MID-February '06 Movie Review—Nanny McPhee Column

Nanny McPhee

A UIP (in U.K.)/Universal (in U.S.) release of a Universal Pictures, StudioCanal presentation, in association with Metro-Goldwyn-Mayer Pictures, of a Working Title production, in association with Three Strange Angels, Nanny McPhee Prods.

Produced by Lindsay Doran, Tim Bevan, Eric Fellner.
Executive producers, Debra Hayward, Liza Chasin.
Co-producer, Glynis Murray.
Directed by Kirk Jones.
Screenplay by Emma Thompson, based on the books by Christianna Brand.

Nanny McPhee — Emma Thompson
Mr. Brown — Colin Firth
Evangeline — Kelly Macdonald
Mr. Wheen — Derek Jacobi
Mr. Jowls — Patrick Barlow
Mrs. Quickly — Celia Imrie
Mrs. Blatherwick — Imelda Staunton
Simon — Thomas Sangster
Great Aunt Adelaide — Angela Lansbury
Tora — Eliza Bennett
Lily — Jenny Daykin
Eric — Raphael Coleman
Sebastian — Samuel Honywood
Christianna — Holly Gibbs
Baby Agatha — Hebe Barnes

Camera (color, widescreen), Henry Braham; editors, Justin Krish, Nick Moore; music, Patrick Doyle; production designer, Michael Howells; supervising art director, Lynne Huitson; art director, Matt Robinson; set decorator, Philippa Hart; costume designer, Nic Ede; sound (Dolby Digital/SDDS/DTS Digital), Simon Hayes; special effects supervisor, Mark Holt; assistant director, Gareth Tandy; casting, Michelle Guish.

Rating: PG. Running time: 98 MIN.

Column Rating: Definately See; the setup and payoff are worth the price of admission.
With Your Children? Oh yeah, children laugh uproariously, even clapping when funny or wonderful things happen—as in days of olde—pure magic!

BRILLIANT, DELIGHTFUL, COLORFUL, Magical—Nanny McPhee is an unqualified triumph for Emma Thompson as a screenwriter, and as the principal character, Nanny McPhee. At the screening, both genders of youngsters laughed, clapped and generally enjoyed this whimsical film. Decades ago, when 'Parent Trap' proved such a successful formula, there was little attempt to deviate from such nonsense. Geared-to-children movies more often than not are loaded with insufferably coy young pranksters who believe they are superior to adults, and usually are ill-mannered, to boot. By default, the adults must

then be ludicrously slow on the uptake, and completely incapable of foiling their children's scheming. Ms. Thompson's script avoids most of this thin, worn blueprint. Her adult characters seemed capable of sufficient wisdom to positively impact their offspring. As such, it was more of a crowd-pleaser, allowing the adult viewer to relax, sensing this morality play would entertain, with a spoonful of sternness for credibility.

The original 1950 'Cheaper By The Dozen' film with veteran actor Clifton Webb, was a pleasant, short but sweet look at adult influence on youngsters. Leaving a long-lasting impression, the parenting methods employed were loosely based on a family of the day, the Gilbreaths. It was a written recollection of one of the Gilbreath daughters. Five decades later, the remakes are of the newer variety of story about witless adults overwhelmed by their lovable kids. In light of the

radical departure from the original movie's intent and charm, co-opting the name was silly. Hollywood's take on how far the family model has decayed seems a careless, somewhat alarming contrast to the prevalent notions of a nation preoccupied with re-instating family solidity and re-instilling respect for others in our population.

Britain's renowned Emma Thompson took a crack at the children's movie genre with Nanny McPhee, a British children's book character. Brought to vivid cinematic life, Nanny McPhee remained a mysterious, possibly

sinister, and definitely imposing professional nanny with an agenda. Borne on the winds of a storm, she appeared at the doorstep of the Brown household, an answer to the prayers of the father, Cedric Brown (Colin Firth). The local undertaker, Brown is a widower, left behind to finish rearing his brood of half-a-dozen, plus a baby. Admittedly a handful for a two-parent act, as a single parent, this Dad is in overwhelm. Firth delivered another of his usual engaging portrayals, giving his best to this 'bewildered guy' role.

All of the young actors turned in quite presentable performances as the slightly spoiled, mischievous and definitely bereaving offspring. Fifteen-year-old scene-stealer, Thomas Sangster, was delightful as the precocious ringleader and oldest brother, Simon. Protective of their splintered family unit, the children have intimidated, frightened and, in short order, dispatched some fourteen nannies—and then Nanny McPhee came into their lives. She proved a

match to their intelligent plots and shenanigans, doling out effects proportionate to the causes. Confounded, the children tried harder to run her off, only to find that this nanny was very different, to be sure. For one thing, she inexplicably appears, in high 'apparating' fashion.

Most probably employing magic, and definitely a bafflingly capable teacher, Nanny McPhee had 'five rules' the family needed to learn, beginning with 'go to bed when you are told.' Always with plenty of warning of the consequences of ill-advised choices, a thump of her walking stick on the floor set the most interesting events into motion. Her intuitions and subsequent measures always favored justice and common sense.

One must show respect for oneself and others. Foremost in her goals for the Brown family was to adjust to their predicament, although they were responsible for how to go about their own solutions. As the children chafed against the turn of events, and Dad attempted to understand her lessons, she calmly replied, "I will be here until you do not need me, and will be gone when you think you do need me."

Pure enchantment, this cinematic triumph of taste was based loosely on Christianna Brand's "Nurse Matilda" children's books of the 1960s. Set in a flight of the imagination version of the late Victorian period in Britain, the story unfolds in true fairy tale fashion—darkness and light, injustice and happily ever after all mushed in together. The dazzling

set decoration employed a stunning use of color and clutter. The fantasy profusion of fanciful characters, slapstick clowning around, and wild costumes was a delightful hodgepodge of story artifices. Enhancing the results was masterfully accomplished due to the genius of lighting and filters, special effects, and the clever, directorial skills of Kirk Jones (Waking Ned Devine). Contributions by the actors were exemplary, from Angela Lansbury's wacky Great Aunt Adelaide to Imelda Staunton's hilarious cook, Mrs. Blatherwick, and finally Kelly Macdonald's socially blossoming Evangeline.

Emma Thompson's script was exceptional, clean-lined and to the point, with subtle comedic 'set-ups' and 'payoffs.' Any perceived shortcomings of craftsmanship were offset by the distinct impression that you had a pleasant time. Certainly, the kids at the screening seemed to react very positively, especially given the liberal sprinkling of behavior lessons amidst all the color and action. The fit of the story for today's audiences seemed well received. Fears of unbridled chaos in our communities, due to disheveled family dynamics is very real to most. For the space of time of the movie and a bit afterwards, today's troubles were less formidable in light of the implications of Nanny McPhee's philosophies. Indeed, the peek into the Brown's woes, and the possible ease of correcting group behavior is attractive—simply observe the 'five rules' and all will be well in the world.