And welcome to the second Winnie-the-Pooh centric film of the year – Christopher Robin (not to be confused with Goodbye Christopher Robin).
IMDb summary: A working-class family man, Christopher Robin, encounters his childhood friend Winnie-the-Pooh, who helps him to rediscover the joys of life.
- Christopher Robin was written by Alex Ross Perry (writer of smaller, quite obscure films), Tom McCarthy (Spotlight, Up, 13 Reasons Why), Allison Schroeder (Hidden Figures), Greg Brooker (Stuart Little), and Mark Steven Johnson (writer of early 00s Marvel films). What a mish-mash of talent, looking at their previous projects. Looking at this list, I really would not have thought that Christopher Robin’s script could be good but it was!
- Like the first film (of the year) about Winnie-the-Pooh’s origin, Christopher Robin was heartwarming in its promotion of childhood and living the adult life that one’s past/inner child would be proud of. It celebrated imagination and silliness and portrayed life as a game to be played. The film’s message felt heartfelt and sincere rather than cheap or cliched.
- Christopher Robin was directed by Marc Forster (who previously did Finding Neverland – a spiritual predecessor of sorts of this film; Quantum of Solace, and World War Z). Both thematically and visually this film felt like a mixture of Paddington, Alice in Wonderland, Peter Rabbit, A Wrinkle In Time, Toy Story 3, and Peter Pan.
- Ewan McGregor (T2, Beauty and The Beast) played the titular character and was amazing, as always. He managed to make Robin into an empathetic character, even when his actions could have easily seen as annoying or frustrating if handled by a lesser actor. Hayley Atwell played Robin’s wife. It was nice to see her on a big screen as I loved her a lot as Agent Carter.
- The voice cast consisted of Jim Cummings as Winnie the Pooh, Brad Garrett as Eeyore (my spirit animal!), Nick Mohammed as Piglet, Peter Capaldi as Rabbit, Sophie Okonedo as Kanga, Sara Sheen as Roo, and Toby Jones as Owl. All of the voices sounded quite peculiar and were done in such a similar style that I couldn’t neither recognize any of the voices nor discern one from another.
In short, Christopher Robin was an adorable mashup of a variety of writers’ talents and seen before ideas that still, unimaginably, was a successful movie.
Trailer: Christopher Robin trailer
One of the early potential awards contenders has premiered, thus, let’s evaluate its chances. This is the review of Goodbye Christopher Robin.
IMDb summary: A behind-the-scenes look at the life of author A.A. Milne and the creation of the Winnie the Pooh stories inspired by his son C.R. Milne.
- Goodbye Christopher Robin was written by a novelist and a British TV/movie writer Frank Cottrell-Boyce and a TV producer Simon Vaughan and directed by Simon Curtis (who previously directed My Week With Marilyn – one of my favorite films about the movie business). Curtis’s directing was very competent. He paced the movie neatly and made it feel like an old-school classical drama. The way he shifted the focus from one character to the next (from the father to the son) in the two halves of the movie was also an interesting choice.
- The script tackled a lot of topics and concept that all made up the incredible real-life story behind Winnie-the-Pooh. To being with, although, ultimately, this narrative was one of hope and happiness, it was framed by a feeling of dread and loss: the filmed opened with a scene that made the viewer believe that the real Christopher Robin had died at war, thus, the following long flashback (the rest of the film) felt like it was destined to end badly. However, the opening scene turned out to be bait-and-switch and the picture indeed had sort of happy ending – as happy as you can get in the real world.
- Additionally, Goodbye Christopher Robin had a lot to say about the middle/upper-class family relationships in the 20th century (and also now). First, the role of the nanny as ‘the true parent’ was portrayed explicitly. Also, an engaging message about motherhood was stated: how giving birth does not equal motherhood – one has to earn the right to call oneself a mother. The film also did a good job of portraying Milne’s PTSD and his ideas about/against the war(s).
- The film also examined the issues of creativity and commerce. The sequence of the writing of the books was really pleasant and sweet: it was also nice to notice the real-life details that inspired the plot-points in the books. The movie also did a good job of portraying the jealousy and the damage that comes with fame at a young age. Billy’s childhood was similar to that of contemporary children on reality TV (Toddlers and Tiaras, Dance Moms, etc.). Did the father appropriate his child’s childhood for profit? Was he right to do so in order to bring happiness to the masses? Is the happiness of many more worthy than the happiness of one? Robin’s experiences as a child and his desire for anonymity in the army as an adult sure made for a heartbreaking example cause and effect.
- Fox Searchlight has definitely assembled a stellar cast for this film, which delivered impeccable performances. Domhnall Gleeson (Anna Karenina, The Revenant, Star Wars, American Made, Mother!, Brooklyn, Unbroken) shined as the frustrated artist and the difficult father. Margot Robbie (Suicide Squad, Tarzan) was equal amounts likable and despicable as Daphne. Kelly Macdonald (T2: Trainspotting) was amazing as the voice of reason and the source of heart (the nanny). However, all three of them seemed like they barely aged over the 3 decades – better make-up or some CGI would have been beneficial. Christopher Robin was played by two actors: the young Will Tilston, who looked like a real-life version of his character’s book counterpart (just brilliant casting), while Alex Lawther handled the more challenging grown-up scenes and displayed his acting talent that some of us have already had a glimpse of on Black Mirror (the ‘Shut Up and Dance’ episode).
In short, Goodbye Christopher Robin was well-made biographical drama, whose subject-matter was complex, layer, and fascinating. I’ll never look at Winnie-the-Pooh the same (a.k.a. as optimistically)….and I have its face of my duvet cover (waking up wrapped in depression?).
Trailer: Goodbye Christopher Robin trailer