User reviews

The costumes are amazing recreations of Beatrix Potter's characters. High points are Jeremy Fisher and the mice destroying the dolls' house. Squirrel Nutkin is pretty good too. The dancing is fantastic. And there's no CGI, Jemima is flying on a wire. And the dancers are neither slowed down nor speeded up. Their flying leaps are real! (I've always felt Jeremy Fisher was a distant cousin.)

There are hints of danger with the cat looking down the mousehole, the silent, blinking owl, and the strings of sausages that give the game away. The stories are much, MUCH darker! I'm glad no rats featured, and the pike that nearly gets Jeremy is a mere shadow.

Only flaw - it goes on just a bit too long, and the pastiche music gets a bit samey.

This was an absolute delight from start to finish. The choreography was fantastic, as always with the great Frederick Ashton, who himself appears as Mrs Tiggy Winkle. The music was just outstanding, with some elements of Tchaikovsky, some elements of french opera buffe, and some elements of pure English lyricalism, all of which are needed to make a charming ballet production work. I was amazed by the production values, the costumes and scenery were so beautifully designed by Christine Edzard, the whole thing was exquisite to look at. The dancers like Wayne Sleep, Lesley Collier and Alexander Grant brought their charming characters to life through their faultless dancing. My personal favourite was Jemima Puddle Duck flying through the air to the very Swan Lake finale-like music. The mice dance was really charming, in possibly the best known segment of the whole production. I grew up treasuring the stories from Beatrix Potter, and I thought this gave them justice. Another thing that impressed me was the contrast of reality and the imagination, people complained of the Beatrix Potter as a girl bits slowing it down, but as she is only there for about three scenes, I thought it was very effective. All in all, if you love ballet, like I do, and I am 17, and you haven't seen this already, give yourself a treat for an hour and a half. 10/10 Bethany Cox.

I caught this on HBO years ago, and was dazzled by the production values. I was even more stunned by the fact that it was a 1971 production: a period in film that was very transitional for children's venues. The sets, costumes and dancing are all executed with a great amount of care in this production. Grab a copy for your kids or grandkids, and watch it with them. You won't be dissapointed.

One can only hope that it will see a DVD release someday.

A time-less masterpiece based on Beatrix Potter´s children´s stories. Beautifully acted (danced) and delightful in every way. Watch out for Joan Benham in the small silent role of Beatrix´ childhood nurse

This was the almost certainly the first film I saw in the cinema, which would have been in the spring or summer of 1971, when I turned 8 in June of that year. The only image that stuck in my mind from that occasion though, was the final shot at the end when Miss Tiggywinkle runs across a meadow and disappears into the distance. The next time I saw the film was on TV in the 1980's although on that occasion I only caught the last five minutes or so, but this confirmed that I had correctly remembered the Miss Tiggywinkle shot at the end.

However, today (24/12/2021) I was able to see the film in its entirety for the first time since 1971, when the British TV channel 'Talking Pictures' screened it. As an adult, my view of the film was very different from when I saw it as a child. It seemed a little overlong to me and the ballet sequences a little repetitive but otherwise it was a very impressive film. I particularly liked the two scenes when mocked-up old newspapers are shown. In the first, the date appears to be 2nd February 1894 (which would correspond to the time that Beatrix Potter was writing the stories) but in the second, only the month (July) is clearly distinguishable.

There are a couple of other points worth mentioning. Firstly, Talking Pictures gave the film a PG rather than a U certificate which was rather surprising. The only explanation I can think for this may be the fact that we see a man (Beatrix's father?) smoking early on in the film. Incidentally, neither this actor or the woman sitting opposite him (presumably Beatrix's mother) are listed in the credits, which is rather odd given that everyone else is.