Georges Méliès's first attempt at Cinderella was in 1899. That film was extraordinary then for having multiple scenes and a semblance of a narrative; additionally, the use of dissolves as transitions in it influenced other filmmakers for years to do the same. Méliès was the cinema world's preeminent leader then. By 1912, however, that was no longer the case; frankly, as evidenced by this feature, his style had become dated. Moreover, Méliès had begun to adopt techniques from other filmmakers, such as direct cuts instead of dissolves, and there's even a match on action shot during the slipper trying-on scene.

Le film reprend l'essentiel de l'histoire de Cendrillon dans sa version du conte de Perrault d'une manière beaucoup plus étoffée que lors du premier film de 1899 à la fois quantitativement, puisqu'il dure beaucoup plus longtemps, mais également qualitativement, les techniques ayant entre-temps considérablement évolué.

La madrina de Cenicienta, ante la maldad de sus hermanastras, la transforma en una princesa para que pueda asistir al baile del príncipe. Le impone una única condición: tiene que volver a casa antes de la medianoche.