To Olivia reveals little or nothing about Roald Dahl’s creative process, his source of inspiration apparently being an imaginary child, who may or may not be an alcohol-induced hallucination. The movie, directed and co-written by John Hay, isn't very illuminating about Dahl (Hugh Bonneville) the person either; the film gives the impression that he was a deadbeat dad, a lousy husband, and an angry, schizophrenic alcoholic, but only the most naive of viewers would believe for even a second that any of this has the slightest connection to reality. Even the events portrayed in To Olivia that do correspond to the writer's real life receive a purely superficial treatment. For example, after the death of his daughter Olivia (Darcey Ewart), and following a meeting with a Church official, Dahl comes to view Christianity as a sham. However, Dahl did not come accross as having been a believer prior to this events, and at no point in the film does he appear to be particularly religious or irreligious. I guess this is what happens when someone makes a film about one person based on the biography of a different person. To Olivia was originally titled An Unquiet Life, and is based on Stephen Michael Shearer's biography of Patricia Neal (an American actress and Dahl's wife from 1953 to 1983, played here by Keeley Hawes) of the same name. And speaking of titles, Hay gets that wrong too. We see Dahl working, very briefly, on Charlie and the Chocolate Factory (which spends more time being read than being written), and the implication is that that book is dedicated to Olivia's memory. However, it is James and the Giant Peach (1961) and The BFG (1982) that Dahl dedicated to his daughter. Here's a film that is presumably going to be of interest to Dahl's readers, but which patronizes the viewers by automatically assuming that they will only be familiar with the author's most popular novel. Who wants to see a movie whose director groundlessly underestimates his very target audience? It gets worse, though; specifically the intertitle that precedes the closing credits.