Cinders is a slave in the household with her stepmother and two stepsisters. The one joy in her life is her iceman boyfriend, Waite Lifter. She reads in a movie magazine of a beauty contest with the winner being awarded a Hollywood contract. Despite the fact that the picture the photographer submitted of her was snapped when a fly had landed on her nose and she was looking cross-eyed at it, the judges declare her the winner when they see her in person. Waite, really a rich-man’s son and only hauling ice to get in shape for football, tells his father he is going to marry Ella. In Hollywood, through an accident, a director signs her up for a film and sends her on a desert location. —IMDb
Alfred E. Green inaugurated his nearly five-decade film career as a utility actor at the old Selig Polyscope outfit. He became assistant to Selig’s top director Colin Campbell, working on such early moneymakers as The Spoilers (1914). By 1917, Green was soloing as a feature director at Paramount, putting such luminaries as Mary Pickford, Thomas Meighan and Wallace Reid through their paces. His first talkies, lensed at Warner Bros., were two stagebound but enjoyable George Arliss vehicles, Disraeli (1929) and The Green Goddess (1930). He spent most of the 1930s at Warners, turning out films of decent box-office value but highly variable quality: he managed to direct Bette Davis in one of her best performances (1935’s Dangerous, for which she won an Oscar), but also helmed one of her worst efforts, Parachute Jumper (1933). In 1946, Green directed Columbia’s The Jolson Story, one of that studio’s biggest hits, and the most financially successful of all of Green’s films. Seven years later… read more
Colleen Moore was one of the most talented comediennes of her time, and her work is dying to be rediscovered. This is probably the best place to start. Though one can perceive it as a mere "Cinderella" spoof, Ella Cinders, despite the banality of its script (which is actually adapted from a comic strip), is a splendiferous showcase of Colleen Moore's impeccable comic timing and why her effervescent Jazz Age persona was so revered during the 1920s.