‘Goodbye Christopher Robin’ Review: Dir: Simon Curtis (2017)

Goodbye Christopher Robin review: Simon Curtis directs this exceptionally well-executed drama led by Domhnall Gleeson and Margot Robbie.

Goodbye Christopher Robin review by Luke Ryan Baldock.

There’s are strange subsets of genres within the movie industry, one of them being the biopic of British authors. We’ve had Finding Neverland, Becoming Jane, and Miss Potter. Such tales always have an uphill climb, as they need to blur facts and intertwine the moments for which they are famous. They can also be highly enlightening (if all the information presented can be trusted), or at least a fascinating examination of fame. Goodbye Christopher Robin works on all accounts, offering a beautiful emotional insight into the world behind a classic character, while also being surprisingly relevant to the world of fame today.

A warning should probably precede  Simon Curtis’ third cinematic true story adaptation. A warning that if you want to continue looking on Winnie the Pooh with fond charming memories, then it may be best to avoid this biopic of A.A. Milne (Domhnall Gleeson) and the relationship with his son, Christopher Robin (Will Tilston/Alex Lawther). It starts with Milne, having returned from World War 1, suffering PTSD. He decides to move with his wife, Daphne (Margot Robbie), son, and Nanny (Kelly Macdonald), where he plans to work on an anti-war tome. Soon he finds himself inspired by the plush toys and imagination of his son, but the fame leads to separating the father and son bond.

Goodbye Christopher Robin is exceptionally well executed by Curtis and writers Frank Cottrell Boyce and Simon Vaughan. It delves into the characters in a rich and understanding way and perfectly evolves the playtime between Milne and Robin into therapy for the pair, before then changing it into a dark wedge that splits them. The look at fame it eerily timely, having you wonder how celebrity children will look back on their lives, as well as what can be considered real and genuine in their lives. Robin’s anger, perfectly captured by Tilston, evolves into a quiet contempt portrayed by the older Lawther.

Drama is mixed up with enough dry humour, along with brilliant escapes into fantasy and the minds of the characters. Milne’s flashbacks to war are handled with restraint and poise, while the interactions with his son are jovial and heightened by their transitions into the well known illustrations. Curtis’ film is so successful, that it almost does itself a disservice in criticising itself. If the film is truly against the idea of celebrity being forced on children, and Christopher’s love of privacy and personal time with family, then how would he feel about a film that airs it all out in the open? Is it a fair caution for future generations, or just further intrusion for exploitation? Thankfully the film’s heart seems to be in the right place, even if Robbie’s Daphne is usually presented in a less than flattering light.

Whichever side of the fence you land on how the film’s moral messages conflict with the actual events, no one could accuse the film of being heartless. With everything stripped away it’s a frustrating but heartwarming exploration of the relationship between a father and his son, as each of them try and balance their own personal lives. Gleeson is stoic and riveting, gradually pushing aside his reservations as he opens up to the imagination of Christopher. With beautifully shot exteriors, and just a hint of whimsy, Goodbye Christopher Robin feels every bit as magical as Winnie the Pooh’s adventures, while still being grounded and charming. A wonderful period piece that is insightful and relevant.

Goodbye Christopher Robin review by Luke Ryan Baldock, September 2017.

Goodbye Christopher Robin is released in UK cinemas on Friday 29th September 2017.