I go into this movie skeptical, and I’ll tell you why. I think “The Enchanted Wood” was the first chapter book I ever read, and I was so proud of myself. We’ve seen The Chronicles of Narnia, The Spiderwick Chronicles… that’s a thing, yeah? I’ve never read it… and even Willy Wonka and the Chocolate Factory, open up these fictious dreamscapes for children, but Enid Blyton’s renowned works have never graced the silver screen. At first sight of this movie’s trailer, I was excited, but as it went on came the creeping fear that we’ve been here before. I don’t recall Silky so fat, Moonface so dark, compared to the foundational depictions I’ve known for thirty years. Diversity and inclusion – I’ve seen it in many forms across recent British productions so many times; Wonka, Wicked Little Letters, and from what the internet has told me of Doctor Who, it’s better left unsaid. British DEI usually feels like the product is an enthusiastic donkey dragging a ragged heavy plough in the mud – tiresome stuff for the donkey, and tractors now exist. I’m wearisome of “holding space” for other endeavours when I just want to see the best streamlined story. I only recently caught up with The Lord of the Rings movies, and what stayed with me is a snippet of an interview from Peter Jackson, adamant that he adhere to the original Tolkien vision; the one that had made the books famous, that people know and love, and that he pay service to it. That’s such a novel idea these days, I feel.
At the start of this movie, I’m uneasy. Polly (Claire Foy) works, Tim (Andrew Garfield) is at home, the kids are unruly, and Beth is now the older one, where it was always Joe that was in the lead. Polly quits her job, without consulting her partner – which means they’ll lose their flat – and Tim is completely fine with it. And I’m just left to wonder, how that scenario would play out the other way round? Would a domestic wife-character pitch a fit and start throwing things at her selfish husband? Or would she be as supportive and considered a patriarchal servant? But listen, I don’t want to think like this – it is a perceived high-and-mighty twisting of social standings that has in turn twisted me. I just want to watch a movie, of The Magic Faraway Tree, and get swallowed up in the magic. And at the first sight of Silky (Nicola Coughlan) though the trees, we are on the right track 😊 And by midway through the movie, having spent some time with all the characters, do you know what this reminded me of most? *NICHE REFERENCE INCOMING* That extremely early Disney Channel production of Adventures in Wonderland, where the white rabbit wore roller-skates and the Tweedles rapped 😮 It was a complete reinvention and adaptation of the source material for a new purpose. Joyful, friendly, in the way of pantomime. And I didn’t quibble that the Queen was black, or about any “social engineering” behind it, making it so. Because it wasn’t so forthright in making itself a big deal. Or perhaps I was just too young to have the social byplay in my head to notice. Ah, an age-old question – changing times or past naivety?
And the magic lands are filled with wonder. How can one not grin at seeing the Land of Goodies, and recall the first time ever seeing Willy Wonka’s Chocolate Room from 1971? 🥰 Whoever cast Billie Gladsdon as Fran did a brilliant job and deserves a raise because she is so warm; a worthy protagonist to follow on this adventure. And the tree feels so lived in, which is also important – I very much believe that there are more inhabitants in the original stories, but I think the movie might’ve run the risk of making the tree feel overly crowded and busy by adding more, where this small little community bounce off each other well, much like the emotions in Inside Out. But then, every time we’re overcome with warm fuzzies, we cut back to Beth (Delilah Bennett-Cardy), who is, pardon my French, such a cunt! 😄 Honestly, I couldn’t contain my laughter at how much this movie pushes the limit of how much of an arsehole she can be, with every breath she takes and every utterance she makes. There’s no doubt with how much she deserved to get completely soaked by Dame Washalot’s dirty load; I wish it were more! Something thicker, and something heavier, perhaps… She deserved a bullet, honestly… actually, we don’t joke about that anymore, after Charlie Kirk – but I would have put her up for adoption! No matter how old she may be 🙋♂️ But of course, I know, it’s all so she can redeem herself by the end of it, and this happy family can embrace an honest farm life without Wi-Fi. As soon as Tim busted out that guitar, I sensed we’d be having a Brady-Bunch style sing-along at some point, and what started out as cringe in the Land of Take-What-You-Want melted me by the credits to become a fun little jingle. And before the movie ends, it is revealed that Tim and Moonface (Nonso Anozie) were once tight friends, almost to symbolize to me how thirty years ago, Moonface was my bro as I read “The Enchanted Wood”, and now it’s Silky’s turn at the forefront of this adventure. I can appreciate that.
But don’t get me wrong, there’s at least four direct references to the patriarchy, which feel unearned, in the sense that if you took them out, the movie would be none the changed. Silky being told to stand up to the boys, is the obvious one – I wasn’t aware she was being bossed around, as she seems to do rightly whatever she wants anyway. She independently decides to reach out to Fran via letter. And she convinces the entire group to save Fran from the marshmallow tree. All before Beth’s tacked-on obligatory twenty-first century pep talk of power anyway. Go fem go, but you’re not oppressed at all – in fact, you’ve been quite dominant in taking over this 80-million-dollar movie. Dame Washalot (Jessica Gunning) is now in charge of the top deck, Beth is now the lead, Silky too, and Polly is an engineer, a traditionally male domain. That’s a smashing for the feminists, and you don’t need icing on icing. These blatant modern moments are like blowflies you want to shoo away with your hand to get on with the summer fun.
Timothee Chalamet recently said that he thinks playing Wonka was a career risk, but I think a role like this for Andrew Garfield is more so. For Wonka, you’re hiding behind all that costume and charm, and you have to work to not get lost in it yourself. Whereas here, Tim is a simple tomato farmer, and Dad, where the task is elevating that to become something worthy of our attention. In lesser hands, this could be a paycheck role, but Andrew Garfield is still the man, and I’ve come to realise that nobody does happy-sad quite like he. Claire Foy is another wonderful performer with a steady career who actually deserves more attention, and it’s nice to see her and Garfield go into this project together, dancing, and paling around. In fact, the whole movie is nice – a little scary at times for the youngest of children, especially Mrs. Snap, but Rebecca Ferguson is feeling herself. I could watch her squat into a Macca’s bag and it would still be a delight, I reckon. Big fan 🪭 Oh, and I’ve never come across Nicola Coughlan before, although I know she’s made a presence for herself on the small screen. She’s a bundle of enthusiasm too – I’m pleased to meet her.
In the end, The Magic Faraway Tree almost tilts into the Pete’s Dragon (2016) camp for me in the sense of being heartfelt and methodical in a way that appeals to adults more than children, and I’m here for it. Baby snaps for the achievement 🫰
3.5
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