US three. Billy Moon (aka Christopher Robin) played by Will Tilston with AA Milne, his dad, played by Domhnall Gleeson. Photograph courtesy http://www.filminquiry.com
IT TAKES A special kind of perspective and balance to be able to tell a story involving a child as adorable and articulate as young Will Tilston, without ramping up the cute factor and drowning in saccharine. Simon Curtis, director of Goodbye Christopher Robin achieves this significantly well, offering a sense of balance into a story that is as much about a bear named Winnie the Pooh, as it is about shell shock and the horror of fame, as it is about the way in which Edwardian society was so replete with euphemism that empathy was tossed by the wayside.
This film tells the story of the first children’s great classic in English literature which touched a nerve of real values for all children and became the world’s most popular classic for young readers. It presents Tilston as the five or six year old Christopher Robin opposite his dad played by Domhnall Gleeson who is weighed down with the horror of his World War One experience. The child articulates empathy in a way that gives the relationship between father and son the kind of authentic texture that is simply beautiful.
The child is also exposed to a mother played by Margot Robbie, who is almost a caricature of the classic stiff-upper-lip young woman whose everything is described in euphemism and who has no tolerance for anything that might digress and spill over, emotionally. It is the maid, Olive (Kelly Macdonald) who is capable of getting down to the level of this be-smocked tousle-haired child to give him succour and to protect him from the vagaries of becoming the boy whose name is on the lips of everyone.
The film focuses in great detail on the birth of Winnie the Pooh and all the family idiosyncrasies which make it happen. And then it pans to the horror of fame and the intrusiveness of fans and the media into Christopher Robin Milne’s life. Stitched up as it begins, around the spectre of World War, it’s a subtle tale which brings the most horrible of possible news on a bicycle. But there are twists in the material that make it an essay in gentle nostalgia.
It’s curious as to why it was been whipped off the Cinema Nouveau circuit within a few weeks of being released in South Africa. The good news is that it is already accessible as a DVD. A delicious slice of Edwardian life, it’s a film that may not change your life, but it will bring you a carefully crafted dollop of some extra special beauty.
Goodbye Christopher Robin is directed by Simon Curtis and features a cast headed by Sam Barnes, Amber Batty, Victoria Bavister, Rolan Bell, Nick Blakeley, Sarah Jayne Butler, Stephen Campbell Moore, Jim Cartwright, Richard Clifford, Simon Connolly, Grace Curtis, Matilda Curtis, Shaun Dingwall, Richard Dixon, Vincent Finch, Lance C. Fuller, Domhnall Gleeson, Harper Gray, Stanley Hamlin, Louis Harrison, Dexter Hyman, Sonny Hyman, Cameron Lane, Phoebe Lyons, Alex Lawther, Kelly Macdonald, Allegra Marland, Richard McCabe, Mark McKerracher, Kevin Millington, Vicki Pepperdine, Robert Portal, Nicholas Richardson, Margot Robbie, Tommy Rodger, Mossie Smith, Geraldine Somerville, Mark Tandy, Ann Thwaite, Will Tilston, Phoebe Wallter-Bridge and Simon Williams. It is written by Frank Cottrell Boyce and Simon Vaughan. Produced by Steve Christian and Damian Jones, it features creative input by Carter Burwell (music), Ben Smithard (cinematography), Victoria Boydell (editing), Alex Johnson (casting) and David Roger (production). Release date: March 15 2018.
VILLAIN in a steam train: Johnny Depp plays the wicked Mr Ratchett. Photograph courtesy http://www.variety.com
THERE’S SOMETHING IRREVOCABLY escapist in an Agatha Christie murder mystery. Not for moral reasons, but for the sleight of hand, the twist in the tale and the characters that populate her stories. This remake of the 1974 classic film, featuring a host of enormous names, from Sean Connery to Ingrid Bergman, with David Suchet in the role of the inimitable Hercules Poirot, the greatest detective in the world, at the right place, at the right time, is delightful. It’s not without its flaws, but it is eye candy in the most lovely of ways.
Put a bunch of prominent and distinctive strangers together on a train en route to Istanbul from Jerusalem, with all its Art Deco detail and wood panelling. Pop off one of them, in a sufficiently violent way. And then derail the train, thus trapping all of them, including the killer, whoever he or she may be, in a context where all must be revealed. And there you have the plot, which grows with abandon in curious directions.
But it’s not for the plot that you watch and are seduced by a yarn of this nature. It’s for the characters. Christie’s writing genius was more about her ability to envelop a character in the round, with all his or her idiosyncrasies and hilarious quirks, with all his or her vulnerabilities and hard core beliefs. And she does this in a couple of sentences, a throwaway line or two.
The filmed version of this pays critical attention to detail, in terms of poise and costume, gesture and mien of each of the characters. And while at times you feel that these are constructed and highly polished simulacra rather than characters, as such, each is completely delicious. The work is replete with an unabashed colonialist fascination with Israel – it’s set in 1934 – and a whole range of racist and sexist barbs which need to be understood in the context of the time, but it’s lively and fine entertainment.
To its disservice, however, several of the cast members, including Michelle Pfeiffer as Mrs Hubbard and Daisy Ridley as Mary Debenham are seemingly far too young for the roles they embrace. Is it a flaw of make-up and directed performance? Are they really too young? This is a moot point, but as the plot unfolds, and all is revealed, there are generational connections between the cast and these two stick out as anomalies.
Other silly events such as a stabbing which is so lacking in credulity, it is laughable, pepper this work, but they’re events in which all can be forgiven. This rip-roaring and fabulous mystery and its resolution, will cast you in beautiful geographies and exciting climes. The work is generously sprinkled with magnificent cameos which make it happen – from Judi Dench to Johnny Depp, with a soupçon of Penélope Cruz and Derek Jacobi, this is a treat. Kenneth Branagh ably balances his role as Poirot, director and one of the producers of this film, but it does make you wonder what kind of a collaborator he may be in a project of this nature.
And finally a word must be added for Poirot’s moustache which is the main character in many stills. It’s so fabulous, it deserves a credit all of its own.
Murder on the Orient Express is directed by Kenneth Branagh and performed by a cast headed by Ziad Abaza, David Annen, Andy Apollo, Tom Bateman, Nari Blair-Mangat, Todd Boyce, Lucy Boynton, Luke Brady, Kenneth Branagh, Darryl Clark, Richard Clifford, Olivia Colman, Penélope Cruz, Willem Dafoe, Judi Dench, Johnny Depp, Phil Dunster, Paapa Essiedu, Hadley Fraser, Josh Gad, Adam Garcia, Manuel Garcia-Rulfo, Tom Hanson, Yasmin Harrison, Matthew Hawksley, Gerard Horan, Derek Jacobi, Pip Jordan, Ansu Kabia, Hayat Kamille, Marwan Kenzari, Joshua Lacey, Crispin Letts, Elliot Levey, Joseph Long, Anoushka Lucas, Rami Nasr, Asan N’Jie, Leslie Odom Jr, Michelle Pfeiffer, Sergei Polunin, Chris Porter, Miranda Raison, Jack Riddiford, Daisy Ridley, Michael Rouse, Sid Sagar, Irfan Shamji, Harry Lister Smith, Kate Tydman, Kathryn Wilder, Miltos Yerolemou and Yassine Zeroual. It is written by Michael Green based on the eponymous book by Agatha Christie. Produced by Kenneth Branagh, Mark Gordon, Judy Hoffland, Simon Kinberg, Michael Schaefer and Ridley Scott, it features creative input by Patrick Doyle (music), Haris Zambarioukos (cinematography), Mick Audsley (editing), Lucy Bevan (casting), Jim Clay (production design), Rebecca Alleway (set) and Alexandra Byrne (costumes). Release date: November 24 2017.