Cinderella 1950 Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Cinderella is living a dissatisfying life, having lost both parents at a young age, and being forced to work as a scullery maid in her own château for her cruel stepmother, Lady Tremaine, who is jealous of Cinderella's beauty, and equally cruel stepsisters Drizella and Anastasia. In spite of this, Cinderella is a kind and gentle young woman, and is friends with mice and birds that live in and around the château. Meanwhile, at the royal palace, the King is frustrated that his son, the Prince, still refuses to marry. He and the Grand Duke organize a ball in an effort to find a suitable wife for the Prince, requesting every eligible maiden attend. Upon receiving notice of the ball, Lady Tremaine agrees to let Cinderella go if she finishes her chores and can find a suitable dress to wear.

Cinderella finds a gown that belonged to her mother and decides to refashion it for the ball, but her stepfamily impedes this by giving her extra chores. Cinderella's animal friends, including Jaq and Gus, refashion it for her, completing the design with a necklace and sash discarded by Drizella and Anastasia, respectively. When Cinderella comes downstairs wearing the dress, the stepsisters are upset when they realize Cinderella is wearing their accessories, and tear the dress to shreds before leaving for the ball with their mother. Heartbroken, Cinderella storms out into the garden in tears, where her Fairy Godmother appears before her. Insisting that Cinderella will go to the ball, the Fairy Godmother magically transforms a pumpkin into a carriage, the mice into horses, Cinderella's horse, Major, into a coachman, and dog, Bruno, into a footman, before turning Cinderella's ruined dress into a silver ball gown and her shoes into glass slippers. As Cinderella leaves for the ball, the Fairy Godmother warns her the spell will break at the stroke of midnight.

At the ball, the Prince rejects every girl until he sees Cinderella, who agrees to dance with him, unaware of who he is. The two fall in love and go out for a stroll together in the castle gardens. As they are about to kiss, Cinderella hears the clock start to chime midnight and flees. As she leaves the castle, one of her slippers falls off. The palace guards give chase as Cinderella flees in the coach before the spell breaks on the last stroke of midnight. Cinderella, her pets, and the mice hide in a wooded area as the guards pass.

The Grand Duke informs the King that Cinderella, who remains anonymous, has escaped, and that the Prince wishes to marry her. The lost glass slipper is the only piece of evidence. The King issues a royal proclamation ordering every maiden in the kingdom to try on the slipper for size in an effort to find the girl. After this news reaches Cinderella's household, Lady Tremaine overhears Cinderella humming the waltz played at the ball. Realizing that Cinderella is the mysterious girl, Lady Tremaine locks her in her attic bedroom. Later, the Duke arrives at the château, and Jaq and Gus steal the key from Lady Tremaine's dress pocket and take it up to the attic as Anastasia and Drizella unsuccessfully try on the slipper. Lady Tremaine's cat, Lucifer, ambushes the mice, but Bruno chases him out of the house, allowing the mice to free Cinderella. As the Duke is about to leave, Cinderella appears and asks to try on the slipper. Knowing it will fit, Lady Tremaine trips the footman as he brings the Duke the slipper, causing it to shatter on the floor. Much to her horror, Cinderella presents the Duke with the other slipper, which fits perfectly. The film ends with a now-married Prince and Cinderella at their wedding, sharing a kiss as they leave.

• Marc Davis, Eric Larson, and Les Clark were the supervising animators of Cinderella
• Frank Thomas was the supervising animator of Lady Tremaine
• Milt Kahl was the supervising animator of Fairy Godmother
• Ollie Johnston was the supervising animator of Drizella Tremaine and Anastasia Tremaine
• Ward Kimball, Wolfgang Reitherman, and John Lounsbery were the supervising animators of Jaq and Gus
• Ward Kimball, John Lounsbery, and Norm Ferguson were the supervising animators of Bruno
• Ward Kimball,John Lounsbery, and Norman Ferguson were the supervising animators of Lucifer
• Milt Kahl and Norman Ferguson were the supervising animators of The King
• Frank Thomas, Milt Kahl, and Norman Ferguson were the supervising animators of The Grand Duke

Story development

In 1922, Walt Disney produced a Laugh-O-Gram cartoon based on "Cinderella", and he had been interested in producing a second version in December 1933 as a Silly Symphony short. Burt Gillett was attached as the director while Frank Churchill was assigned as the composer. A story outline included "white mice and birds" as Cinderella's playmates. To expand the story, storyboard artists suggested visual gags, some of which ended up in the final film. However, the story proved to be too complicated to be condensed into a short so it was suggested as a possible animated feature film as early as 1938 starting with a fourteen-page outline written by Al Perkins. Two years later, a second treatment was written by Dana Cofy and Bianca Majolie, in which Cinderella's stepmother was named Florimel de la Pochel; her stepsisters as Wanda and Javotte; her pet mouse Dusty and pet turtle Clarissa; the stepsisters' cat Bon Bob; the Prince's aide Spink, and the stepsisters' dancing instructor Monsieur Carnewal. This version stuck closely to the original fairy tale until Cinderella arrives home late from the second ball. Her stepfamily then imprison Cinderella in a dungeon cellar. When Spink and his troops arrive at the la Pochel residence, Dusty takes the slipper and leads them to free Cinderella.

By September 1943, Disney had assigned Dick Huemer and Joe Grant to begin work on Cinderella as story supervisors and given a preliminary budget of $1 million. However, by 1945, their preliminary story work was halted. During the writing stages of Song of the South, Dalton S. Reymond and Maurice Rapf quarreled, and Rapf was reassigned to work on Cinderella. In his version, Cinderella was written to be a less passive character than Snow White, and more rebellious against her stepfamily. Rapf explained, "My thinking was you can't have somebody who comes in and changes everything for you. You can't be delivered it on a platter. You've got to earn it. So in my version, the Fairy Godmother said, 'It's okay till midnight but from then on it's up to you.' I made her earn it, and what she had to do to achieve it was to rebel against her stepmother and stepsisters, to stop being a slave in her own home. So I had a scene where they're ordering her around and she throws the stuff back at them. She revolts, so they lock her up in the attic. I don't think anyone took (my idea) very seriously."

In spring 1946, Disney held three story meetings, and subsequently received a treatment from Ted Sears, Homer Brightman, and Harry Reeves dated on March 24, 1947. In the treatment, the Prince was introduced earlier in the story reminiscent of Snow White and the Seven Dwarfs, and there was a hint of the cat-and-mouse conflict. By May 1947, the first rough phase of storyboarding was in the process, and an inventory report that same month suggested a different approach with the story "largely through the animals in the barnyard and their observations of Cinderella's day-to-day activities."

Following the theatrical release of Fun and Fancy Free, Walt Disney Productions' bank debt declined from $4.2 million to $3 million. Around this time, Disney acknowledged the need for sound economic policies, but emphasized to the loaners that slashing production would be suicidal. In order to restore the studio to full financial health, he expressed his desire to return to producing full-length animated films. By then, three animated projects—Cinderella, Alice in Wonderland, and Peter Pan—were in development. Disney felt the characters in Alice in Wonderland and Peter Pan were too cold, while Cinderella contained elements similar to Snow White, and greenlit the project. Selecting his top-tier animation talent, Ben Sharpsteen was assigned as supervising producer while Hamilton Luske, Wilfred Jackson, and Clyde Geronimi became the sequence directors. Nevertheless, production on Alice resumed so that both animation crews would effectively compete against each other to see which film would finish first.

By early 1948, Cinderella had progressed further than Alice