“Christopher Robin” has been compared by many to Steven Spielberg’s “Hook” even before its release. Truth be told, this comparison holds a lot of weight as both films deal with characters we were introduced to as children who have since grown up and left behind the imaginary worlds they reveled in. Both get married and become parents, and we catch up with them as they have long since become consumed by their jobs at the expense of everything else. The question is, can they rediscover the innocence and wonder they once had? We go into these movies knowing the answer will be yes, but we how long will it take? In the case of “Christopher Robin,” this man is quicker than Peter Pan to do so, and this makes the film fare better than “Hook.”
The movie starts off with young Christopher (played by Orton O’Brien) being given a going away party by his furry friends in the 100 Acre Wood as he is about to head off to boarding school. Among his friends is, of course, Winnie-the-Pooh whom he promises never to forget about once he goes away. But as the opening credits unfold, we see Christopher being molded into what society expects of him. Seeing a teacher slam her ruler on his desk quickly brought to mind the lyrics of a certain Pink Floyd song (“we don’t need no education…”). Even worse, he loses his dad much sooner than anyone should, and this forces him to grow up much quicker as he is now considered to be the man of the house. And there is the sequence of him as a soldier on the battlefield, and while it does not include any exploding limbs a la “Hacksaw Ridge” (it’s a Disney film after all), we are shown enough to be convinced Christopher has seen his share of brutal combat.
When we catch up with Christopher as an adult (played by Ewan McGregor), he is married to the lovely Evelyn (Hayley Atwell), father to Madeline (Bronte Carmichael), and an employee at Winslow Luggages. It is no surprise to see he has long since become consumed by work as he makes the mistake of telling his boss, “I’ll do anything for this company.” Now this is something I have long since learned never to tell any employer as they will be quick to blackmail you emotionally, and this is compounded by Christopher’s co-workers constantly living in fear of unemployment. As a result, Christopher is forced to cancel his trip into the country with his family, and they do not even try to hide their disappointment to where Evelyn flat out tells him, “I haven’t seen you laugh in years.” Christopher ends up all alone, that is, until Pooh arrives in London seeking his helps. Pooh has lost all his friends in the 100 Acre Wood, and the two go on a journey which serves to save both of them from a world without love and imagination.
“Christopher Robin” is at its best whenever McGregor and Pooh bear share the screen together. Unforgettably voiced by Jim Cummings, the “silly old bear” remains one of the most lovable creations in literature as he keeps saying he doesn’t have much of a brain, but he proves to be full of Yoda-like wisdom throughout. Instead of being animated this time out, Pooh and his friends are brought to life through CGI effects to more closely resemble the actual toys A.A. Milne owned all those years ago. But as amazing as the effects are, it is Cummings who gives Pooh his heart and soul as he professes to Christopher how “doing nothing often leads to the very best kind of something.”
When it comes to the other furry friends from the 100 Acre Wood, some get more screen time than others like Tigger and Eeyore. Those who know me best know I am a die-hard Eeyore fan, and just as with the animated “Winnie-the-Pooh,” the infinitely depressed donkey steals the show thanks in large part to the vocal talents of Brad Garrett who gives Sam Elliott a run for his money in the baritone department. Eeyore has always been a wonderful supporting character in Milne’s stories as he marches on despite his gloomy state of mind, and Garrett makes him a source of incredibly dry humor throughout. Now if only Eeyore could get his own movie…
Directing “Christopher Robin” is Marc Foster, who at first seemed like an odd choice for this material. Foster previously gave us the devastating “Monster’s Ball,” the James Bond adventure “Quantum of Solace,” the Brad Pitt zombie movie “World War Z,” and “Machine Gun Preacher” (the title says it all). Perhaps it was his film “Finding Neverland” which snagged him the job as that one was about J. M. Barrie and his relationship with a family who inspired him to create “Peter Pan.” Like J.M. Barrie, Christopher is shown here to be a lost soul who needs to regain his sense of wonder before he becomes just another corporate drone. Foster navigates Christopher’s journeys through worlds real and imagined to where we are eager to see regain his sense of wonder, and he looks to remind us of the child within ourselves who hopefully has not been obliterated by society.
Along with cinematographer Matthias Koenigswieser, Foster gives “Christopher Robin” a rather bleak look which recalls the dirty visuals Spielberg gave “Hook” as the imagined world of 100 Acre Wood proves to be vert foggy and not as inviting as it once was. It’s like “Return to Oz” in which Dorothy travels back to the magical world she left behind, only to find the yellow brick road has been ravaged to where you wonder if it will ever be put back together again. Part of me wishes the filmmakers had worked a little harder to balance out the different worlds Christopher and his friends travel in an out of as this movie looks a little bleaker than it needs to. In the process of delving into Christopher’s life in the city as an adult, it threatens to provide more muted colors than luminous ones.
The story hits all the beats you would expect it to as, like “Hook,” we have a good idea of how things will end up. We know Christopher will eventually come to see how his family is a far more precious commodity than anything else, and things are resolved in ways which are not completely satisfying. Granted, Disney would never be quick to allow Foster or anyone else to make “Christopher Robin” a tragic tale of a man who discovers too late what he had after losing everything to where he becomes a real-life Eeyore. Plus, there’s all the merchandising to think about. But for what it’s worth, the performances by McGregor, Atwell and Carmichael succeed in keeping this motion picture from becoming an exercise in shameless manipulation. The cast, whether they are acting or voicing their characters, more than rise to the occasion to where the human element of this movie is never lost.
“Christopher Robin” pales in comparison to “Goodbye Christopher Robin,” one of the more underrated films from 2017. Granted, the latter is more of a biographical film as it deals with the real life A.A. Milne and of how he inadvertently robbed his son of his childhood, but the balance between the real world and imagination felt much stronger in that one. Still, I enjoyed “Christopher Robin” for what it was, and seeing Pooh, Eeyore and Tigger brought to life through CGI made this all the worthwhile for me. When it comes down to it, the moments Christopher shares with his cuddly friends really warmed my heart. While some let the child within them die, you have to admire those who succeed in keeping that part of themselves alive as it is never easy.
While watching “Christopher Robin,” I was reminded of what Stephen Rea said in Neil Jordon’s “The Crying Game:”
“When I was a child, I thought as a child. But when I became a man, I put away childish things.”
Here’s hoping we never put away those childish things away permanently, Oh, and by the way, adults carrying stuffed animals is not a sign of mental illness. Trust me, I have been proving this wrong for years.
* * * out of * * * *