You expect a bit of schmaltz from a movie about the making of Mary Poppins. But schmaltz doesn't entail a sentiment lathered so thickly that it's feels like an anti-depressant commercial, or material so broad that it's insulting to believe that audiences above the age of five can relate to the emotionality onscreen. Saving Mr. Banks takes for granted that its viewers are fans of traditional Disney, seeming to confuse Disney fans for Disney characters, and insinuating that we bear the intellectual sophistication thereof.
The real victim, of course, is the character of P.L. Travers (Emma Roberts, charming as she can be with this material), who incurs a fraction of a storyline about overcoming (or learning to live with?) her latent childhood traumas. As a young girl in Australia (as we learn in intermittent flashbacks — by and large the dullest part of the movie, but such a hefty piece of it), young Travers adored her merry, whimsical alcoholic father (Colin Farrell, playing a character that feels as grounded in reality as Dick Van Dyke's penguin-trotting screever Bert), enchanting in his Neverland mannerisms while her chronically depressed mother watched the family crumble into squalor.
Forty-odd years later, the themes of Travers' childhood inform (sometimes directly, right down to presciently repeated phrases) her resistence to allow her novel Mary Poppins to take form as a Disney movie. In the absence of a reason for why she might have a sudden change of heart about a feeling to which she has apparently held so strongly for two decades, Travers opts to fly out to California to meet Walt Disney (Tom Hanks, wading through the script without any of the energy we know he has in his back pocket) and discuss the adaptation process.
When it's not insisting upon clunky "melting the ice queen" devices — like nuzzling Travers up to an oversized stuffed Mickey Mouse to show that, hey, she's starting to like this place! — the stubborn author's time in the Disney writer's room is the best part of the movie. Working with (or against) an increasingly agitated creative team made up of Bradley Whitford, Jason Schwartzman, and B.J. Novak, Travers protests minor details about setting and character, driving her colleagues mad in the process. It is to the credit of the comic talents of Whitford and Schwartzman (who play reserved agitation well beside Novak's outright hostility — he's doing mid-series Ryan in this movie, FYI) that these scenes offer a scoop of charm. But Travers' gradual defrosting poses a consistent problem, as it is experienced over the slow reveal of her disjointed backstories in a fashion that suggests the two are connected... but we have no reason to believe that they are.
The implications of the characters' stories — depression, child abuse, alcoholism, handicaps, and PTSD — are big, and worthy of monumental material. But the characters are so thin that the assignment of such issues to them does a disservice to the emotionality and pain inherent therein. A good story might have been found in the making of Mary Poppins, and in the life and work of P.L. Travers. Unfortunately, Saving Mr. Banks is too compelled to turn that arc into a Disney cartoon. And much like Travers herself, we simply cannot abide that.
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It seems like a missed opportunity to call a movie Saving Mr. Banks, when it could just as appropriately be named after a far more recognizable P.L. Travers character: Saving Mary Poppins. But then again, the title could be an apology for the lack of subtlety in Disney's film adaptation of Mary Poppins, with which author Travers took issue — her displeasure with the movie is the focus of Saving Mr. Banks, after all. Plus, the title as it stands was enough to rope in new A-list cast members Tom Hanks and Emma Thompson. Still, Saving Mary Poppins seemed like a safer bet.
Alas, Saving Mr. Banks will feature Thompson as Mary Poppins author P.L. Travers (born Helen Lyndon Goff — but you know writers), during negotiations to sell the rights to her now iconic character to Disney for a film adaptation. Hanks will embody Walt Disney himself, probably downplaying the head-freezing and anti-Semitism, who spent 14 years trying to convince Travers to accept a business relationship with his company.
As previously noted, Saving Mr. Banks will focus on Travers' eventual dissatisfaction with the otherwise cherished Disney movie, which suggests that the film might lean towards the promotion of artistic integrity, and the evils of selling out. The title refers to the Mary Poppins character Mr. Banks, as played by David Tomlinson in the '64 film.
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WHAT IT’S ABOUT?
Based on the eponymous book by Bryan Burrough Public Enemies chronicles the exploits of legendary Chicago gangster John Dillinger a dashing figure whose daring bank robberies both captivated and alarmed a Depression-era America devastated by widespread financial ruin. Director Michael Mann (Ali The Insider) begins his narrative at Dillinger’s career high-point with the Indiana-born outlaw basking in his celebrity status as a Robin Hood figure.
But with Dillinger’s growing fame comes increased scrutiny from law enforcement agencies — particularly the Bureau of Investigation (the precursor to the FBI) and its ambitious chief J. Edgar Hoover. Eyeing Dillinger’s capture as an opportunity to boost his agency’s profile Hoover tasks elite agent Melvin Purvis with bringing the elusive gangster to justice.
WHO’S IN IT?
Toning down the often cartoonish mannerisms he exhibited in Sweeney Todd Charlie and the Chocolate Factory and the Pirates of the Caribbean trilogy Johnny Depp exudes low-key charm and self-assuredness as Dillinger a man clearly amused by his celebrity status but never consumed by it. Dillinger’s audacity and fearlessness extend beyond the criminal realm too as evidenced when he pursues a beguiling coat-check girl named Billie Frechette (Marion Cotillard). Initially appalled by Dillinger’s aggressive advances Frechette ultimately surrenders becoming his loyal companion during his final days on the run.
As lawman Melvin Purvis Dillinger’s primary antagonist Christian Bale provides a nice foil for Depp though he ultimately isn’t allowed enough screen time to fully develop his character. Bale’s Purvis is straight-laced intrepid and doggedly persistent his efforts continually stymied by the sub-par talent and resources at his disposal. His complicated relationship with highly eccentric Bureau boss Hoover (played by a gleefully uptight Billy Crudup) begs for more development but director Mann opts instead to focus more on the doomed love affair between Dillinger and Frechette. Pity.
Fans of Mann’s action work in films like Miami Vice and Heat will revel in Public Enemies’ elaborately staged shoot-out sequences each of which is lent added intensity by cinematographer Dante Spinotti’s use of high-definition digital video cameras.
But when the bullets aren’t flying Public Enemies is only intermittently interesting. Stars Depp and Bale both excel in their respective roles but neither is allowed much room to venture beyond the tight constraints imposed by Mann who clings stubbornly — and disappointingly — to type. Much more intriguing would have been for Mann to reverse the casting with Bale playing the anti-hero and Depp as his straight-arrow pursuer. Alas the director who convinced squeeky-clean Tom Cruise to play a villain (in 2004’s Collateral) was not so ballsy this time around.
The same cautious predictable approach to casting extends to the film’s tone as well. Rather than deconstruct our culture’s romanticized vision of Dillinger as a handsome populist hero Mann adds to the gangster’s puffed-up Robin Hood image photographing Depp lovingly at every turn and filling the story with unsubtle nods to the character’s altruistic side. It’s a missed opportunity.
Mann has never been one for brevity regularly churning out films that extend well beyond two hours in length. Public Enemies is no exception clocking in at nearly two-and-a-half hours. Despite the ample running time he’s allotted to flesh out his story Mann fails to create any real attachment to his characters. For a movie with such a gifted cast appealing subject matter and riveting action sequences Public Enemies is oddly boring.
A chaotic nighttime sequence in which Purvis and his crew ambush Dillinger’s forest hideout only to become mired in a protracted and bloody gunfight ranks with the very best of Mann’s action work. If only the rest of Public Enemies were this thrilling.
NETFLIX OR MULTIPLEX?
Spinotii’s superb camera work demands to be seen on the big screen so slam a few Red Bulls and catch this one at the multiplex.
On the surface Stay seems to be a straightforward psychological drama about a psychiatrist Sam Foster (Ewan McGregor) who is trying to keep a mysterious patient Henry (Ryan Gosling) from killing himself. But the deeper we get into it the decidedly weirder it gets. And not necessarily in a good way. Sam and Henry seemed to be inexplicably connected. While his girlfriend and former patient Lila (Naomi Watts) looks haplessly on Sam’s lightly held grip on the rational world begins to melt away. He can no longer figure out what is true and what is happening only in his head--all climaxing in a titular confrontation between life and death. Twilight Zone’s Rod Serling would have loved this one. Although he was surprisingly good as the romantic lead in The Notebook the usually somber Gosling is best known for playing quiet psychotics in such films as The United States of Leland and Murder By Numbers. In Stay he’s back to his old tricks as the suicidal Henry. Pale with mournful eyes and a perpetual cigarette in his mouth Henry is certainly a tortured soul looking for some relief. On the flip side Watts brightens the otherwise dismal surroundings as Lila but there’s also a tinge of sadness about her. The only weak link is McGregor. He can’t quite pull off playing the dedicated psychiatrist slowly losing his mind--but the Scottish actor sure has mastered the American accent (ditto for the Australian Watts). Director Marc Forster (Monsters Ball Finding Neverland) seems a bit out of his league with this jumbled-up hard-to-understand psychological fare. Granted the visuals are arresting. Forster strives to create a world which at first seems real but then little by little turns into a wildly shifting dreamscape in which scenes blend into one another seamlessly. The real problem here is the script by David Benioff (25th Hour). It tries to say “Look how clever!” by throwing you for loop after loop--except the loops don’t make much sense. You eventually stop saying “What the hell?” and start to get a pretty good idea how Stay is going to end up. And when the final twist is handed down it’s surprisingly not all that disappointing.