The Unforeseen Feminist Icon Who Enchanted Our Screens
Cinderella stands at the forefront of the Second-Wave Feminist Renaissance
(Ye be warned…Spoilers lie ahead)
Once upon a time, there was a young woman who was a horse-riding housemaid, a master huntress, and a beautiful princess all at the same time. Yes, you read that correctly.
The tale of Cinderella is one universally familiar and beloved by all. it boasts a rich heritage within international folklore and has spawned countless adaptations across film and television.
One bold and unconventional interpretation, in particular, sought to reimagine the classic fairy-tale. This was Tri orisky pro Popelku, translated in the West as Three Wishes for Cinderella (1973).
The brainchild of a joint collaborative venture between DEFA Studios and Barrandov Film Studios of former East Germany and Czechoslovakia respectively, Three Wishes remains a timelessly captivating festive treat with an enormous cult following throughout the Czech Republic, Germany, Scandinavia, Britain, and other European countries.
It outshines its Disney counterparts on every level. Its magic is grounded in a refreshingly realistic setting. It is also enriched by an impeccable soundtrack composed by Karel Svoboda, to which the late great Czech pop artist Karel Gott lends his voice. Completing these elements are an array of entertaining and memorable performances from its leads and supporting cast.
The main justification for why Three Wishes carries the esteemed mantle of being the quintessential Czech fairy-tale, or pohadka, and the most profound European interpretation of Cinderella to date, is owed to to its titular heroine. Popelka (Libuse Safrankova), charismatically personifies female solidarity and emancipation.
In his reincarnation, reputable fantasy director, Vaclav Vorlicek, dispensed with several components which formed the original story, such as the fairy godmother, the ‘midnight’ trope, and condensing the characters of the two evil step-sister characters to one.
Vorlicek and his creative team reinvented Cinderella as a defiant, witty, and compassionate young woman who derives warmth and admiration from all her fellow peasantry and animal companions. Her unconditional kindness never wavers despite her routine torment at the hands of her wicked stepmother, who forces her to complete laboriously menial tasks.
In another unexpected yet welcome twist of convention, the narrative situates Popelka as the object of the Prince’s desire and it is he who pursues Popelka. Even after she flees the climactic ballroom scene, of her own accord, he pursues her.
Popelka teases and outwits the Prince during their every interaction, serving only to add to their mutual attraction and respect for one another. Although they do eventually wed, it is clear from the outset that Popelka has little interest in marriage and only entertains the idea on her terms.
Three Wishes thrives as an unusually progressive feminist text, especially in the context of a fairy-tale, a traditionally patriarchal format. It is less radical and contentious than the female-centric films which preceded it, including Vera Chytilova’s renowned avant-garde drama, Daisies (1966).
Instead, by channeling its subliminal feminist undertones through a highly relatable and sympathetic central protagonist, Three Wishes’ appeals to a wider audience of women. A noble and intelligent feat, considering how feminism still resembles something of a ‘dirty word’ within the Czech Republic due to its close historic ties with Socialism.
Three Wishes is largely faithful to its source material, the Bohemian variation of Cinderella written by treasured nineteenth-century Czech feminist writer, Bozena Nemcova. Yet, it still manages to still to revamp and modernize itself for a new generation of rebellious young women, proudly presenting them with the definitive female role model.
Furthermore, its success is impressive considering the temperamental sociocultural climate under which the film was made. The Czechoslovak film industry was experiencing significant changes during the normalization era caused by the abrupt Soviet takeover in 1968. These turbulent political circumstances are never reflected within the finished product. This ground-breaking masterpiece entranced Seventies audiences and continues to captivate and inspire international audiences today.
Three Wishes further stands as a testament against any misconceptions dismissing this period of Czechoslovak cinema as one of limited creative output in light of its authoritarian Communist oppression.
This pohadka will always resonate as a truly magical and cherished aspect of my childhood.
View the trailer for Three Wishes for Cinderella (1973) below.
