Anne Hathaway plays a girl named Ella who was given a gift by a fairy godmother at birth — the gift of obedience, which forces her to obey any command she hears. That gift turns into a curse when she meets people who want to control her. Ella sets out to find the fairy godmother and have the curse lifted, but she has to pass through Giantville and face ogres, giants, wicked stepsisters and a prince’s evil uncle who wants to take over the kingdom.
This is Ella Enchanted, a 2004 family fantasy comedy directed by Tommy O’Haver, adapted from Gail Carson Levine’s 1997 novel. It stars Anne Hathaway as Ella, Hugh Dancy as Prince Char, and Cary Elwes as Sir Edgar, the uncle who rules the kingdom and wants the throne for himself. The film is a satire of the fairy tale genre, and it leans heavily on music from other songs, turning Ella’s story into a kind of jukebox musical.
Trailer, via Miramax.
The Gift of Obedience
The setup is simple and clever. Ella obeys commands instantly and literally, even when they hurt her. That gift comes from Lucinda, the fairy godmother who bestowed it, played by Vivica A. Fox. Fox plays Lucinda as angry and misguided, often unhelpful, a fairy who did not think through what she was doing.
Ella’s mother warns her not to tell anyone about the gift, fearing that someone may exploit it. Ella is also told there is strength within her that nothing can overcome. Years later, Ella’s father, Sir Peter, marries Dame Olga, who treats Ella badly. Ella protests publicly and meets Prince Char, who invites her to his coronation ball. His uncle, Sir Edgar, wants the throne for himself.
Lucinda’s gift is the engine of the whole story. Ella cannot refuse a request, and that single rule drives every scene around her. It makes her a target for anyone who wants power over her, and it makes her journey to find Lucinda urgent.
Giantville and the Journey
Ella’s path takes her through Giantville, where she meets Slannen, an elf who wants to become a lawyer rather than an entertainer. Slannen joins her, and together they rescue each other from ogres led by Nish, who eats humans. They are saved by Char, who joins them to avenge the death of his father.
Char’s uncle, Sir Edgar, is the real villain. He killed King Florian and took over the crown years ago, and now he wants Char dead so he can rule alone. The film spends real time building this conflict, showing Edgar’s cruelty and his desire for power.
The journey is full of obstacles. Ella must avoid being caught by ogres, escape from people who want to use her gift, and keep her plan hidden from Edgar, who orders her to kill Char at midnight and keep it a secret. She writes Char a letter saying she must leave but cannot explain why, then chains herself to a far-off tree while Slannen gathers elves and giants to protect Char.
The Satire of Fairy Tales
The film is a satire of the fairy tale genre, and it knows what it is doing. It takes the idea of a fairy godmother and turns it into a joke about control. Ella’s gift is a curse because it removes her ability to choose, and the film makes that point again and again.
Hugh Dancy plays Prince Char, and the film treats him as a teen heartthrob figure, though he disagrees with that label. The film’s version of Char is not a perfect prince. He is a character with flaws, and his uncle’s cruelty shapes him deeply.
Cary Elwes plays Sir Edgar as a man who will stop at nothing to get what he wants. He killed King Florian and took the crown, and now he wants Char dead so he can rule. Elwes plays him with menace, and the film gives him plenty of scenes to chew on.
“Get enchanted”
Music and the Jukebox Problem
The film is a jukebox musical, which means it borrows music from other songs rather than writing its own. That choice is a double-edged sword. The music fits the tone of the story, and some of the songs work well within the film’s world. But the reliance on outside songs means the film never fully commits to its own identity.
The songs add energy to scenes that might otherwise feel slow, especially during the journey through Giantville. But they also break the flow of the story, pulling the audience out of Ella’s world and into a pop song that has nothing to do with it.
The Cult Audience
The film has drawn fans who follow its stars. Hugh Dancy has appeared at fan conventions, according to the film’s marketing materials. The film’s message of self-determination and individual empowerment resonates with viewers who grew up with stories that told girls to sit still and wait.
Levine, the author of the original novel, said the film is “so different from the book that it’s hard to compare them” and suggested “regarding the movie as a separate creative act.” That is a fair reading. The film is its own thing, and it should be judged on its own terms.
A Mixed Record
The film was a box-office bomb, and the cult-classic context suggests mixed reception among viewers. The source describes it as loosely based on the novel, which means some changes were expected, and Levine’s statement suggests the film should be treated as a separate creative act rather than a faithful adaptation.
The film’s strengths are its performances and its ideas. Hathaway sells Ella’s struggle completely, and Dancy brings warmth to Char. The film’s satire of fairy tales is sharp, and its message about self-determination is timely. But the jukebox musical structure and the heavy changes from the source material hold it back.
Ella Enchanted is a flawed but interesting film. It tries to do something different with the fairy tale formula, and it mostly succeeds. The performances carry it, and the message lands. But the structural issues keep it from greatness.
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