The Tales of Beatrix Potter (US title: Peter Rabbit and Tales of Beatrix Potter) is a 1971 ballet film based on the children's stories of English author and illustrator Beatrix Potter. The film was directed by Reginald Mills, choreographed by Sir Frederick Ashton (who danced the role of Mrs. Tiggy-Winkle), and featured dancers from The Royal Ballet. The musical score was arranged by John Lanchbery from various sources, such as the operas of Michael Balfe and of Sir Arthur Sullivan, and performed by the Orchestra of the Royal Opera House. It was produced by Richard Goodwin with John Brabourne as executive producer. The stories were adapted by Goodwin and his wife designer Christine Edzard. The Tales of Beatrix Potter is the only feature film directed by Mills, who is best remembered as a film editor. Mills edited The Red Shoes (1948) and other films directed and produced by Powell and Pressburger that incorporated ballet. Production The film was a passion project for producer Richard Goodwin who succeeded in getting the film rights from Potter's estate. (The estate had turned down an approach from Walt Disney because they were worried he would distort the work.) 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