Director Michael Pataki
Starring Cheryl Smith
Scott’s Review #1,333
Reviewed January 14, 2023
This telling of the legendary fairy tale Cinderella (1977) differs significantly from the sentimental and wholesome story of a rags-to-riches Disney princess that we all know and love.
It’s for adults only; even many adults will scurry to grab the remote and turn it off before their significant other or, god forbid, children, catch them slyly peeking at what emerges from the screen.
The film is pornographic. This fact doesn’t offend me or influence my critique and in reality, piques my interest tremendously in how the filmmakers turn Cinderella into a porn film.
It’s 1970s-style pornography with the bulk of the nudity going to the female characters with barely any male flesh to view though there is some. During the fleshy numbers, there is music and dancing to be had usually with the female performers singing while topless.
The familiar story involves a lonely prince (Brett Smiley) who tries several young women in his kingdom in his search for the one he met at a royal ball. Naturally, it’s Cinderella (Cheryl Smith) the gorgeous yet abused waif who sings and dances while doing her chores, longing for a better life.
The prince is jaded and feels no satisfaction from traditional sex as he boldly reveals in the musical number ‘My Kingdom Won’t Come’. His sex-crazed father the King (Boris Moris) decides to host a lavish ball so that his son can find what he wants.
You see, the weapon that Cinderella possesses is a special snapping female genitalia that the prince experiences at the ball while blindfolded and in an orgy. This quality is irresistible to him and he must find and be with the woman who is the one who has the magic vagina.
The film is naughtily personified and the fun is seeing how far out director Michael Pataki and screenwriter Frank Ray Perilli will go for a shock. Pataki was mostly an actor who dabbled in directing which makes sense since Cinderella feels widely experimental.
Events get off to a perfectly indecent start when the royal chamberlain played by Kirk Scott wanders the forest encountering nude females who coquettishly make out with each other for fun and the affection of the handsome man.
There is more than the sex scenes to keep one thrilled. The costumes and the makeup, specifically the disgraceful pancake colors applied to Cinderella’s devilish stepsisters are in your face and gratifying. The gowns at the ball are professional and stylish.
The film teeters into art film territory at times like when Cinderella performs a musical number while soaping in the tub and while parading through the forest.
Her wacky Fairy Godmother is a black man played by Sy Richardson who is just a burglar intent on robbing Cinderella’s home but he does provide her with her special ‘gift’.
These many idiosyncrasies make the film Cinderella a cross between a lewd John Waters film and a bombastic Russ Meyers party film.
Cheryl Smith is excellent in the title role providing a gorgeous face and figure with a lovely voice. She perfectly delivers the numbers and carries the film.
Among all the many incarnations of Cinderella, circa 1977 is the most outrageous and courageous. How this film was even made and with an R rating baffles me. It’s nearly impossible to find on streaming or in stores and a mere spontaneous purchase was how I was even able to see it.
My suggestion is for cinematically creative film fans to give Cinderella (1977) a whirl but with extreme caution. Viewed with the wrong companions could be disastrous and a 3 am start time with adult nibbles is highly encouraged.
No kiddies allowed.