EVER AFTER: A CINDERELLA STORY (1998), dir Andy Tennant
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EVER AFTER: A CINDERELLA STORY (1998), dir Andy Tennant
Elizabeth Sweetheart, “The Green Lady” Kitten Kay Sera, “The Pink Lady” Ella London, “The Yellow Lady” Sandra Ramos, “The Purple Lady” Zorica Rebernik, “The Red Lady”
“The whole experience had been so bewildering to him that he put it out of mind as soon as possible, but he had dreams about it for several months afterwards, nightmares. Saemtenevia Street was two miles long, and it was a solid mass of people, traffic, and things: things to buy, things for sale. Coats, dresses, gowns, robes, trousers, breeches, shirts, blouses, hats, shoes, stockings, scarves, shawls, vests, capes, umbrellas, clothes to wear while sleeping, while swimming, while playing games, while at an afternoon party, while at an evening party, while at a party in the country, while traveling, while at the theatre, while riding horses, gardening, receiving guests, boating, dining, hunting - all different, all in hundreds of different cuts, styles, colours, textures, materials. Perfumes, clocks, lamps, statues, cosmetics, candles, pictures, cameras, games, vases, sofas, kettles, puzzles, pillows, dolls, calendars, a baby’s teething rattle of platinum with a handle of rock crystal, an electric machine to sharpen pencils, a wristwatch with diamond numerals; figurines and souvenirs and kickshaws and mementos and geegaws and bric à brac, everything either useless to begin with or ornamented so as to disguise its use; acres of luxuries, acres of excrement. In the first block Shevek had stopped to look at a shaggy, spotted coat, the central display in a glittering window of clothes and jewellery. “The coat costs 8,400 units?” he asked in disbelief, for he had recently read in a newspaper that a “living wage” was about 2000 units a year. “Oh, yes, that’s real fur, quite rare now that the animals are protected,” Pae had said. “Pretty thing, isn’t it? Women love furs.” And they went on. After one more block Shevek had felt utterly exhausted. He could not look anymore. He wanted to hide his eyes. And the strangest thing about the nightmare street was that none of the millions of things for sale were made there. They were only sold there. Where were the workshops, the factories, where were the farmers, the craftsmen, the miners, the weavers, the chemists, the carvers, the dyers, the designers, the machinists, where were the hands, the people who made? Out of sight, somewhere else. Behind walls. All the people in all the shops were either buyers or sellers. They had no relation to the things but that of possession.”
— Ursula K. Le Guin, The Dispossessed
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