Miss Potter
Watching Renee Zellweger scribble frantically into a notebook whilst musing to herself in characteristic British staccato, you could be forgiven for thinking you’d stumbled upon another Bridget Jones sequel. But whilst Brigit and Beatrix may share some character traits, the latter emerges as a brilliant, headstrong woman whose continual struggle against her restrictive upper-class background pays its returns.
Set in turn of the century London, Miss Potter begins in the publishing house of Frederick Warne and Sons, where Beatrix is hoping to secure a contract for her first book, ‘The Tale of Peter Rabbit’, after several failed attempts with other establishments. The proprietors decide to take her on as a first project for their younger brother, Norman (Ewan McGregor), who is looking for a leg-up into the industry. Far from dismissing Beatrix’ tale as no more than childish scribbling, as do his brothers, Norman is as fascinated by her illustrations as she is and helps to propel the book into the bestseller lists. Beatrix strikes up a friendship with Norman’s sister Millie (Emily Watson) and eventually Norman proposes, much to the chagrin of Beatrix’ snobbish parents who shudder at the thought of their only daughter marrying into “trade” and insist the engagement be kept secret.
The script is somewhat stilted, and evidently targeted at an American audience as evinced by its relentless insistence that Edwardian England was obsessed with class - a well-documented fact, but one that could be presented with more subtlety. The film also tends to value romance and heartache over Beatrix’ trailblazing accomplishments, and leaves out references to her earlier disappointments, such as the dismissal of her important botanical work by the scientists of her day because of her gender. But it is Beatrix’ boundless enthusiasm and relentless struggle for recognition in a society that frequently dismisses her as no more than a spinster past her prime that wins us over.
Renee Zellweger’s characteristic pluck sees her shine in the title role as she battles against the odds to be taken seriously. Her childish enthusiasm is coupled by a more sombre loneliness - her storybook characters are her only “friends” until the Warne family come to the rescue. That said, Zellweger seems to be in an almost unbroken state of ecstasy, apparently unfazed by criticism, and it is only when tragedy strikes that her character seems entirely believable.
Ewan McGregor is delightful as the gallant baby of a publishing family, with a twinkle in his eye as big as his magnificent moustache. The perfect match for Beatrix, his Norman shows a puppyish innocence and bounding enthusiasm for Potter’s illustrations. “I put your drawings aside with great reluctance!” he tells her on the first day he comes to her house to talk business.
Emily Watson plays Norman’s sister Millie, a prototype feminist who recognises Beatrix as a kindred spirit, unlike the other unmarried daughters in their circle who “sit around gossiping all day and unaccountably bursting into tears.” She leads a fine supporting cast that includes Bill Paterson and Barbara Flynn as Beatrix’ parents, whose pretentions to social grandeur blind them to her brilliance and growing fame. Again though, the script lacks depth and both are presented as types.
Wonderful cinematography captures the imagination of the childlike author - beautiful Lake District vistas are juxtaposed with the storybook colour of the Potters’ plush London home, and Beatrix’ illustrations actually come to life on the page.
Fluffy and sentimental, Miss Potter nonetheless gives a satisfying account of a charming and feisty woman whose immense talent wins over the stuffy conventions of her society.
