Everyone knows of Winnie-the-Pooh: it became a beacon of hope and happiness when it was first introduced post-World War One and was recently voted the best-loved children's book of all time, illustrating the enduring impact it has had on the country. The stories of Pooh, Tigger, Eyeore and friends brought joy to so many during one of the darkest times. Goodbye Christopher Robin goes beyond the success of these creations though, exploring A. A Milne's globe-spanning tales and his inspiration behind it - mainly, Christopher Robin Milne, his only child.
After his traumatic involvement in World War One, A. A. Milne (Domhnall Gleeson) returns to England a changed man. While trying to maintain a career as a writer, Milne finds himself continually reminded of the horrors of the Western Front and decides to escape to the countryside, in search of inspiration for new material: despite his trouble connecting with people, including his family, he is joined by his wife, Daphne de Selincourt (Margot Robbie) and his son, Christopher Robin (Will Tilston), lovingly known as Billy Moon. After spending a long weekend with his son, he finds the inspiration - through him and his toys - to write Winnie-the-Pooh, using Billy's childhood adventures as the foundations for his stories.
Goodbye Christopher Robin is not the sanitised and fluffy sugar-rush you may have expected; while the trailers and marketing may have painted it as such, there's a consideration of some darker, grittier themes that elevate it beyond typical biopic-drama conventions. Frank Cottrell-Boyce and Simon Vaughan examine life after war - how it must go on despite the long-lasting trauma it inflicted upon so many - through their impressive screenplay, detailed with some beautiful dialogue; the effects of PTSD, commonly known at the time as shell-shock, is pondered with compassion, while a moral argument as to whether Milne exploited his son's own childhood for the joy and happiness of millions more. It's not something I ever expected the film to touch upon, so for Goodbye Christopher Robin to explore it as freely as it did offered a new, refreshing and admirable insight.A substantial element of Goodbye Christopher Robin is its analysis of family. Relationships and dynamics are the forefront of the feature-length with some surprising results: it becomes clear that the war has placed a considerable strain on Milne's bond with his family, particularly his son, with whom there is a clear discomfort. It's clear Milne feels he cannot be expected to look after a child when he cannot look after himself, freezing with every reminder of the war he endured - yet, as the father and son spend more time together and their bond blossoms in front of our very eyes, a loving and nurturing relationship is found, birthing the beginning of the Winnie The Pooh stories that healed many other families. Without spoiling too much, the film's later reflection on this is heartbreaking in many ways, with a particular line in the final scene likely to put a lump in even the toughest of throats.
Providing the insight into these characters and their relationships is the fantastic ensemble. Each and every cast member works to bring out the film's themes and ideas terrifically, provided their moments to shine. After an intense turn in mother!, Domhnall Gleeson once again showcases his talent with a precise and understated performance as A. A. Milne, illustrating his fragility post-war and his continual attempt to better himself for his family. It's a tender approach to the role and, in turn, Gleeson warrants a career-highlight. Margot Robbie's role as Milne's wife is a self-centred turn that casts a rather negative light on her; Robbie understands where to control and restrict the performance to avoid her becoming wholly unlikeable, which is a very skilful line to balance. Both heartbreaking and heartwarming, Kelly Macdonald's performance as Billy's nanny enhances the film's emotion terrifically, with her obvious care for Billy spitefully questioned by his mother.
However, I would argue that young Will Tilston steals the show as the adorable Billy Moon. It's a very solid performance - particularly for a younger actor - with a confident hold of the character and his varying emotion as his stardom increases without his permission. With his beautiful expressions and bewilderment, he adds weight to the emotion with ease, like a performer well beyond his years and with tonnes more experience. When Alex Lawther takes the reigns as an older Christopher Robin, he too upholds the standard terrifically, with some of the film's most heartbreaking moments contained in a cafe-set scene threatening to overspill with emotion. Overall, they are an impressive bunch and really help sell the warmth and heartbreak contained within the story and script.
Outside the fantastic ensemble, Goodbye Christopher Robin is brought to life by a skilled and confident director. Frequently magical and soaring, the incorporation of watercolour animation captures a uniqueness and beauty that brings the stories to life before our very eyes in a smart, elegant and lovely way, as if they have been lifted directly from one of the illustrations. He finds grace in these tender, splendid moments, but demonstrates a grittiness when we visit the Front, all while maintaining a PG rating.
Curtis' visuals are captivating and enchanting in the purest way, with Ben Smithard's cinematography magnifying the beauty even further: the forest-setting is specifically impressive, painting with light and nature in grand, opulent ways. It's a skilled feature-length from a man at the beginning of his career, with this another solid entry into his filmography. Carter Burwell's lovely score is a beautiful addition to the film, strengthening the emotion and tone of the piece excellently.
Goodbye Christopher Robin is not a complete success though: like Selincourt herself, the film feels manipulative at times, working its hardest to provoke an emotion that it may not have fully earned. For example, the final twenty minutes or so are so heavy with development that the film would greatly benefit from more time to breathe and allow audiences to digest the events. The emotion could be deepened even further with extra time, which it could easily siphon from some of the film's slower moments, while still keeping it under two hours. And while I do mention some of the grittier themes incorporated, it does feel slightly too sugary at times, with some jolty tonal shifts interrupting the pace somewhat.
Goodbye Christopher Robin is the perfect autumnal film and as frivolous as it may sound, really benefits from the colder weather causing you to feel like you are escaping into this carefully-crafted world. It is equally heartbreaking and heartwarming, with the screenplay packed to the rafters with soaring poignancy and warm flourishes; which is, in turn, brought to life by a confidence director and impressive, talented ensemble. It genuinely brought me to tears. The infusion of watercolour animation is particularly magical and captures the spirit of A. A. Milne's fluffy, wonderful creations perfectly. A beautiful experience.
★★★★★★★★☆☆
(8/10)
Summary: Goodbye Christopher Robin is a beautiful, stirring and lovely film arriving at the perfect time: it is brought to life splendidly by a confident director and impressive ensemble cast, who enhance every drop of emotion effortlessly.