More than two years later, the first Peter Rabbit still remembers with joy, a cinematographic operation that sought – distantly, to be discovered only later – to follow in the footsteps of the success of the two Paddington. Unlike the London bear created by Michael Bond, the adventures of Peter Rabbit, which saw light towards as far back as 1902 from the pen and colors of Beatrix Potter, in the cinema took on a lighter, less committed narrative form, drawing heavily on from the self-irony of both the English people and the social dynamics in which the inhabitants themselves allow themselves to be crushed by their daily life. The arrival of the little rascal therefore served as shock therapy to bring the human protagonists to analyze themselves. We got a chance to watch Peter Rabbit 2, and we’re going to tell you about it with this review.
Never change a winning team
The first film was an impressive success (both financially and critically). If the bunny Peter makes self-irony his workhorse, the perplexity and amazement – but also joy – of having reached a second chapter, starts from the mind of director Will Gluck, who leaves the externalization of his emotions to his small protagonist who sums it all up in: no one would have expected it. This is how the film almost begins and ends, a sort of declaration of intent and thanks to the audience. Therefore follows the arduous mission of making this sequel as enjoyable as it is winning, just like the previous film. Not a small operation and the carrying out of the task itself shows the various difficulties.
While the technical-artistic team returns without any defection – and with inflated contracts given the success – the real problem lies precisely in the development: how can you replicate a small unexpected success, trying not to make the film a photocopy of the previous one? We tell you about it in this review, but we anticipate that in part it is not possible, or at least this Peter Rabbit 2 – A rogue on the run throws a base just enough to support the whole narrative structure. If at the end of the first chapter Peter managed to have a good relationship with Thomas – now in effect married to his mistress Bea – now we need a new unpleasant human to whom to dispense spite, or someone who can overshadow the good deeds. of the group of rabbits. So what better antagonist than Peter himself?
Just when Bea publishes the illustrated book of Peter Rabbit, a daring publisher offers her a millionaire contract to continue with the publication, between sequels and adequate merchandising, as long as Peter, as leader of the group, becomes a sort of black sheep, a rogue that in front of him. his sweet eyes, hides a rebellious, anarchic spirit, in short, a real troublemaker. This proposal, which first destabilizes Bea, leads confusion even in little Peter’s heart who sees coexistence with Thomas increasingly difficult due to very classic misunderstandings. Is he really a black sheep? What would his father say? Should he go back to stealing as he did in the past, abandoning the clarity and equilibrium he had achieved up to that moment?
A path of growth
The metanarrative path is therefore intriguing which overlaps in multiple parts throughout the film. If at the end of the first film Bea’s creation of Peter Rabbit’s book was a simplistic homage to her creator, here instead the purely filmic narrative layer overlaps another one, more intent on deepening the nature of the character as well as her disappointments. or goals achieved. Precisely with the sagacity to carry on everything with a hilarious self-irony and a script of the simplest and most linear, the double reading that comes out is very intriguing, never banal, showing a nature not unlike that of the first film.
The big drawback of the entire production is that this sequel does absolutely nothing to become memorable, to the extent that the first was a great success because of its narrative formula, the freshness and vivacity of framing Peter as a character as wise as he is self-deprecating. In this sequel the formula repeats itself without smudging, which is why the film carries with it both the fun and all its big limitations, which are evident just when trying to make the longest jump of the leg. We are talking about the meeting with the elderly rabbit Barnabas and the direct discourse on identity: whether to be street rabbits, stray and free, or from the countryside, with a master to refer to. This could have been a very good ground for an even more interesting dialogue, of full listening, but evidently the production was aware that they did not have the means – or perhaps it was not the ground they wanted to beat – so it was better to re-propose the narrative virtuosity and director in a final pyrotechnic, while we leave the hopes for the sure third chapter. Hoping that this review has intrigued you, we remind you that you find Peter Rabbit 2 – A rogue on the run in all cinemas!