Ah…the English accent. Either you love it or you loathe it, and if you number among the latter, I would counsel you to pass on this movie. For Nanny McPhee features a brood of children, most of whom speak with the plummiest of prep school accents. Think Lucy in Narnia, then multiply it by seven (well, six, as the littlest is a babbling baby), and if you can stomach the very thought, you’d be in for a treat.

Based on the Nurse Matilda books by Christianna Brand and adapted for the screen by Emma Thompson, Nanny McPhee is first and foremost a fairy tale—magical and delightful to children (its primary audience) while losing none of its enchantment and appeal for grown-ups.

Emma Thompson stars in the title role, a ‘government’ nanny appearing out of the blue as if in answer to widower Cedric Brown (Colin Firth)’s fervent prayers. His unruly brood has just vanquished their 17th nanny, and the cook (Imelda Staunton) and scullery maid (Kelly Mcdonald)—the sum of their household—feel under siege.

Nanny McPhee is your anti-Poppins, warty and snaggle-toothed, so repellent at first that Mr Brown does several double-takes at her sudden yet propitious appearance. But beggars not having the luxury to choose, he ushers her in, and a battle of wills begins between her and the children, especially the eldest boy, Simon.

Now the children had a good deal of fun getting rid of their previous nannies who were no match for their naughtiness, but Nanny McPhee proves her ‘government’ status by carrying a big, albeit magical, stick, and, most importantly, by not being afraid to use it. She calmly tells Mr Brown that the children have several lessons to learn, and that when they have learned these lessons, her job will be done. In a similar vein, she tells the children: "When you need me but do not want me, then I will stay. When you want me but do not need me, then I will go."

Using her own peculiar magical brand of tough love, Nanny McPhee whips the children into shape. But disaster looms around the corner: their impoverished dad must re-marry or their draconian great-aunt (a short-sighted, false-nosed Angela Lansbury) will stop the allowance that enables them to stay together as a family. The children are aghast, violently opposed as they naturally are to a step-mom, especially one as ghastly and crass as the child-hating social-climber Mrs Quickly (Celia Imrie showing her assets in a series of garish costumes) who’s already seen two husbands to their graves.

The children must knuckle under if they want to stay together. Or must they? Things come to a head at the wedding ceremony between their father and Mrs Quickly. What are the chances the wedding will proceed smoothly? But then, will their great-aunt refuse to pony up their allowance, forcing their dad to separate them as a family? And what about Evangeline, the pretty scullery maid who loves the children and whom they adore? Can her elocution lessons make up for her socially inferior position?

While Emma Thompson does a great job as Nanny McPhee, the same cannot be said of Colin Firth as the kindly but befuddled Cedric Brown. He seems most conscious of the fact that he’s in a comedy, and many a time appears to be trying too hard as the bumbling, put-upon, dad. I may be committing heresy here, and I’m dreading the backlash already, but I thought him miscast. I had a brief fantasy of Hugh Laurie in the part (those who know him from House will be horrified, but those who’ve seen him in Fry and Laurie or as the Stupid Prince in the Blackadder series will understand).

The supporting actors ham it up for all they’re worth, and that works some of the time in this over-the-top production, but on occasion the laughs are hard to come by, faced as one is with a dancing donkey and a be-ribboned pig, and two morticians who are much more merry and gay than any undertaking situation would justify.

As for the cast of children, they are not uniformly endearing, but then perhaps they are not meant to be—at least 17 nannies have succumbed to their naughtiness, after all. My favourite was the baby Aggie. A hefty, bouncing infant who dwarfed the girls who had to carry her, she stole all the scenes she was in.

The best sequence comes at the very end, when snow blankets a gaudy summer banquet, calming the raucous colours and whipping up a gown fit for a princess, complete with veil and train. This CGI-enhanced sequence is so beautiful and so full of magic and romance that my 11-year-old niece and I watched it twice, and will no doubt watch it again, given half the chance.

Production designer Michael Howells is to be commended for the wonderful sets, full of vibrant colours and a sense of enchantment—essential ingredients in this fairy tale for children that will appeal just as much to grown-ups who still retain a sense of wonder. Perfect for the whole family, best for pre-teens, and will entertain boys and girls, both naughty and nice, from as young as 5.






Recommended:
Yes

Viewing Format: DVD
Video Occasion: Better than Watching TV
Suitability For Children: Suitable for Children up to Age 4