This review was written for the theatrical release of "Miss Potter".Beatrix Potter wrote and illustrated some of the most beloved children's books of the 20th century, creating a menagerie of such animal characters as Peter Rabbit, Mrs. Tiggy-winkle and Jemima Puddleduck. Fittingly, "Miss Potter", a film about her life starring Renee Zellweger, is an illustrated biopic. The problem confronting writer Richard Maltby Jr. and director Chris Noonan is that Potter lived a fairly uneventful life once you remove her success as an author.
She was born into wealth and died that way. Her great love passed away before they could wed, so she retreated to the English countryside to run a working farm, purchasing more and more property until she left thousands of acres to a British conservation trust. But she never wrote again.
So the film illustrates this worthy life by making every country shot a postcard view and letting her drawings of ducks and bunnies come tamely to life. Given that Noonan directed "Babe", one of the best comedies ever about talking animals, you wonder why these drawings didn't figure more prominently in the movie's overall design. Talk about a missed opportunity!
So the audience for "Miss Potter" appears extremely limited. It's a story about a children's author that few children will find interesting. Adults keen on art films will have to settle for a thematic look back at Victorian repression of women's self-expression. Even then, it's pretty mild repression as the parvenu Potters are so halfhearted in their restrictions -- and how could they not be as their daughter is soon richer than they are -- that the film barely scratches the Dickensian surface of true female repression.
Zellweger tries to make up for these deficiencies with a performance that bubbles over with coy mannerisms, squinty-eyed grimaces and outlandish "period" precision in her studied gestures. The actress has been playing Brits for so long that the accent is no bother, but a bit of her native Texas creeps into the exaggerated affectations. In a contemporary movie, you would assume such a character is on drugs.
The true Brits fare better. Ewan McGregor strikes the right balance between turn-of-the-20th century formality and turn-of-the-21th century commentary, showing you the man beneath the manners in Norman Warne, Beatrix's publisher and the love of her life. Same for Emily Watson as Norman's sister, Millie, who becomes Beatrix's great confidante. Hers is a character Jane Austen would willingly claim as her own. Watson turns Millie into a blazing hearth, a woman who radiates warmth and congeniality. The other British actors perform the minor roles with the usual aplomb.
Production values are superb, with exquisite period interiors, gorgeous countryside views, London exteriors that make you wonder how they hid the satellite dishes and parking meters, terrific costumes and facial hair on Bill Paterson, playing Beatrix's father Rupert, that deserves a special-effects award. Did anyone really have a beard like that?...
She was born into wealth and died that way. Her great love passed away before they could wed, so she retreated to the English countryside to run a working farm, purchasing more and more property until she left thousands of acres to a British conservation trust. But she never wrote again.
So the film illustrates this worthy life by making every country shot a postcard view and letting her drawings of ducks and bunnies come tamely to life. Given that Noonan directed "Babe", one of the best comedies ever about talking animals, you wonder why these drawings didn't figure more prominently in the movie's overall design. Talk about a missed opportunity!
So the audience for "Miss Potter" appears extremely limited. It's a story about a children's author that few children will find interesting. Adults keen on art films will have to settle for a thematic look back at Victorian repression of women's self-expression. Even then, it's pretty mild repression as the parvenu Potters are so halfhearted in their restrictions -- and how could they not be as their daughter is soon richer than they are -- that the film barely scratches the Dickensian surface of true female repression.
Zellweger tries to make up for these deficiencies with a performance that bubbles over with coy mannerisms, squinty-eyed grimaces and outlandish "period" precision in her studied gestures. The actress has been playing Brits for so long that the accent is no bother, but a bit of her native Texas creeps into the exaggerated affectations. In a contemporary movie, you would assume such a character is on drugs.
The true Brits fare better. Ewan McGregor strikes the right balance between turn-of-the-20th century formality and turn-of-the-21th century commentary, showing you the man beneath the manners in Norman Warne, Beatrix's publisher and the love of her life. Same for Emily Watson as Norman's sister, Millie, who becomes Beatrix's great confidante. Hers is a character Jane Austen would willingly claim as her own. Watson turns Millie into a blazing hearth, a woman who radiates warmth and congeniality. The other British actors perform the minor roles with the usual aplomb.
Production values are superb, with exquisite period interiors, gorgeous countryside views, London exteriors that make you wonder how they hid the satellite dishes and parking meters, terrific costumes and facial hair on Bill Paterson, playing Beatrix's father Rupert, that deserves a special-effects award. Did anyone really have a beard like that?...
- 12/20/2006
- The Hollywood Reporter - Movie News
Beatrix Potter wrote and illustrated some of the most beloved children's books of the 20th century, creating a menagerie of such animal characters as Peter Rabbit, Mrs. Tiggy-winkle and Jemima Puddleduck. Fittingly, Miss Potter, a film about her life starring Renee Zellweger, is an illustrated biopic. The problem confronting writer Richard Maltby Jr. and director Chris Noonan is that Potter lived a fairly uneventful life once you remove her success as an author.
She was born into wealth and died that way. Her great love passed away before they could wed, so she retreated to the English countryside to run a working farm, purchasing more and more property until she left thousands of acres to a British conservation trust. But she never wrote again.
So the film illustrates this worthy life by making every country shot a postcard view and letting her drawings of ducks and bunnies come tamely to life. Given that Noonan directed Babe, one of the best comedies ever about talking animals, you wonder why these drawings didn't figure more prominently in the movie's overall design. Talk about a missed opportunity!
So the audience for Miss Potter appears extremely limited. It's a story about a children's author that few children will find interesting. Adults keen on art films will have to settle for a thematic look back at Victorian repression of women's self-expression. Even then, it's pretty mild repression as the parvenu Potters are so halfhearted in their restrictions -- and how could they not be as their daughter is soon richer than they are -- that the film barely scratches the Dickensian surface of true female repression.
Zellweger tries to make up for these deficiencies with a performance that bubbles over with coy mannerisms, squinty-eyed grimaces and outlandish "period" precision in her studied gestures. The actress has been playing Brits for so long that the accent is no bother, but a bit of her native Texas creeps into the exaggerated affectations. In a contemporary movie, you would assume such a character is on drugs.
The true Brits fare better. Ewan McGregor strikes the right balance between turn-of-the-20th century formality and turn-of-the-21th century commentary, showing you the man beneath the manners in Norman Warne, Beatrix's publisher and the love of her life. Same for Emily Watson as Norman's sister, Millie, who becomes Beatrix's great confidante. Hers is a character Jane Austin would willingly claim as her own. Watson turns Millie into a blazing hearth, a woman who radiates warmth and congeniality. The other British actors perform the minor roles with the usual aplomb.
Production values are superb, with exquisite period interiors, gorgeous countryside views, London exteriors that make you wonder how they hid the satellite dishes and parking meters, terrific costumes and facial hair on Bill Paterson, playing Beatrix's father Rupert, that deserves a special-effects award. Did anyone really have a beard like that?...
She was born into wealth and died that way. Her great love passed away before they could wed, so she retreated to the English countryside to run a working farm, purchasing more and more property until she left thousands of acres to a British conservation trust. But she never wrote again.
So the film illustrates this worthy life by making every country shot a postcard view and letting her drawings of ducks and bunnies come tamely to life. Given that Noonan directed Babe, one of the best comedies ever about talking animals, you wonder why these drawings didn't figure more prominently in the movie's overall design. Talk about a missed opportunity!
So the audience for Miss Potter appears extremely limited. It's a story about a children's author that few children will find interesting. Adults keen on art films will have to settle for a thematic look back at Victorian repression of women's self-expression. Even then, it's pretty mild repression as the parvenu Potters are so halfhearted in their restrictions -- and how could they not be as their daughter is soon richer than they are -- that the film barely scratches the Dickensian surface of true female repression.
Zellweger tries to make up for these deficiencies with a performance that bubbles over with coy mannerisms, squinty-eyed grimaces and outlandish "period" precision in her studied gestures. The actress has been playing Brits for so long that the accent is no bother, but a bit of her native Texas creeps into the exaggerated affectations. In a contemporary movie, you would assume such a character is on drugs.
The true Brits fare better. Ewan McGregor strikes the right balance between turn-of-the-20th century formality and turn-of-the-21th century commentary, showing you the man beneath the manners in Norman Warne, Beatrix's publisher and the love of her life. Same for Emily Watson as Norman's sister, Millie, who becomes Beatrix's great confidante. Hers is a character Jane Austin would willingly claim as her own. Watson turns Millie into a blazing hearth, a woman who radiates warmth and congeniality. The other British actors perform the minor roles with the usual aplomb.
Production values are superb, with exquisite period interiors, gorgeous countryside views, London exteriors that make you wonder how they hid the satellite dishes and parking meters, terrific costumes and facial hair on Bill Paterson, playing Beatrix's father Rupert, that deserves a special-effects award. Did anyone really have a beard like that?...
- 12/20/2006
- The Hollywood Reporter - Movie News
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