The Tales of Beatrix Potter

The Tales of Beatrix Potter

Company type	Film
Industry	Film industry
Founded	1971
Founder	Richard Goodwin (producer), Christine Edzard (designer), Reginald Mills (director), Sir Frederick Ashton (choreographer)
Headquarters	United Kingdom
Key people	Reginald Mills (director), Sir Frederick Ashton (choreographer), Richard Goodwin (producer), John Brabourne (executive producer), Christine Edzard (designer)
Products	Ballet film
Parent	EMI Films

The Tales of Beatrix Potter (known in the United States as Peter Rabbit and Tales of Beatrix Potter) is a ballet film from 1971 inspired by the beloved children's tales of English writer and illustrator Beatrix Potter. The movie was directed by Reginald Mills and choreographed by Sir Frederick Ashton, who also performed as Mrs. Tiggy-Winkle. It showcases dancers from The Royal Ballet. The musical accompaniment, arranged by John Lanchbery using compositions by Michael Balfe and Sir Arthur Sullivan, was delivered by the Orchestra of the Royal Opera House under Lanchbery’s baton. The production was overseen by producer Richard Goodwin, with John Brabourne serving as executive producer. Goodwin collaborated closely with his wife, designer Christine Edzard, to develop the adaptation.

With a budget below $600,000 (roughly £256,000), this film stands as Mills’ only directorial project, as he was predominantly recognized for his work as a film editor, including on The Red Shoes and other ballet-related films by Powell and Pressburger.

Development

The concept took shape in 1968 when Christine Edzard, then assistant to designer Lila de Nobili, encountered producer Richard Goodwin during the shooting of Zeffirelli's Romeo and Juliet in Rome. After reading Beatrix Potter’s The Tale of Mrs. Tiggy-Winkle at Goodwin’s family residence, they resolved to transform Potter's stories into a ballet film. Nobili, involved with the ballet The Sleeping Beauty, which featured animal characters, supported their initiative.

Nobili had recruited Rostislav Doboujinsky from Paris to craft animal masks for The Sleeping Beauty. In 1969, Doboujinsky agreed to produce a prototype mask for 'Hunca Munca,' a mouse character regarded as one of the film’s most captivating visual elements.

Intended as a filmed ballet performance, Goodwin and Edzard brought in Frederick Ashton—former director of The Royal Ballet—to choreograph the project. Although Ashton initially questioned its commercial viability, he later recognized its unique appeal.

Their initial request to Frederick Warne, Beatrix Potter’s publisher, was denied—Warne had previously refused Walt Disney over fears that Potter’s works would be misrepresented. However, Edzard’s drawings gradually persuaded Warne, allowing filming preparations to proceed even before final agreements were secured. Obtaining the rights entailed risk; Goodwin later reflected that rejection would have been disastrous. Ultimately, they acquired rights for £5,000.

Bryan Forbes, head of EMI Films, approved the production despite skepticism from his board; he maintained artistic oversight on projects costing less than £1 million. Forbes described it as "one of the most original movies ever made."

Rather than following a conventional screenplay format, Edzard co-authored the script based on more than 200 sketches that combined five Potter stories: Jemima Puddleduck, Pigling Bland, Jeremy Fisher, Two Bad Mice, and Squirrel Nutkin. Although there are minor departures from the source material, the film preserves Potter’s spirit and features characters such as Peter Rabbit drawn from other books.

This project marked the first collaboration between Edzard and Goodwin; they later established Sands Films together. Their subsequent works include Stories from a Flying Trunk (1979), The Nightingale (1981), Little Dorrit (1987), As You Like It (1991), and The Good Soldier Schwejk (2018).

Producer John Brabourne recalled that Goodwin and Edzard personally crafted all costumes at home while utilizing his production company. Doboujinsky designed the masks critical to the film’s success; these were originally fashioned from bicycle helmets and polystyrene foam with hand-stitched hair and vision holes covered in gauze. For stage renditions, Doboujinsky recreated masks featuring improved visibility by applying nylon hair through electrostatic techniques.

John Lanchbery arranged the musical score using themes by Balfe, Minkus, Offenbach, Sullivan, among others; Lanchbery had previously collaborated with Ashton on several renowned ballets.

Goodwin characterized the film as "a diversion... a souffle... an entertainment." In the year of its release, the costumes were exhibited aboard the QE2 during a touring display.

Shooting

Production commenced in May 1970 at EMI's Elstree Studios, where filming continued for a duration of five weeks. Prior to this, second unit footage had been captured in the Lakes District.

Cast

• Mrs Tiggy-Winkle - Frederick Ashton
• Peter Rabbit / Pigling Bland - Alexander Grant
• Mrs. Tittlemouse - Julie Wood
• Johnny Townmouse - Keith Martin
• Jemima Puddle-Duck - Ann Howard
• Fox - Robert Mead
• Alexander - Garry Grant
• Aunt Pettitoes / Tabitha Twitchit - Sally Ashby
• Berkshire Pig - Brenda Last
• Mr Jeremy Fisher - Michael Coleman
• Tom Thumb / Squirrel Nutkin - Wayne Sleep
• Hunca Munca - Lesley Collier
• Old Brown, the owl - Leslie Edwards

Supporting roles were portrayed by Érin Geraghty as Potter, Joan Benham in the role of the nurse, and Wilfred Babbage as the butler.

Release

The film had its debut screening before Queen Elizabeth II on 1 April 1970.

Box office

Under the leadership of Forbes at EMI Films, this release stood out as one of the most commercially successful projects. It was among the leading British box office performers in 1971 and had generated a profit of £18,000 for EMI by June 1972. Bryan Forbes later confirmed its notable financial success.

Critical

Roger Ebert commended the film for its clear narrative and the compelling performances delivered by Royal Ballet dancers, emphasizing their convincing embodiment of animal characters. He awarded the film a perfect four-star rating.

In 2011, Anthony Nield characterized Tales of Beatrix Potter as an exceptional British cinematic work that combines Sir Frederick Ashton's ballet choreography with creative storytelling through dance and music, notably without any spoken dialogue.

Awards

Christine Edzard, responsible for the film’s design, received BAFTA nominations in the categories of Best Art Direction and Best Costume Design.

Legacy

John Braborne recounted that Agatha Christie granted him the rights to adapt Murder on the Orient Express for screen due to her admiration for Tales of Beatrix Potter. The creative team subsequently produced Stories from a Flying Trunk (1979), inspired by tales from Hans Christian Andersen. In 1992, Anthony Dowell, then serving as Director of The Royal Ballet, transformed the film into a theatrical production.

Home media

The film saw DVD releases in 2004 and again in 2009. To commemorate its 40th anniversary, a digitally restored Blu-ray version was issued in 2011, showcasing its lasting production excellence and distinctive character interpretations.