The film was a passion project for producer Richard Goodwin who succeeded in getting the film rights from Potter's estate. Goodwin worked on developing the film for two years with his wife, designer Christine Edzard. Instead of a conventional screenplay, Edzard produced over two hundred sketches. Goodwin approached Ashton to choreograph. He later said: "I was not certain that with films dominated by violence and sex the time was right for such an explosion of sheer charm. But now I think the public is more than ready for something like this." The film was given the go ahead by Bryan Forbes during his period as head of production at EMI Films. He recalled that the EMI Board were not enthusiastic, and Nat Cohen had never heard of Beatrix Potter, but he had complete artistic control for any movie made with a budget under £1 million so could easily gain approval. Producer Richard Goodwin called the film "a diversion... a souffle... it is an entertainment."
Reception
Box Office
The film was one of the most successful of the Forbes regime at EMI Films. It was one of the most popular movies in 1971 at the British box office. By June 1972 it earned EMI a profit of £18,000.
Critical
A 1971 review by Roger Ebert was favourable: "The stories are told simply and directly and with a certain almost clumsy charm. Instead of going for perfection in the dancing, the Royal Ballet dancers have gone for characterizations instead. The various animals have their quirks and eccentricities, and they are fairly authentic: The frog dances like a frog, for example, and not like Nureyev." Anthony Nield wrote in 2011, "Tales of Beatrix Potter is one of British cinema's true one-offs, a film quite unlike any other. Ostensibly aimed at children, this adaptation of Potter’s various animal-centric stories was mounted by the Royal Ballet and choreographed by Sir Frederick Ashton. The tales are rendered as a series of dances, loosely interconnected by the author as a young girl and her active imagination. There are no words, only music and movement as the performers of the Royal Ballet—in full animal costume—interpret her stories' simple narratives." The film's designer, Christine Edzard, was nominated for BAFTA awards for Best Art Direction and for Best Costume Design.
Home media
The film was released to DVD in 2004 and 2009. A digitally restored version was released as a Blu-ray DVD in 2011, in commemoration of the film's 40th anniversary.