When the titular character in “Penelope” declares, “I like myself the way I am,” the audience can agree. “Penelope” is indeed likeable, even if not quite loveable.
The movie’s plot is a fairy tale with all the predictability of one, and the storyline is exactly what one would expect from the previews. There are a few minor twists, some refreshing and some that should have been left on the cutting room floor.
The acting is competent, with everyone deftly walking the line between too hokey and too realistic. If the chemistry between romantic leads Christina Ricci and James McAvoy doesn’t exactly sizzle, there’s enough to create a couple the audience can root for. And Simon Woods and Peter Dinklage make a fantastic antagonistic team one cannot help but root against with glee.
What really stands out is the set design and visual effects. The distinction between Penelope’s attic world where she is locked away and the “real” world is dramatic. Penelope is associated with dark, autumnal colors in contrast to the lighter, brighter colors of the outside. The designers take advantage of the distinction by gradually changing the colors in Penelope’s wardrobe as she changes. Penelope’s first view of the sparkling city lights at night might be cheesy, but they’re pretty nonetheless.
One could expect a certain amount of cheese from a movie about learning to love oneself because of previous films’ tendencies to err on the side of the sentimental and schmaltzy. But Leslie Caveny has written a strong screenplay. She develops diverse themes outside self-esteem including the strains of unhealthy mother-daughter relationships, what the concept of self means and the double-edged sword that is the paparazzi. This may seem like a lot of ground to cover in only an hour and a half, but all these ideas are explored in genuine ways.
That’s not to say “Penelope” succeeds on all levels. First of all, the film undermines its main theme. While it is true Penelope expectedly admits she likes herself, she only does this after she has the complete approval of people from the outside world. The audience is left with the impression had she not been exposed by accident, she would have continued to hide herself away and never confront her antagonists.
Secondly, Ricci’s cute pig nose in no way disfigures her in the way the filmmakers would have the audience believe. This could have been played in a meaningful way if the point was she’s not ugly despite having unconventional features, but the way everyone reacts to her face demonstrates the audience is supposed to seriously believe she’s ugly. The repeated shots of potential suitors literally crashing through windows upon seeing her were disappointingly over-the-top for the movie’s otherwise even-keel tone.
“Penelope” isn’t groundbreaking or particularly creative. But it is a quick, fun diversion perfect for fans of the stars or anyone who still believes in fairy tales.
