O Encanto das Fadas

Fairytale: A True Story is a truly charming and delightful film, that has all the charm of the enchanting Secret Garden and the equally wonderful Little Princess. The screenplay was very solid, and the film does look very, very beautiful, with perfect camera-work and splendid period detail. The simple but well-told story tells of two young girls who find and photograph fairies, and they manage to convince even Sir Arthur Conan Doyle (marvellously played by Peter O'Toole) that the fairies are real. The music was really lovely to listen to, and director Charles Sturridge manages to draw spirited (and exemplary) performances from his two leads Florence Hoath and Elizabeth Earl. The supporting cast include Paul McGann, Pheobe Nicolls and Harvey Keital, and all do more than a respectable job. Overall, a very pleasing and charming film, that does certainly leave you wanting fairies at the bottom of your garden, like the back of the video box promised. 10/10 Bethany Cox.

After watching this film I realize that it is not so much about whether it "was really" true or untrue...the essence of the film, made amply clear is the Belief of the two girls in fairies that made them see them in the first place. On a metaphysical level the film says that if you really believe in something, however odd or outlandish, it will come true or be true. There's no sense in being contentious about the basis of this film because that is very much valid as I have pointed out above. To do so, as I see some people have done over here, is to not only misunderstand the message of the film but to downplay its other qualities.

The acting of Florence Hoath as Elsie and Elizabeth Earl as Frances is really impressive. Both have done complete justice to their characters. The rest of the cast, Paul McGann as Elsie's father, Peter O'Toole as Arthur Conan Doyle and Harvey Keitel as Houdini are also really good. I also absolutely agree with most of the reviewers here that the early 20th century has been evoked very well. But of course, the best thing about the film is the cinematography. It's gorgeous! The woods where the girls encounter the fairies are evoked beautifully, they're appropriately dreamy and realistic. Praise must definitely be due to the set decorators who have done a brilliant job with the house that the Wrights live in and especially the room which Elsie and Frances share. It's a dream garret room! The music is also quite good. I thoroughly recommend this film, certainly for those who believe in Believing things and also for those who like to watch a really well made period film.

There are two different points of view that FAIRYTALE's difficult story can be told: the children and the adults. Apparently, it looks like the adults will be far more interested than the children because of its long discussions about fairy sightings and its overly dramatic nature; this actually is the kind of audience this movie was shooting for. On the children's side, it is magical in the make-believe universe, but not without a couple of horrifying and sorrowful moments (the scarred-face soldier out of WWI, for instance), and may end up as boredom along the way. The fairies and their surroundings would have looked better on the screen if they appeared larger, but there some things to believe in, just as the opening scene tells you; they do exist as fantasy figures to enlighten a child's imagination. The two young girls pull off some charming performances, and some luscious scenery is vivid all throughout. FAIRYTALE should have been a real "family" fantasy picture in the way it is presented, but stands out its own way as a movie that focuses on a slight examination of sightings that is virtually unexplainable (almost similar to science fiction!). Children will most likely appreciate the fairies more than the movie itself. And where is Mel Gibson???

The kind of movie that could almost persuade you that fairies were real. The story is that of the Cottingley Fairy photographs of the 1920s (taken by two Yorkshire girls who later revealed they were fakes) – those fooled included celebrated writer Arthur Conan Doyle (played here effectively by Peter O'Toole) while cynics included magician Harry Houdini (a charming role for Harvey Keitel, who manages not to swear and keep his clothes on for once).

The supporting cast are excellent – Paul McGann as the girls' dad/uncle; Tim McInnerny and Bill Nighy as journalist snoops; and Phoebe Nicholls as the girls' mother/aunt. The girls themselves are played with ease by Florence Hoath and Elizabeth Earl. Mel Gibson has a tiny cameo at the end (I don't want to spoil it by saying as what).

A thumbs-up, too, for the special effects achieved in this movie. The movie certainly is sentimental and does seem to come down on the side of the unknown and imply that the girls' claims were true, but it is a terrific family film I wouldn't hesitate to recommend.

Based on a famous "Cottingley fairies" hoax perpetrated by two English girls during World War I in 1917, "FairyTale: A True Story" presents alternate views of reality to suggest that, like the view of Aborigines, dreams are as real as conscious reality. If you take the special effects fairies too literally in this film, you will miss the point. The film plays a trick on you, just as the original incident played a trick on Sir Arthur Conan Doyle in 1917. Houdini, as played by Harvey Keitel, gets the point. Although he's one to debunk mystics who defraud the gullible, he too trades on people's need to believe in magic. The girls' deception is also a sort of benign fraud. As any magician, they should never reveal their "secret." The film invites comparisons to the famous French classic, "Forbidden Games" in which children construct an elaborate fantasy world as a way of coping with the reality of war. Here too, the girls use fairies to fill the void in their lives left by their father, who has gone "missing" on the front in France. "I know what they mean by 'missing,'" says one of the sisters, conscious of reality but hoping to "believe" in the unlikely event of his return. This is not a kiddie film, but a langorous period piece on the nature of belief and faith in the face of empirical skepticism. The film reinforces its theme with beautiful details, as at the end when the father says he smells the perfume which isn't there, or in the ghostly intrusion of a dead brother that changes the mind of a skeptical reporter. Even the final sequence, involving fairies, is so charming it steers clear of cynical manipulation. Although there are moments when the plot seems to become arbitrary or plodding, it's all tied up neatly and beautifully in a magical finale. I'd hesitate to call this a classic, but it is a worthwhile "sleeper." Just bring an open mind and heart.