Popularity: 3 (history)
Director: | Marc Munden |
---|---|
Writer: | Frances Hodgson Burnett, Jack Thorne |
Staring: |
Mary Lennox is born in India to wealthy British parents who never wanted her. When her parents suddenly die, she is sent back to England to live with her uncle. She meets her sickly cousin, and the two children find a wondrous secret garden lost in the grounds of Misselthwaite Manor. | |
Release Date: | Jul 08, 2020 |
---|---|
Director: | Marc Munden |
Writer: | Frances Hodgson Burnett, Jack Thorne |
Genres: | Family, Fantasy, Drama |
Keywords | garden, yorkshire, orphan, based on children's book, post war, 1940s |
Production Companies | Heyday Films, StudioCanal, StudioCanal |
Box Office |
Revenue: $8,721,243
Budget: $0 |
Updates |
Updated: Feb 01, 2025 Entered: Apr 13, 2024 |
Name | Character |
---|---|
Dixie Egerickx | Mary Lennox |
Tommy Gene Surridge | Billy |
Colin Firth | Lord Archibald Craven |
Julie Walters | Mrs. Medlock |
Maeve Dermody | Alice |
Edan Hayhurst | Colin Craven |
Amir Wilson | Dickon |
Isis Davis | Martha |
Richard Hansell | George |
David Verrey | Jeremy |
Lee Starkey | Train Passenger |
Sonia Goswami | Aayah |
Rupert Young | Marcus |
Anne Lacey | Mrs. Pitcher |
Jemma Powell | Grace |
Name | Job |
---|---|
Frances Hodgson Burnett | Novel |
Nigel Albermaniche | Production Sound Mixer |
Solomon Honey | Assistant Art Director |
Liz West | Script Supervisor |
Michele Clapton | Costume Design |
Luke Dunkley | Editor |
Grant Montgomery | Production Design |
Samantha Denyer | Hair Supervisor, Makeup Supervisor |
Adele Firth | Hair Supervisor, Makeup Supervisor |
Jemma Carballo | Hair Supervisor, Makeup Supervisor |
Anna Morena | Makeup & Hair |
Christina Baker | Makeup & Hair |
Deborah Saban | First Assistant Director |
Olivia Lloyd | Second Assistant Director |
Sophie O'Neill | Assistant Costume Designer |
Giles Gale | Costume Supervisor |
Ema Richards | Textile Artist |
Nick Wall | Additional Still Photographer |
Tom Wilkinson | Steadicam Operator, Camera Operator |
Derrick Peters | Camera Operator |
Georgia Quilliam | Data Wrangler |
Mark Kozlowski | Digital Imaging Technician |
Steve Quan | Drone Cinematographer |
Ben Platts | Drone Operator |
Westley Agius | Electrician |
Richard Harrowing | Electrician |
William Sheffield | Electrician |
Billy Thornhill Jr. | Electrician |
Greg Whitbrook | Electrician |
James Baudouy | Epk Camera Operator |
Tae Mawson | Epk Producer |
John Watters | First Assistant Camera |
Paul Dain | First Assistant Camera |
Ray Meere | First Assistant Camera |
Jonny Franklin | Gaffer |
Mark Joiner | Generator Operator |
Davey Mayes | Generator Operator |
Charlie Wyldeck-Flowers | Key Grip |
Terry Williams | Key Grip |
Jack Farrow | Lighting Technician |
Anthony Goulding | Rigging Gaffer |
Elliot Dupuy | Second Assistant Camera |
Henry Landgrebe | Steadicam Operator |
Parisa Taghizadeh | Still Photographer |
Darren Miller | Aerial Camera |
Emily Jacobs | Casting Associate |
Maxx Wai In Leong | CG Supervisor |
David Sheldon | Compositor |
Brooke McGowan | Compositor |
Hadrien Malinjod | Compositor |
Penn Stevens | Creature Effects Technical Director |
Adam Glasman | Digital Colorist |
Peter Dudley | Digital Compositor |
Cyrille Gohier | Digital Compositor |
Yusuf Hasan | Digital Compositor |
Chieka Ononye | Digital Compositor |
Luca Serafini | Digital Compositor |
Chris Berry | Digital Compositor |
Andrew Pinson | Digital Compositor |
Joel Savage | Modeling |
David Walker | Modeling |
Luke Wilding | Modeling |
Nicholas Hampshire | Pipeline Technical Director |
Marc-Olivier Rouleau | Pipeline Technical Director |
Tonya Strantzi | Pipeline Technical Director |
Marco Lee | VFX Artist |
Kailas Huljute | Visual Effects |
Georgia Cook | Visual Effects Coordinator |
Rachel Elfassy-Bitoun | Visual Effects Coordinator |
Gavin Gregory | Visual Effects Producer |
Rupert Smith | Visual Effects Producer |
Adela Popescu | Visual Effects Production Assistant |
Andy Kind | Visual Effects Supervisor |
Rob Rowley | Special Effects Supervisor |
Simon Diggins | ADR Mixer |
Gibran Farrah | ADR Mixer |
Mike Tehrani | ADR Mixer |
Lottie Wade | ADR Recordist |
Christopher Atkinson | Boom Operator |
Sue Harding | Foley Artist |
Hugo Adams | Foley Editor |
Jens Rosenlund Petersen | Sound Designer |
Conor Kelly | Sound Mix Technician |
Candela Palencia | Sound Mix Technician |
Andrew Stirk | Sound Re-Recording Mixer |
Andy Shelley | Supervising Sound Editor |
Alastair Sirkett | Supervising Sound Editor |
Gareth Palethorpe | Art Department Assistant |
Sarah Ruiz Del Vizo | Art Department Assistant |
Clare Griffiths | Art Department Coordinator |
Luke Anstiss | Dressing Prop |
Jason Vakharia | Dressing Prop |
Daniel Woodard | Dressing Prop |
Manuel Vilaseca Vaya | Dressing Prop |
Louise Begbie | Graphic Designer |
Noel Cowell | Property Master |
Jean-Claude Allen | Props |
Ian Griffin | Set Dresser |
Douglas Ingram | Storyboard Artist |
Temple Clark | Storyboard Artist |
Pilar Foy | Supervising Art Director |
Richard May | Production Manager |
Laura Marion James | Animation |
Ollie Thomas | Animation |
Adam Ward | Animation |
Cynthia Crimmins | Animation Manager |
Adam Shell | Colorist |
Alexander Phillips | Digital Intermediate Assistant |
Rob Farris | Digital Intermediate |
Lawrence Hook | Digital Intermediate |
Jonathan Collard | Digital Intermediate |
Emanuele Giraldo | First Assistant Editor |
Chloe Warner-Harris | Online Editor |
Ben Mills | VFX Editor |
Jenni Lewis | Location Manager |
Matthew Bowden | Location Manager |
Lucy Morris | Location Coordinator |
Ranjana Mitra | Chaperone |
Anita Primett | Chaperone |
Isobel Richards | Chaperone |
Nick Trumble | Dialect Coach |
David Danisovszky | Payroll Accountant |
Liam Fitzpatrick | Production Assistant |
Giulia Simone | Production Assistant |
Catherine Booton | Production Coordinator |
Paul Smith | Production Secretary |
Lara Cornell | Set Production Assistant |
Tamlyn Samuels | Travel Coordinator |
Symon Butcher | Transportation Captain |
Marc Munden | Director |
Lol Crawley | Director of Photography |
Jack Thorne | Screenplay |
Karen Lindsay-Stewart | Casting Director |
Nadia Stacey | Hair Designer, Makeup Designer |
Dario Marianelli | Original Music Composer |
Matt Curtis | Title Designer |
Oliver Ferris | Foley Artist |
Adam Mendez | Foley Mixer |
Name | Title |
---|---|
Jane Robertson | Co-Producer |
Didier Lupfer | Executive Producer |
Rosie Alison | Producer |
Danny Perkins | Executive Producer |
Dan MacRae | Executive Producer |
David Heyman | Producer |
Ron Halpern | Executive Producer |
Organization | Category | Person |
---|
Popularity History
Year | Month | Avg | Max | Min |
---|---|---|---|---|
2024 | 4 | 23 | 29 | 19 |
2024 | 5 | 27 | 38 | 17 |
2024 | 6 | 25 | 49 | 14 |
2024 | 7 | 29 | 55 | 17 |
2024 | 8 | 20 | 37 | 11 |
2024 | 9 | 14 | 21 | 9 |
2024 | 10 | 20 | 38 | 11 |
2024 | 11 | 22 | 44 | 13 |
2024 | 12 | 20 | 30 | 13 |
2025 | 1 | 19 | 24 | 14 |
2025 | 2 | 16 | 28 | 3 |
2025 | 3 | 8 | 24 | 1 |
2025 | 4 | 4 | 7 | 1 |
2025 | 5 | 3 | 7 | 1 |
2025 | 6 | 2 | 4 | 1 |
2025 | 7 | 1 | 2 | 1 |
2025 | 8 | 2 | 3 | 1 |
2025 | 9 | 3 | 4 | 2 |
2025 | 10 | 4 | 4 | 3 |
Trending Position
Year | Month | High | Avg |
---|---|---|---|
2025 | 6 | 569 | 569 |
Year | Month | High | Avg |
---|---|---|---|
2025 | 5 | 851 | 851 |
Year | Month | High | Avg |
---|---|---|---|
2025 | 4 | 807 | 863 |
Year | Month | High | Avg |
---|---|---|---|
2024 | 12 | 516 | 653 |
I had the opportunity to watch this new production of the classic Frances Hodgson Burnett novel shortly after viewing the 1975 seven part series based on the same book. I thought it would be interesting to compare the two versions. On the plus side for this movie version, the quality of the produ ... ction is much higher, with stunning colors and lovely scenes and vistas. It is also very imaginative. In fact, there is a strong element of fantasy throughout, showing both scenes from the past and images in the present time of people who are dead as if they were still alive. Of course, it being a movie instead of a seven part series means that there is less time to develop the plot, so some is left out. And perhaps for the modern audience, there is a dramatic plot device used to hasten the ending that I suspect was not in the book at all. Now I feel like a I should re-read the book after decades since my first reading, just to compare these adaptations to the source material. Not that I would automatically decide the one closest to the story is the better one, but just out of curiosity. I think both versions have reason to like them: this new version for the camera work and imaginative scenes, and the old series for the patient plot and simple,charm.