NEW TO DVD | 'Miss Peregrine’s Home for Peculiar Children' Film Review
Tim Burton’s most recent film set high hopes for fans of the popular book series by author Ransom Riggs. ‘Miss Peregrine’s Peculiar Children’ undoubtedly succeeds in its fantastic cinematography; however, no matter how magical the world appears on screen, beautiful scenery does not compensate for awkward storytelling and unforgivable alternations from the original texts. But how do viewers without an appreciation of the novels feel about the film?
Actor Asa Butterfield, previously known for his role in ‘The Boy In Striped Pyjamas’ and ‘Hugo’ plays Jacob Portman; a young man whose world becomes increasingly peculiar after the curious death of his grandfather, Abe (Terence Stamp). Whilst attempting to uncover his grandfather’s secrets, Jacob encounters the world of the peculiars, maintained by Miss Peregrine (Eva Green) and the other ‘ymbrines’.
Although the first half of the film closely follows the events of the first ‘Peregrine’ novel, it eventually veers onto its own storyline, deviating from Riggs’ beloved narrative. It is here where controversy sparks amongst fans of the books - knowledgeable viewers question the film’s characterisation, plot changes and overall authenticity.
‘Miss Peregrine’s Home for Peculiar Children’ is renowned for its mysterious atmosphere and the enchanting world built by the debuting author. Due to this, the movie had predestined expectations to be met: that of an audience who yearned for another taste of Jacob’s extraordinary adventure.
Whilst the magical world of Ransom Riggs is well portrayed through the enchanting cinematography - with stunning views of the peculiar orphanage, and the interesting, retro additions of more modern loop entrances, the remaining components of the fantasy film tends to disappoint fans who were hoping for an entirely different storyline.
Though Riggs himself followed the construction of this film closely, it functions as if unaware of the initial concepts that shape the book series, particularly in the central complication of the film: the stealing of the ymbrines.
This is perhaps the largest issue a fan of the series may hold against the film adaptation. The plot is not merely interpreted to compliment cinematic aesthetics and structure, but rather entirely restructured, or rather downgraded, into a typical quest for immortality. In reading the books, it is clear that Riggs is capable of much more than a simple revisiting of cliché understandings of consequences that accompany unnatural ambitions; therefore, it is disconcerting that this was the course taken in the film.
Throughout the books, themes of jealousy, prejudice, individuality and political agendas are explored with delightful subtly. Although it is often said that viewers must not hold a film accountable to the original novel, it should also be understood that films using novels as a base are, at the very least, expected to uphold the values and directives articulated in the novel. Instead, Burton blatantly exposes themes of family structure (which admittedly, is fun and refreshing), and touches upon aspects of individuality, which by default accompanies the nature of the storyline.
It is assumed that film adaptation will eliminate minor elements from its origin, or alternatively include new and interesting additions to the already existing concept. Impressively, the latter is done well throughout Burton’s work, particularly in the characterisation of Miss Peregrine and her peculiarity; although it is widely complained that the relationship between the children and Miss Peregrine is not portrayed accurately - based on fear rather than utmost respect.
Characterisation faces further dispute from fans of the novel, beginning with the change in age of certain characters and ending in the creation of completely new characters. Peculiarities serve as core components to each character’s personality.
Ella Purnell manages to shine as Emma Bloom, giving her a graceful and feminine façade as she floats on screen; however, to change a peculiarity is to entirely recreate a character, and this is unfortunately the case for Emma Bloom and Olive, whose abilities are switched and personalities completely altered.
Lauren McCrostie is particularly charming as Olive, but this does not distract from her unfamiliar characterisation. And for fans of the originally fiery and independent Emma, the change to a softer, ditsier character is not a welcomed one.
Further to that, the Olive/Enoch relationship appears quite disturbing and at times, overbearingly cliché; this leaves the audience wondering why the original (and darn cute) romance between Fiona and Hugh was not considered for the film. Their relationship is completely disregarded - replaced by a stale, toxic union.
There is much wasted potential in regards to underlying plot, dimension and depth of film. Although these discrepancies do not diminish the film in its entirety, they certainly do contribute to its disappointing nature.
The target audience appears pitched at a younger crowd in contrast to the book series, which may explain its changes to the themes, characters and overall tone of the narrative. Nonetheless, Burton could have taken into consideration the audience the movie will ultimately attract if is to animate an existing story. Arguably, his film borrowed inspiration and simply worked as an extension to the ‘Peregrine’ franchise rather than a pure adaptation, and that’s not such a bad thing.
Overall, the film itself is enjoyable for newcomers to the series. The cinematography is indeed chilling, and while the plot verges on cliché, its characters (if not comparing to the novel) are likeable and entertaining.
Though Riggs’ loyal fans may remain disappointed with this film adaptation, there is no denying the clearly unique directorial talent Tim Burton exemplifies throughout the film, making ‘Miss Peregrine’s Home for Peculiar Children’ his own.
‘Miss Peregrine’s Home for Peculiar Children’ is released on DVD 19th January 2017.
