Roald Dahl's Matilda the Musical opens up the 2022 edition of the London Film Festival with a song, a dance and more than enough pep in its step. A film adaptation of the stage musical which debuted in 2010, which in turn evolved from the long-lasting popularity of the 1996 film, itself adapted from Roald Dahl novel of the same name, it seems unlikely that there's anyone who doesn't know the story of Matilda.
Matilda, an extraordinary girl with a vivid imagination and possible powers beyond even her own understanding, dares to speak up and stand up for change in the face of evil. Directed by Matthew Warchus and written by Dennis Kelly, serving in the same capacity as they did for the show's stage performances, it stars Emma Thompson, Lashana Lynch, Andrea Riseborough, Stephen Graham, and introduces Alisha Weir in the titular role. Does the all-singing, all-dancing offer audiences anything new to this oft-told tale?
Designed to work more for fans of the stage adaptation than those who grew to love the story in any of its other formats, Matilda the Musical leans into its musical nature as a way to widen the gap between the fondly-embraced 1996 film and original book. Adored with eye-catching production design, larger-than-life set pieces and cleverly-staged numbers, Matilda is a visually colourful sugar rush, with not a penny of its budget, or a second of its 117-minute runtime going to waste. Warchus and Kelly's understanding of the musical roots clearly benefits the final product, making for a well-oiled picture that never seems to doubt the job it is here to do.
There's a doe-eyed sweetness in the eye of Alisha Weir as Matilda, selling her child-like wonder and upstanding virtue with inspiring courage. Although arguably less successful in deepening the cheeky glint in the eye of Matilda, whose well-intentioned scheming leads to some of the most memorable scenes of the pieces, and provides the character with a greater depth and personality, Weir's task is an unenviable one and that the performance is as frequently successful in her film debut is impressive nevertheless.
Emma Thompson, of course, thrives as Agatha Trunchbull, a domineering villain that Thompson revels in conveying with such clear enjoyment. Leaning into the comedic nature of Trunchbull while still ensuring she remains a character that can genuinely terrify with just one look, Thompson toes the line with the skill we have come to expect and rely on. Her major musical number is the film's most enjoyable moment and so much of it is due to the commitment with which Thompson leaps into it, bold and dauntless. Similarly successful, Lashana Lynch nurturing Miss Honey is a lovely contrast while Andrea Riseborough and Stephen Graham are clearly having the most fun in the world hamming Mr and Mrs Wormwood up.
Matilda the Musical is a mixed bag: clearly, and quite fairly, designed for fans of the musical, it whizzes by in a blur of colour and sound, often overwhelming in its attempt to be continually charming. Lacking a sardonic bite that would temper the lightness brought into its by the often-upbeat pop music and visual brightness, there needed to develop a stronger balance that would provide the adaptation with a weightiness. But as a harmless, if hammy, slice of family-friendly fun, Matilda the Musical will entertain those who appreciate their entertainment musically-based - and parents in need of Thompson's Trunchbull to offer a frightening warning!