Writing a fiction isn’t just a technical process. The writer usually blends in with the characters he creates and develops a strong bond which is as equal to any flesh and blood relationship. In the case of author PL Travers, the adherence is so strong, since the characters and scenarios reflect someone from the past. So, how would Mrs. Travers feel about a movie, which brings her fictionalized personal memories into big screen? She would hate it very much, even though she was pursued for 20 years by the ever-smiling Walt Disney himself. What happened to Mrs. Travers’ resistance in the end is known to all. Travers’ “Mary Poppins” was eventually made into a movie in 1964 and has since then attained a classic status. But, what happened behind the scenes, when a less-cheery and determined Travers flew to Hollywood to meet with Disney and his team? That engaging ‘making of’ process forms the narrative for John Lee Hancock’s “Saving Mr. Banks” (2013), which gains an irresistible appeal by its two stars.
“Saving Mr. Banks”
was made by Disney Pictures and so you can be sure that it offers a tidied-up
glimpse of Disney entertainment machine. Walt Disney himself had a reputation
for fervently protecting his legacy and brand. John Lee Hancock doesn’t contradict
with Disney’s image of eternal optimism, but at the same time, he provides a
mild criticism on Disney’s methods by indicating his distinctive feature of
employing catchy songs to soften the sharp edges of legends and fairy tales. “Mary
Poppins” was one of Disney’s most expensive live-action films (at that time).
Mr. Disney had an uneven record with live-action fares, but this movie
eventually turned out to be one of the most beloved and lucrative.
As the movie opens, we hear the hushed tone of a girl,
uttering “Wind’s in the east, mist coming in / Like something’s a-brewing,
about to begin ....” The eight year old girl named Helen Travers or Ginty or
Pamela (Annie Rose) is sitting underneath scorched skies and palm trees in
rural Australia, 1906. From then on, the story unfolds as two simultaneous
stories: one has Mrs. Travers in Hollywood land; another feature the unstable
childhood of Travers. The little Helen Goff (or Mrs. Travers) lives in a
ramshackle home with her father, Travers Goff (Colin Farrell), a charming but
an alcoholic ne'er-do-well banker. He dotes on her daughter and insists her to
never abandon the dreams. Mother Margaret (Ruth Wilson) remains tepid about her
husband’s alcoholism and is highly burdened with a job of raising three daughters
(a five year old and a toddler).
When the story cuts to 1961, we witness that Mrs. Travers
(Emma Thompson) is having some financial problems, since her book sales has
come to a halt. For 20 years, she has resisted the charms of Walt Disney (Tom Hanks).
Disney’s daughters have loved the book and he has promised them that he would
make feature film of it. As a final attempt, Disney has Mrs. Travers flown to
Los Angeles to convince her to sell him the rights for the book. However, the
sharp-tongued Mrs. Travers first insists that “Mary Poppins” shouldn’t be a
musical and is strictly against the use of animation. She consistently torments
her screenwriter DaGradi (Bradley Whitford) and the songwriting/musician
Sherman brothers (Jason Schwartzman and B.J. Novak). She disapproves Disney’s
attempt at cuteness and even insists that their script conferences be recorded.
The only thing she acknowledges in Hollywood Is the hospitality and
friendliness of a driver (Paul Giamatti). Eventually, Mrs. Travers yielded but
portraying the difficulty in that process is what makes this a commendable
film.
How much of what we have seen in “Saving Mr. Banks” is true
is questionable, but that doesn’t matter, since this movie isn’t about Walt
Disney or Travers. It’s an evergreen tale of artistic clash – between motion
pictures and books. It also explores how an author’s relationship with
characters makes them to see a film-maker more as a businessman than as an
artist. Kelly Marcel and Sue Smith’s script would have had the emotional heft,
if not for the extensive flashbacks. Without the back-story, we might view Mrs.
Travers as an overweening elderly lady. There are also no commonplace traps in
the script, which might have it maudlin. Director Hancock (“The Blind Side”) is
sometimes too eager to tweak our heartstrings, but overall maintains the
lighter tone and brings out the gumption of creative people along with their
spirit of self-invention. There are few bumps, here and there. Nonetheless, the
solid acting of a great ensemble takes your attention away from pondering over
the flaws.
Even a little twitch
of Thompson’s eyebrows conveys her characters’ stiffness. She’s funny without
causing annoyance and in the last few scenes, she proves us that why she is
known as a ‘classy performer.’ Thompson’s tears after the crumbling of the
thawing resistance build a rich empathy towards Mrs. Travers. Tom Hanks in the
supporting role of Disney once again reminds us how great an actor he can be.
He doesn’t look like Disney but captures all of his folksy charisma and
showcases him as an honest and kind daddy than as a movie mogul. Hanks bring in
more depth to this master of persuasion, especially in the monologue,
explaining about the power of storytelling. The performances of supporting
players like Paul Giamatti and Colin Farrell elevates this film from being an
ordinary "based on a true story" tale.
What happened in the real life of Mrs. Travers is somewhat
more complicated than what is depicted here, but the version shown in “Saving
Mr. Banks” is more powerful, seductive and crowd-pleasing. As the Disney’s song
itself says, “A spoonful of sugar really
does help the medicine go down.”
Trailer
Rated ‘PG-13’ for
thematic elements
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