson, Tom Moore and Esther Ralston
When the holidays approach, all of us are entreated to forget all we know, and become girls with our girls, or boys with our boys. Our return to childhood is usually marked by a whimsical something of Barrie's, and I must admit that I find that my knees creak slightly and I feel a draught on the back of my neck when I undertake this yearly romp with the kiddies.
This year it was "A Kiss for Cinderella" with Betty Bronson, or starring Betty Bronson. This is an adaptation and a slight enlargement of the stage play of the same name, which was produced in New York seven or eight years ago.
It is the story of a little London waif, who has adopted four war orphans. Her vivid imagination, combined with very little food, makes her dreams realities.
It is hardly possible to mention a dream scene without referring to "Beggar on Horseback," but as "A Kiss for Cinderella" was conceived and written long before "Beggar on Horseback," the comparison should be make the other way around.
I liked "A Kiss for Cinderella," through there are times when it seems to drag unbearably, and during the first scenes Betty Bronson seems almost too positive as a quaint little thing. And the babies in their boxes along the wall act like little puppets worked with strings.
There are bits of the dream that are pure delight, and Tom Moore, as the exquisitely bored young prince, is very good. Dorothy Cumming is the beautiful, haughty queen, and Betty Bronson is without a doubt a very engaging child.
Herbert Brenon is the director, and he has made the picture a really delicate and humorous thing. I am not so certain children will like this. Children do not seek whimsy. But their mothers and fathers, who have forgotten that childhood is a period for custard pies and performing animals, will enjoy it.
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