Ella's Big Chance: A Jazz-Age Cinderella

Shirley Hughes' retelling of the Cinderella story set in the jazz era is really beautiful! Her illustrations alone could tell the story, but the text is wonderfully written and humorous as well. The book is enjoyable from cover to cover!

There are several authors and illustrators of children's picture books that should be essential reading experiences for every child, created by artists that meld whimsy, humour, poignancy, wisdom and humanity with such grace that you just know that the memory of that book will stay with them for the rest of their lives. Shirley Hughes is one of these authors/illustrators, best known for her `Alfie and Annie Rose' books, but also of several other stories that capture all the above traits. "Ella's Big Chance" is one such book, taking the traditional tale of Cinderella and changing it in several vivid, exciting ways. It is old and refreshingly new at the same time. Mr Cinders and his daughter Ella run a dress shop, along with their delivery boy Buttons (who almost always appears as the narrator in any production of a pantomime Cinderella). They are a happy family, but all that changes when Mr Cinders marries Madame Renee, who has two daughters of her own: Ruby and Pearl. Ella's new stepfamily takes over her existence, reducing her to a servant in her own home. Her only ally is Buttons with whom she has a warm and kind friendship. Then the news arrives that the handsome Duke of Arc is having a ball. You all know what happens next: Ella is denied an invitation, a fairy godmother transforms her rags, and Ella makes her magnificent debut. The clock strikes twelve, Ella flees and the Duke begins his search for her, using the glass slipper she left behind as his guide. One might at this stage think that this is simply another rehash of the Cinderella tale; if you've read one, you've read them all. But Shirley Hughes' version differs in several key ways. First is the setting; Parisian France in the 1920's, where the streets are quaint and sunlit, a silver limousine takes the place of the pumpkin carriage, the dancing mirrors that of Ginger Rodgers and Fred Astaire, and the costumes are the quintessential gowns of Doucet, Poiret and Patou. It is a visual feast for the eyes, romantic and glamorous. Second is Ella's physique. Whereas her stepsisters are slender and lovely (not *ugly* stepsisters at all), Ella herself is a little on the voluptuous side - and she looks fantastic. It's a great step up from the stick-figures that frequent children's fairytales, especially those targeted toward girls. Lastly are several story elements; such as the fact that Ella's father does not pass away but remains a hen-pecked husband who is powerless to rescue his daughter. Then there is Hughes' delightful interpretation of the fairy godmother, as an umbrella-wielding granny with a secret plan for Ella. Most important of all is the twist regarding Buttons - I won't give it away (though you've probably already guessed what it is now that I've mentioned it). I'll say no more except that it's great. So that's Shirley Hughes's Cinderella retelling, a fantastic reading experience that everyone (especially your daughters) will love, with several subtle but truthful mess

this book was awesome.the illastrations were great and the story was very livly and 30's!

Knowing that this Cinderella-themed book won the "Kate Greenaway Medal for Children's Illustration," I decided to look at the illustration before reading the text. I was looking for authenticity and creativity in the pictures, as well as a hint of the story to come. I'm also a fan of jazz, and although the music isn't synonymous with the "age," I was curious to see whether author/illustrator Shirley Hughes incorporated any musical elements. It didn't take long to discover the sweep and style of the 1920's, for Hughes' 2-page opening title shows a glossy ballroom floor, inhabited by a small jazz band, self-assured men in tuxedoes and tails, fashionable women in full length gowns (plunging either in front or back), and a white-coated "manservant" offering martinis. (Zelda, we have arrived!) As the story begins, pictures show the middle and under classes, and the scornful looks of the social "betters." The latter are dressed in chiffon, feathers, fancy hats, and jewelry, and a man sports a pinstripe suit with a rose boutonnière and impeccable black and white spats. You can sense the texture of their clothes, just as you can feel the conflicting attitudes of the haves and have-nots. I cheated and looked at the endpaper: The rich colors come from gouache, accented and shaded with pen. In addition (and, as noted by another reviewer), Hughes' original dress designs were inspired by 1920's French couture; her ballroom scenes by the décor and set designs of the glorious RKO-produced Astaire/Rogers musicals. The book's remaining pictures convey emotion (especially in cinematic-like close-ups), dramatic lighting, subtle and grand action, and swirls of gorgeous, opulent color. Hughes captures the look of money and the face of disenfranchisement with equal magnificence. OK, so I'm completely sold on the pictures. What about the story? As you may have gathered, the Cinderella here is "Ella Cinder," a comely woman who's an expert helper in her father's dress shop. When she can, she laughs with almost- boyfriend "Buttons." As for the scornful women mentioned above, they're her dad's new wife (Cinder's stepmother) and her daughters (the stepsisters!). The stepmother takes over running the shop, the stepsisters model, lounge about, and call Cinder names, and Cinder herself has to work harder than ever. Mr. Cinders is a broken man in this power play, and he can do nothing to help his daughter. Buttons, however, scrappy American that he is, "stays on the job for [Cinder's] sake." "Privately he called the [stepsisters] a couple of puffed-up, made-up, stuck-up, brainless parakeets." He also plays his guitar" in Ella's ratty basement room, and sometimes, "they even danced together...moving softly in and out among the bales of cotton." This is pure literary magic, Hughes' words and pictures mesh like a slow dance; they're consistently evocative and note-perfect. I'll now cut to the chase of this modernized (to a point) fairy tale: An elite ball is pla

There are a lot of things to like about this book. It is set in the 1920's and Ella is a garment maker, in her fathers elegant little dress shop. When her father remarries she gets a horrible new step-mom and two step sisters, suitably nasty. "His new wife seemed to pop up from nowhere like a sharp-eyed, expensively dressed jack-in-the-box" Ella has a dear friend named Buttons, who makes life easier for her by keeping her company as she stays up late sewing, making her laugh and singing her songs. The funny thing about Buttons to me is he looks like he MUST be an Aussie, and uses words like "brainless parakeets" which seems to prove the authors intention. He looks like a young mel gibson, fresh from the set of Gallipoli, and it's quite amusing. One of the wonderful things the author has done is make this book so quirky. Ella doesn't have a perfect sylph-like figure merely hidden by soot, instead she's redheaded, with corky curls and a plump little body, which when tucked into a more suitable gown, looks just fine. It's her personality which wins the Duke over and brings him around begging for her hand. And dear Ella takes a good look around her and realises that it's Buttons she really want's, and they take off, and set up their own dress shop. The illustrations are fantastic, and as written in the back of the book, the ball scenes were inspired by the dance sequences in the R.K.O. Fred Astaire/Ginger Rogers movies. The dresses are Shirley Hughes original designs, inspired by the French couturiers of the 1920's, Doucet, Poiret and Patou. Just love it. Ages 8+ would most appreciate this book, although certainly any age will happily sit through it. For you it makes an entertaing bedtime story. For them, the same, and a little twist to the regular fairytale. Kotori Nov 2004