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Goodbye Christopher Robin (2017)

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The relationship between writer AA Milne and his son, Christopher Robin, and how this became the inspiration for Winnie the Pooh.


Simon Curtis
1,497 ( 561)
2 wins & 1 nomination. See more awards »





Cast overview, first billed only:
Vicki Pepperdine Vicki Pepperdine ... Betty
Margot Robbie ... Daphne Milne
Domhnall Gleeson ... Alan Milne
Will Tilston ... Christopher Robin Aged 8
Alex Lawther ... Christopher Robin Aged 18
Stephen Campbell Moore ... Ernest
Richard McCabe Richard McCabe ... Rupert
Geraldine Somerville ... Lady O
Mossie Smith Mossie Smith ... Sharon the Midwife
Stanley Hamlin Stanley Hamlin ... Christopher Robin Aged 6 Months
Kelly Macdonald ... Olive
Dexter Hyman Dexter Hyman ... Christopher Robin Aged 3 Years
Sonny Hyman Sonny Hyman ... Christopher Robin Aged 3 Years
Phoebe Waller-Bridge ... Mary Brown
Sam Barnes Sam Barnes ... The Times Photographer


A rare glimpse into the relationship between beloved children's author A. A. Milne (Domhnall Gleeson) and his son Christopher Robin, whose toys inspired the magical world of Winnie the Pooh. Along with his mother Daphne (Margot Robbie), and his nanny Olive, Christopher Robin and his family are swept up in the international success of the books; the enchanting tales bringing hope and comfort to England after the First World War. But with the eyes of the world on Christopher Robin, what will the cost be to the family? Written by Fox Searchlight Pictures

Plot Summary | Add Synopsis


Inspired by the True Story See more »


Biography | Drama

Motion Picture Rating (MPAA)

Rated PG for thematic elements, some bullying, war images and brief language | See all certifications »

Parents Guide:

View content advisory »


Official Sites:

Official Facebook | Official Site





Release Date:

29 September 2017 (UK) See more »

Also Known As:

Goodbye Christopher Robin See more »

Filming Locations:

UK See more »


Box Office

Opening Weekend USA:

$57,917, 15 October 2017, Limited Release

Gross USA:

$1,735,251, 21 December 2017
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

Dolby Digital



Aspect Ratio:

1.85 : 1
See full technical specs »

Did You Know?


The film's depiction of Christopher Robin Milne's relationship with his parents is fairly accurate. The actual C.R. never forgave his father for exploiting him (perhaps inadvertantly) to sell books. Instead, he learned to accept what had happened, and lived with it until he died in 1996. His relationship with his mother was worse; she also disapproved of the woman C.R. eventually married. After A.A. Milne died in 1956, C.R. had almost no contact with his mother until she died 15 years later. C.R.'s only child, his daughter, Claire, was born with Cerebral Palsy. She died in 2012, at age 56. See more »


When the Guards band are playing, several are wearing modern day medals (Iraq, Afghanistan etc.). The close up of the cymbal player shows the Queen's Golden and Diamond Jubilee Medal which weren't awarded till 2002 and 2012, alongside a LSGC with Queen Elizabeth II on it. See more »


Christopher Robin Aged 18: There it all is. Just as I left it. As if nothing had happened.
Alan Milne: When I came back, everything seemed wrong. I didn't fit anywhere. Until I came here. Those days with you... I wanted to keep them all. Put them in a box.
Christopher Robin Aged 18: The things that I said before I left...
Alan Milne: They were all true. You're here. That's all that matters.
Christopher Robin Aged 18: In the desert, we were under fire... and one of the men started singing one of the hums of Pooh. He changed the words a bit, but...
Alan Milne: [low chuckle]
Christopher Robin Aged 18: You know. And I thought, "How on earth...
See more »


The Duke of Wellington Regiment West Riding - The Wellesley
Arranged by Donald Seed
Performed by Band of H.M. Coldstream Guards (as Band of the Coldstream Guards)
Published by Boosey & Hawkes, an Imagem Company
See more »

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User Reviews

Not perfect, but well worth a watch. Just don't expect Disney flavours!
12 July 2018 | by kitellis-98121See all my reviews

While not entirely perfect, this film is one that I will definitely watch again.

It had strange resonances for me personally, as my grandmother was a famous and celebrated author, who used me as inspiration for several of her children's books, and also as a subject for one of her academic books for adults.

During my early childhood, I spent many happy days playing imaginative games with my grandmother - always followed around by a photographer - and those games became the basis for her stories, with the photographs of me used to illustrate them. At the time I was quite happy about this, as it made me feel special, but I am now very well aware that I was being exploited.

Like Christopher Robin, I was never asked permission to be in her books, nor was I ever paid (although I inherited a modest amount of money when she died, so I suppose that could be considered payment of sorts).

Unlike Christopher Robin, I never resented the books I was in, and I never felt that my childhood memories had been stolen or commercialised. But my situation was never as drastic as his, and my grandmother's celebrity didn't even come close to that of A.A. Milne. However, there are enough parallels to have given me a few shivers while watching this movie.

Others have commented on its excellence, so I won't belabour that point, except to say that I agree. As a film it is beautifully crafted and (for me anyway) endlessly re-watchable.

I disagree with the negative comments about the stilted acting. If anything I felt they needed to be more stilted to be properly true to the period. I do agree that Margo Robbie's accent was uneven, but performance-wise I felt she did very well in what was perhaps the hardest role to perform convincingly.

As others have mentioned, the best performances came from the two boys playing Christopher Robin, although I also particularly liked Stephen Campbell Moore's understated warmth, and - for the first time in her career- I actually found myself liking Kelly Macdonald, an actress who has irritated me in every other film in which I've seen her. Here she exudes warmth and tenderness, and in a well-pitched and technically difficult performance manages to display undercurrents of disapproval and sympathy to the audience without over-egging the pudding.

The cinematography by Ben Smithard also bears special mention, bringing to the screen a subtle yet richly evocative atmosphere of nostalgia and childhood innocence without sacrificing realism or becoming overly stylised.

In fact, one of this film's many technical merits is the fine balance it achieves between all its various flavours and ingredients; each one subtle and understated, yet combining to create a rich and satisfying whole.

As an overall viewing experience it has much to recommend it, and very little about which to complain.

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