Saving Mr. Banks

2013, 12, Directed by John Lee Hancock
Starring: Emma Thompson, Tom Hanks, Bradley Whitford, Colin Farrell

 

One of the most frustrating factors in biopics are usually the wasted opportunity to explore the most interesting of characters. 2013 was the year of Diana, remember. Conversely, there are those that present us with a blurred real-life figure who is shifted sharply into focus by an enthralling piece of cinema (George Clooney's Confessions of a Dangerous Mind springs to memory.)

It's something of an alarm to realise that somebody whose life hasn't been placed under microscope and in front of camera is one whose very influence still shapes cinema today - Walt Disney; a powerhouse historical figure, who audiences would gladly delve into a film of... But be sure, Saving Mr. Banks is not it.

Instead, John Lee Hancock (The Blind Side) opts to show us the fortunately screen-friendly story of the legendary Mary Poppins' journey from the English page of P.L. Travers to the Hollywood studio of the moustachioed mouse-creating maestro. Uppity tea-sipping author Travers is played by Emma Thompson, an actress so adept at doing pretty much anything and achieving the desired response - here, she frustrates at her refusal to give up her novel to a bunch of savages who she's convinced would rip the pages to pieces and destroy the character she so lovingly crafted. Sitting in on - and recording every word of - the read-throughs with producer Don DeGradi (Bradley Whitford) and composing Sherman brother duo (B.J. Novak and Jason Schwartzman), these scenes shine with an air of irrationality, and will glisten with your giggle (ironic, considering their later assurance of hatred for Travers.) Thompson takes the irrefutably tough-to-like and difficult to encrypt author, and turns her near-stereotypically fuddity into a comedic flourish.

Yet this is very much a film of two halves. Providing context behind the creation of Mary Poppins ('never ever just Mary,' she scolds at one stage) and her longing to preserve the beloved character from becoming just another pretty woman who sings, are childhood flashbacks. Travers grew up on a ranch in Australia, where her father Mr. Banks (Colin Farrell) fed her fairytales and fantasies, whilst swigging bottles of alcohol and destroying his family on the sly. There's hints to quite a tragic upbringing, and moments in the film's present that correlate with specifics of the past, yet whenever we flit back to that ranch, the film loses the very magic ole' Walt would have ensured was there. They seriously endanger the fluidity of Saving Mr. Banks, despite some pleasant performances from Farrell and child actor Annie Rose Buckley.

Much like a Beatles fan gets joy from hearing original recordings of classic tracks, Mary Poppins fans can revel in seeing the creation of now-familial tunes. With much to love on the surface - genuine laughs, and a charmingly sweet appearance from Paul Giamatti as Travers' driver - and the closest the film allows her to have as a friend - the structure is toppled by the tedious reversion to backstory. Omitting these would have done the film some saving.

3.5/5

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The Ides of March

2011, 15, Directed by George Clooney
Starring: Ryan Gosling, Philip Seymour Hoffman, Evan Rachel Wood, George Clooney

After directorial efforts like Confessions of a Dangerous Mind and Good Night, and Good Luck, it’s crystal clear that George Clooney is more than capable of constructing a frame as he is filling one. With his latest, The Ides of March, he has made a savvy (and recurring) decision by handing main credit to a top-of-his-game star – step forward Ryan Gosling – in a film that tracks a presidential campaign as much as it tracks corruption, greed and temptation. Of course, the candidate himself, Governor Mike Morris, is played by Clooney - but he does well to pry the focus from the character all eyes are on and onto Gosling’s campaigner Stephen Myers, a young duckling who appears to be effortlessly swimming the depths of the massive pool of politics. But combine Paul Giamatti’s trouble-making rival campaigner with Evan Rachel Wood’s young intern embroiling herself into the increasingly endangered race and Myers realises that to swim these depths, some evolving might have to occur.

Character’s personalities and their allegiances shift to the point of predictability, but somehow The Ides of March remains an extremely thrilling ride. With every scene comes a new plot twist that succeeds in changing the tone the film exudes and this is largely thanks to Steven Zaillian’s script. Clooney’s presence as director is felt but almost underpinned by the film’s events – which is maybe his point: with the gold-dust cast he has on his hands, why would highlight be placed on directorial flourishes?  Ides may prove too by-the-numbers for some viewers, but thanks to a particular scene where Philip Seymour Hoffman enticingly rants to Gosling about loyalty or Marisa Tomei’s spineless reporter claws for some scoop, the whole affair is elevated. George Clooney has provided yet another enjoyable, watchable and thrilling feature.

4/5

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