How a 1997 British fantasy film brought Mary Norton's tiny folk to life

How a 1997 British fantasy film brought Mary Norton's tiny folk to life
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In short: Directed by Peter Hewitt, this big-budget adaptation of the 1952 children's classic features a family of tiny people living secretly beneath the floorboards. While the film earned praise for its inventive visuals and performances, it also sparked debate for taking creative liberties with the original story's beloved narrative.

The 1997 film adaptation of The Borrowers reimagines the lives of the Clock family—Pod, Homily, Arrietty, and Peagreen—who survive by scavenging items from the unsuspecting Lender family. The plot centers on a high-stakes conflict involving a crooked lawyer named Ocious P. Potter, played by John Goodman, who attempts to demolish the Lenders' home to build condominiums. Potter’s scheme relies on the disappearance of a will belonging to the late aunt, Mary Alabaster, which would prove the Lenders' legal right to the property.

The film’s production design was noted for its storybook aesthetic, with some scenes filmed on location in the village of Theale, where local buildings were painted dark green to achieve a specific look. Critics, including Roger Ebert, praised the special effects, comparing the visual experience to a live-action version of Toy Story. The cast featured notable British talent, including Jim Broadbent and Celia Imrie as the Clock parents, alongside Hugh Laurie as a local police officer. Despite some criticism regarding story changes, the film received a 73% approval rating on Rotten Tomatoes.

The narrative follows the Borrowers as they navigate a dangerous world of human-sized threats, including an exterminator named Jeff and his flatulent bloodhound, Mr. Smelly. After being captured and nearly drowned in liquid cheese, the Clocks are rescued by Pete Lender and an 'outie' Borrower named Spiller. The film concludes with the exposure of Potter’s fraud and the restoration of the Lenders' home. In 1998, the production was nominated for a BAFTA for Best British Film, ultimately losing to Nil by Mouth.

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