I went to school with a boy who later went up to Oxford and became a film critic for one of the student rags there. He became notorious for writing reviews of films he hadn’t actually seen. His claim was that his film knowledge was so superior that he could form opinions based simply on who made the film, who was in it and what it was about. Like most right-minded people I find this approach both high-handed and objectionable. And that is why I am trying very very hard to reserve judgement on the upcoming Peppa Pig film.
Or Peppa Pig: My First Cinema Experience to give it its proper title. The name strikes me as curiously functional, like re-imagining Raiders of the Lost Ark as Indiana Jones and the Search for the Culturally Significant Religious Artefact. In fact the label doesn’t refer to plot of the film. It’s directed at the audience themselves.
Thus it becomes probably the first film in cinematic history to incorporate its own marketing strategy into its title. But at least this way any potentially harrowing scenes involving Peppa’s first encounter with a hot dog stand are avoided.
I speculated as to the content of the film and how the makers would tackle the challenge of making this well-loved television character a cinematic proposition, without losing its essential Pepperiness. But actually, the Peppa Pig film isn’t a film at all, it’s nine new episodes shown back-to-back. So it may just be that Peppa Pig: My First Cinema Experience is less of an artistic endeavour and more of a profit-making one.
This novel formula at least offers a raft of opportunities: a week’s worth of surround-sound Coronation Street. 3-D weather forecasts. Or A Question of Sport: The Movie.
In fairness you could say that most films are propelled by financial imperative. And the format suits my children, particularly the Minor who would probably struggle to sit through the opening credits. I’ve sat through a few Peppa Pig marathons myself, normally at around 5.22am. It is possible to enter a sort of stasis during this period, and rouse yourself an hour or so later, slightly furred like the inside of an old kettle.
I should add also there are some episodes of Peppa that contain a streak of subversive humour which is genuinely appealing. Who can forget the classic moment when Daddy Pig reads The Wonderful World of Concrete to his kids at bedtime? Uttering the immortal line: “concrete is a construction material composed of sand, water and chemical admixtures”.
The resident cast boast several actual comedians, which has been bolstered for the “film” by the likes of Jo Brand and David Mitchell, perhaps playing a slightly spluttering middle-class badger railing at the rank commerciality of it all.
The most concerning element of the Peppa Pig cinema enterprise is that it’s apparently interactive. I’ve researched this and this involves live action characters (failed actors in intimidatingly large suits) initiating dancing and sing-a-longs. No parental hibernating here. Given that the only famous song associated with Peppa is the theme tune, I can only see this going one way.
Altogether ladies and gentlemen and children…
“Dun dun dun dun dun dun dun dun dun dun Pepppppa Pig dun dun dun dun dun dun dun dun dun dun dun Peppppppppa Pig….”