Tanya Batson-Savage, Freelance Writer
Beleaguered father Mr. Brown (Colin Firth, left) introduces the scheming Mrs. Quickly (Celia Imrie) to the monstrously behaved Brown children (from left) Sebastian (Sam Honywood), Eric (Raphael Coleman), Christianna (Holly Gibbs), Lily (Jennifer Rae Daykin) and Tora (Eliza Bennett).- CONTRIBUTED
TAKEN FROM THE FRIDAY GLEANER, MARCH 10, 2006 JUST WHEN I was getting tired of watching flicks about bratty children running wild, then getting their way, I encountered Nanny McPhee. Though it does deals with bratty children running wild, it shows how this type of movie should be done, because though it is in every way a farce, it is written with maturity and heart.
The story is refreshing and the costuming is fabulous.
The screenplay, written by Emma Thompson, who also plays the title role, is based on Christina Brands' Nurse Matilda books and is directed by Kirk Jones (Waking Ned Devine). With Colin Firth also starring in this flick, Nanny McPhee stars two of the quintessential Victorian era actors and, as such, it already has much in its favour from the casting decisions.
Young Thomas Sangster (Love Actually) is also a good addition to the cast, and Angela Landsbury's performance as the overly dutiful Aunt Adelaide is quite enjoyable.
Nanny McPhee is the story of seven unruly children who manage to chase away 17 governesses, but are finally curtailed by a nanny who dabbles in magic. Nanny McPhee is well-meaning and kind, but she is in no way reminiscent of Mary Poppins, as a spoonful of sugar is nowhere to be found in her bag or tricks.
In many ways, Nanny McPhee is a fairytale and in other ways it turns the fairytale ideal on its head. First, Nanny McPhee is your quintessential witch right down to the two hair moles and bulbous nose which dominates her face. Traditionally evil witches have always been ugly, so that one could never really tell if they were ugly because they were evil or evil because they were ugly. By presenting an ugly witch who also acts like a fairy godmother, but who is good, Nanny McPhee plays with that feminine stereotype.
As with all fairytales, Nanny McPhee has its romantic elements and these borrow from Cinderella and Jane Eyre (though there is no woman driven mad by her thoughtless husband and locked in an attic).
The movie is geared toward children, but it contains enough fun for adults to be entertained. Even so, Nanny McPhee only approaches its potential for delight toward the end of the flick.
What is particularly commendable is the set decoration, which helps to firmly seat the flick in the realm of the fairytale. It revels in bright colours and it seems and rainbow has a bad accident on the character Mrs. Quickly (Celia Imrie), who takes pink to an unprecedented level of overuse.
What makes Nanny McPhee quite refreshing is that the children are not depicted as brats because they are self-indulgent. It points to the deeper meanings behind children's behaviour (though it never gets too serious) and it also highlights that there are consequences for ones actions.
Nanny McPhee is a refreshing touch of magic.
