In such scenes, the ‘pictorial representation of landscape and beauty of the countryside’ (Chibnall and Petley 2007: 213) combine to create a romanticised sense of ‘Britishness’ imbued in the emotional connection between man and place (and it is only during these scenes that father and son actually connect). The spectacle of the British landscape is provided further significance by the inclusion of fantasy which at one point transforms into winter as Milne plays with Christopher in the snow. The war remains a haunting legacy for Milne as he experiences recurrent flashbacks which are often triggered by mundane noises. He moves his family to Ashdown Forest in Sussex which provides a brief opportunity for peace and reflection. The film is at its most magical during these scenes, as Milne bonds with his son by creating stories based on his array of cuddly toys and their adventures together. The Sussex landscape looks glorious on screen, the golden sunlight capturing a nostalgic past. Goodbye Christopher Robin (Simon Curtis, 2017) is a biographical film about the author A.A Milne (Domhnall Gleeson) and the inspiration for his famous literary creation. The film (written by Simon Vaughan and Frank Cottrell-Boyce) adopts a rather sombre approach to the author’s life, foregrounding his traumatic experiences during the First World War as the reason for his fractured relationship with his young son, Christopher Robin (Will Tilston) (Fig.
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