"The Secret of Moonacre" fits into a certain breed of children's films set in the imaginary glow of Victorian or Edwardian England - see films like "Mary Poppins (1964)", "Chitty Chitty Bang Bang (1968)", "The Wolves of Willoughby Chase (1989)", "The Secret Garden (1993)", "Little Princess (1995)", "Peter Pan (2003)" and "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)". It's a setting that seems to have an undeniable purity - where childhood is part of an undeniable class configuration, where parents exercise benevolent authority rather than being seen as silly subjects, where fantasy is untainted by modern pop culture and cynicism, and where the appearance of the magician holds something incredible that transforms the formality and rigidity of society with childish joy.
In the plot, after the death of her father, a 13-year-old girl, Maria Merryweather (Dakota Blue Richards), is shocked to discover that all his money has been consumed by debt. Maria and her guardian, Miss Heliotrope (Juliet Stevenson), are forced to leave their home and seek refuge with Maria's uncle, Sir Benjamin (Ioan Gruffudd), who lives on the forbidding Moonacre estate. All that's left for Maria is In His Father's Will is a picture book that tells the story of the Merryweather family and their rivals, the De Noirs. From the De Noirs came the Moon Princess, who was loved by nature. She had received a set of pearls that showed the truth in people's hearts. She was supposed to marry Sir Wrolf Merryweather, but the two families came into conflict, each wanting to use the pearls for their own purposes. Then, the Moon Princess placed a curse on both families that would last for the next 5000 moons.
When they arrive at the Valley of the Moon, Sir Benjamin appears rude and brusque, including confiscating the book, much to Maria's displeasure. The girl soon finds mysterious things happening on the property - delicious meals are left for her, despite there being no cooks or servants; the fierce dog Wrolf becomes her protector; and a mysterious white horse can be seen on the grounds. Sir. Benjamin gives stern warnings that Maria never enters the forest, but when she disobeys him, she finds herself threatened and later kidnapped by the De Noirs. With the help of the hermit Loveday (Natascha McElhone), Maria begins to discover a series of clues, which show that Maria is the incarnation of the Moon Princess, who returned after 5000 moons to find the secret hiding place of the pearls and unite the two families and free them from their centuries-old curse.
The problem that Gabor Csupo ran into in "Bridge to Terabithia" was being caught between conflicting sets of influences, each of which was pulling the film in a different direction. There was Disney, who clearly wanted to turn it into another version of "The Lord of the Rings" or "The Chronicles of Narnia," which required the addition of creature effects in the forest, even though "Terabithia" wasn't a movie from the epic fantasy type and could easily function without them. On the other hand, Walden Media, supported by Christian groups, seemed to want to use the film to promote the Gospel message. In the middle of it all was Csupo, who seemed to want to make a children's film grounded in an unsentimental reality and say something about how children deal with tragedy. Understandably, caught between these influences, "Bridge to Terabithia" ended up becoming confusing, even though it is an exciting film that is worth checking out.
The good news is that "The Secret of Moonacre" is a substantial improvement over "Bridge to Terabithia." The director presents his fantasy with almost impeccable respect. He goes to exceptional lengths to establish the forbidden world of the estate into which young Maria is thrown, and then enriches it with magical touches - the discovery of a kitchen-garden inhabited by a strange gnome who may have magical powers; the dog with glowing red eyes who momentarily appears to be the black lion from the book when seen in the mirror; the appearance of a unicorn. The most magical image is the one that occurs at the end (which was certainly conceived as a live-action-CGI version of the climax of "The Last Unicorn (1982)" or perhaps the scene in "The Lord of the Rings: The Fellowship of the Ring" (2001) at the Ford of Bruinen) - where Dakota Blue Richards dives into the ocean with the pearls and then her body is lifted by the waves that transform into white horses that carry her before dissolving into foam when they hit the sand. The production design team does an absolutely incredible job - Dakota Blue Richards sleeps in a room with walls painted a deep sky blue and covered in stars, fireplaces shaped like scrolls, and a glass ceiling that looks up at the night sky; and some equally good scenery of the ruined De Noir castle and the depths of its dungeons. The design is a mix of rich, colorful sets and costumes, which take on even more color when contrasted with the stark, crumbling surroundings of the Moonacre estate.
The cast ensures that this independent film has a wider appeal, while unrecognizable names could have made it less appealing. The talented and charming young Dakota Blue Richards repeats the charisma she had already demonstrated in "The Golden Compass" and does an admirable job of carrying the film as a young heroine. She is beautiful and charming, as well as emotional and decisive when necessary. Speaking strictly about household names, Ioan Gruffudd plays a completely different character than the one in the book. His performance adds complexity to the character, who begins as an austere figure, but gradually reveals layers of compassion and concern. Gruffudd, with his elegant and charismatic presence, contributes significantly to the cast's dynamics.
Tim Curry, known for his outstanding performances as villains, plays the role of Coeur De Noir, the leader of the De Noir family and the film's antagonist. Curry once again delivers a sinister and menacing performance, solidifying his status as a master at playing villains. Natascha McElhone brings charm and mystery to the role of Loveday, a mysterious figure who helps Maria on her journey. Her performance adds a layer of wisdom to the character, making her a captivating presence, while Juliet Stevenson plays Miss Heliotrope, Maria's guardian. Her performance conveys sweetness and concern, creating affectionate moments in the film and establishing a charming chemistry with Dakota Blue Richards (there, the two would work together shortly after in "Dustbin Baby").
The technical part of the film is remarkable. It's more a study in fantastical humor (woodland bandits, forbidden forest, unicorns) than a serious one, and overall, it's a magical journey that, while not as provocative as Narnia, is an interesting piece of cinematic work in its own right. The art direction and production design create a visually rich and immersive world. The costumes are stunning, especially the main characters' outfits, which are full of details and vibrant colors. The soundtrack perfectly complements the film's magical atmosphere, creating a sense of wonder and enchantment. Scene's worth highlighting include the discovery of the secret garden, inhabited by a peculiar gnome, which is a moment full of magic and surprise. The relationship between the young protagonist, Maria, and the majestic unicorn is moving and beautifully shot, capturing the sense of wonder that is fundamental to a fantasy story. Furthermore, the final scenes, involving the search for magical pearls and the characters' redemption, are full of emotion and action.
"The Secret of Moonacre" is not entirely perfect. The De Noirs are very stereotypical villains - all in capes, war suits and armor - which, given this caricatured treatment, undermines their redemption in the end, that is, it is difficult to see Tim Curry as redeemed when he is still there in a cape. Villain black. The focus on romantic redemption and pride is a little more modern than would have been the case for a British children's novel of the time, but you can't deny that Gabor Csupo has created an excellent film. Disappointingly, for such a beautiful film, it received uneven and sporadic distribution - for example, it only received a limited release in US theaters more than two years after its original debut. He deserved much more, especially when compared to the dull content that fills theaters every year. This is an enchanting and visually stunning fairy tale that offers an exciting journey full of magic. With its impressive technical aspects and captivating performances, it is a film that can be enjoyed by the whole family and that deserves more recognition than it received upon its release. Yes, the production explores so many common tropes that it's surprising no one pulls a sword from a stone at any point. Still, as far as fantasy films for kids go, "this one is among the best". Good messages mixed with a beautiful (if limited) production and a plot that kids can follow without much difficulty.
In the plot, after the death of her father, a 13-year-old girl, Maria Merryweather (Dakota Blue Richards), is shocked to discover that all his money has been consumed by debt. Maria and her guardian, Miss Heliotrope (Juliet Stevenson), are forced to leave their home and seek refuge with Maria's uncle, Sir Benjamin (Ioan Gruffudd), who lives on the forbidding Moonacre estate. All that's left for Maria is In His Father's Will is a picture book that tells the story of the Merryweather family and their rivals, the De Noirs. From the De Noirs came the Moon Princess, who was loved by nature. She had received a set of pearls that showed the truth in people's hearts. She was supposed to marry Sir Wrolf Merryweather, but the two families came into conflict, each wanting to use the pearls for their own purposes. Then, the Moon Princess placed a curse on both families that would last for the next 5000 moons.
When they arrive at the Valley of the Moon, Sir Benjamin appears rude and brusque, including confiscating the book, much to Maria's displeasure. The girl soon finds mysterious things happening on the property - delicious meals are left for her, despite there being no cooks or servants; the fierce dog Wrolf becomes her protector; and a mysterious white horse can be seen on the grounds. Sir. Benjamin gives stern warnings that Maria never enters the forest, but when she disobeys him, she finds herself threatened and later kidnapped by the De Noirs. With the help of the hermit Loveday (Natascha McElhone), Maria begins to discover a series of clues, which show that Maria is the incarnation of the Moon Princess, who returned after 5000 moons to find the secret hiding place of the pearls and unite the two families and free them from their centuries-old curse.
The problem that Gabor Csupo ran into in "Bridge to Terabithia" was being caught between conflicting sets of influences, each of which was pulling the film in a different direction. There was Disney, who clearly wanted to turn it into another version of "The Lord of the Rings" or "The Chronicles of Narnia," which required the addition of creature effects in the forest, even though "Terabithia" wasn't a movie from the epic fantasy type and could easily function without them. On the other hand, Walden Media, supported by Christian groups, seemed to want to use the film to promote the Gospel message. In the middle of it all was Csupo, who seemed to want to make a children's film grounded in an unsentimental reality and say something about how children deal with tragedy. Understandably, caught between these influences, "Bridge to Terabithia" ended up becoming confusing, even though it is an exciting film that is worth checking out.
The good news is that "The Secret of Moonacre" is a substantial improvement over "Bridge to Terabithia." The director presents his fantasy with almost impeccable respect. He goes to exceptional lengths to establish the forbidden world of the estate into which young Maria is thrown, and then enriches it with magical touches - the discovery of a kitchen-garden inhabited by a strange gnome who may have magical powers; the dog with glowing red eyes who momentarily appears to be the black lion from the book when seen in the mirror; the appearance of a unicorn. The most magical image is the one that occurs at the end (which was certainly conceived as a live-action-CGI version of the climax of "The Last Unicorn (1982)" or perhaps the scene in "The Lord of the Rings: The Fellowship of the Ring" (2001) at the Ford of Bruinen) - where Dakota Blue Richards dives into the ocean with the pearls and then her body is lifted by the waves that transform into white horses that carry her before dissolving into foam when they hit the sand. The production design team does an absolutely incredible job - Dakota Blue Richards sleeps in a room with walls painted a deep sky blue and covered in stars, fireplaces shaped like scrolls, and a glass ceiling that looks up at the night sky; and some equally good scenery of the ruined De Noir castle and the depths of its dungeons. The design is a mix of rich, colorful sets and costumes, which take on even more color when contrasted with the stark, crumbling surroundings of the Moonacre estate.
The cast ensures that this independent film has a wider appeal, while unrecognizable names could have made it less appealing. The talented and charming young Dakota Blue Richards repeats the charisma she had already demonstrated in "The Golden Compass" and does an admirable job of carrying the film as a young heroine. She is beautiful and charming, as well as emotional and decisive when necessary. Speaking strictly about household names, Ioan Gruffudd plays a completely different character than the one in the book. His performance adds complexity to the character, who begins as an austere figure, but gradually reveals layers of compassion and concern. Gruffudd, with his elegant and charismatic presence, contributes significantly to the cast's dynamics.
Tim Curry, known for his outstanding performances as villains, plays the role of Coeur De Noir, the leader of the De Noir family and the film's antagonist. Curry once again delivers a sinister and menacing performance, solidifying his status as a master at playing villains. Natascha McElhone brings charm and mystery to the role of Loveday, a mysterious figure who helps Maria on her journey. Her performance adds a layer of wisdom to the character, making her a captivating presence, while Juliet Stevenson plays Miss Heliotrope, Maria's guardian. Her performance conveys sweetness and concern, creating affectionate moments in the film and establishing a charming chemistry with Dakota Blue Richards (there, the two would work together shortly after in "Dustbin Baby").
The technical part of the film is remarkable. It's more a study in fantastical humor (woodland bandits, forbidden forest, unicorns) than a serious one, and overall, it's a magical journey that, while not as provocative as Narnia, is an interesting piece of cinematic work in its own right. The art direction and production design create a visually rich and immersive world. The costumes are stunning, especially the main characters' outfits, which are full of details and vibrant colors. The soundtrack perfectly complements the film's magical atmosphere, creating a sense of wonder and enchantment. Scene's worth highlighting include the discovery of the secret garden, inhabited by a peculiar gnome, which is a moment full of magic and surprise. The relationship between the young protagonist, Maria, and the majestic unicorn is moving and beautifully shot, capturing the sense of wonder that is fundamental to a fantasy story. Furthermore, the final scenes, involving the search for magical pearls and the characters' redemption, are full of emotion and action.
"The Secret of Moonacre" is not entirely perfect. The De Noirs are very stereotypical villains - all in capes, war suits and armor - which, given this caricatured treatment, undermines their redemption in the end, that is, it is difficult to see Tim Curry as redeemed when he is still there in a cape. Villain black. The focus on romantic redemption and pride is a little more modern than would have been the case for a British children's novel of the time, but you can't deny that Gabor Csupo has created an excellent film. Disappointingly, for such a beautiful film, it received uneven and sporadic distribution - for example, it only received a limited release in US theaters more than two years after its original debut. He deserved much more, especially when compared to the dull content that fills theaters every year. This is an enchanting and visually stunning fairy tale that offers an exciting journey full of magic. With its impressive technical aspects and captivating performances, it is a film that can be enjoyed by the whole family and that deserves more recognition than it received upon its release. Yes, the production explores so many common tropes that it's surprising no one pulls a sword from a stone at any point. Still, as far as fantasy films for kids go, "this one is among the best". Good messages mixed with a beautiful (if limited) production and a plot that kids can follow without much difficulty.