Saving Mr. Banks

This movie is much more than and definitely deeper than one would suspect from the 'syrupy' trailers most people have seen. The understory, gradually revealing the early life of P.L. Travers, the author of Mary Poppins, and depicting how the people in her dysfunctional family led her to write Mary Poppins, is the true core of this movie. I will never see Mary Poppins in quite the same way. All of the acting is superior, and the score is excellent. This is not the shallow, childlike movie that many will expect. I would not recommend it for children 11 and under, depending on the child. Otherwise, I highly recommend this movie, even if you are not a big fan of the original Mary Poppins film.

Saving Mr Banks tells the story of Walt Disney's battle to get the rights to make Mary Poppins into a movie. I wasn't expecting to like this but was completely blown away.

It is beautifully put together, is hilarious in parts and very touching and emotional at other stages, but is not overly sappy or cheesy.

There are some outstanding performances here. Emma Thompson plays Mrs Travers beautifully - a cantankerous and stubborn lady, yet you can't dislike her. Tom Hanks does a good job of playing Walt Disney - a tough role for anyone but he seems to suit it, so long as you can get past the terrible fake southern accent which is worse than Dick Van Dyke's attempts at an English accent in Mary Poppins.

However the stand-out performance is, surprisingly, delivered by Colin Farrell as Mrs Travers' father. He brings amazing range and emotion to a character that is simultaneously a loving, sweet father and a man caged in by life and personal demons.

Go see it for yourself when it comes out at the end of November. I'm looking forward to watching it again.

From the studio that brought you Mary Poppins, Disney has released a biopic about the author of the original novels, P.L Travers. Saving Mr. Banks is the story of her battles with Walt Disney, who wants the rights to the film adaptation, in a dramatic comedy that is both witty and sentimental.

Mrs. Pamela P.L. Travers (Emma Thompson) has been hounded by Walt Disney (Tom Hanks) and the Disney Corporation for 20 years for the film rights to her book and she has refused constantly. But by 1961, she has run out of money and agrees to go to Los Angeles for two weeks to work with the writing team to see if a deal can be struck. Her conditions are that the film cannot be animated, there are no songs and she has final script approval. Travers quickly clashes with creative team and Walt himself, a man who promised his daughters he would adapt the book.

As this is going on Travers reflects on her childhood in rural Australia, with her father (Colin Farrell), a loving man who feeds his daughter's imagination, but an alcoholic with probable depression and how these events influenced her writing.

Saving Mr. Banks is a film armed with excellent screenplay and a top notch cast. As well as the likes of Thompson, Hanks and Farrell, Saving Mr. Banks also features Bradley Whittaker, Jason Schwartzman, Paul Giamatti, B.J. Novak and Ruth Wilson. They all offer strong performances and have given us very well defined characters. Thompson dominates as Travers, a no nonsense woman with poor social skills and a British Bulldog stubbornness/determination and injects a deadpan humour with the witty lines she was given. Thompson also brings out the emotion, the serious aspects of the character, as the shadows of her past still linger over her.

One of the big themes of the film is the writing process, both the individual, personal aspect and the collaborative effect of a film adaptation. Saving Mr. Banks shows that many writers use they personal experience and life and become a part of the author. It is hard for writers to let go and particularly for Travers, as she has so much invested in Mary Poppins, so much of herself in it. Her books allowed her to have some wish fulfilment.

The screenwriters Kelly Marcel and Sue Smith, director John Lee Hancock and editor Mark Livoisi worked brilliant to blending the story of Travers butting heads with Disney's creative team and her backstory about her childhood influencing her writing. There are plenty of transitions, allowing Hancock to have some fancy pans. One particular noticeable sequence is when the creative team performs one of the songs and Travers has a flashback. The film slowly reveals how Travers childhood and her father became a part of her writing, used in the books and become a part of the themes of her books and philosophies. This is particularly the case with her parents and their inabilities to cope, both Travers' father's alcoholism and mother's inability to cope with the stress, leading to her theme of responsibility. For a film that is about the writing process, Saving Mr. Banks never really shows about the writing process that Travers goes through, but explores the writing process of adapting a work, from one medium to another.

The final theme and a big part of the comedy comes from the clashes of cultures and personalities. Travers is a brash personality with formal, conservative approach and lives a modest lifestyle in London and a rustic life in Australia. This in comparison to the overtly friendly American and their glamour and excess, from the fashion to the food, particularly sweet treats and the hard sell from Disney in Travers' hotel room.

Saving Mr. Banks has a excellent screenplay, solid direction and balances the comedy dramatic portions extremely well. The film makes sure there is plenty of sentiment, particularly with the score by Thomas Newman. It is a safe film, but still a pleasing experience. It is perfect if you are a fan of Mary Poppins and you will have the songs stuck in your head.

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Despite watching the trailer and knowing the broad story, Saving Mr. Banks still managed to surprise me. It's a beautiful, tender film that manages to be sad without being mawkish, funny without detracting from the emotion and with far greater depth than expected. Unfolding the story of Walt Disney's attempt to persuade P.L. Travers to sell him the rights to her beloved Mary Poppins, Saving Mr. Banks is a delightful film that is deceptively emotional and flows smoothly enough to be entirely engaging. Travers (Emma Thompson) thwarts Disney's (Tom Hanks) attempts to secure the rights for twenty years until a flatlining bank balance and a mildly panicking agent persuade her to at least consider Disney's proposition or lose her home with certainty. Whisking her to Hollywood and bombarding her with all things Disney, the master of the House of Mouse spares no expense or effort to woo Mrs Travers and persuade her to allow him to keep his promise to his daughters to film the books they loved so much. But nothing prepares him for the stubborn, exacting curmudgeon who challenges him at every twist and turn and demands and demeans in equal measures. After the recent Captain Phillips, in which Hanks was astounding, there is a very good chance that he may join an exclusive group (of twelve so far, including co-star Emma Thompson) of actors to be nominated for two Oscars in the same year. Even more rarely, he'll deserve both nominations! Quite simply, it is impossible to imagine another actor in the role of Uncle Walt. He oozes charisma and his smile is used for so much more than merely expressing happiness. There is a genuine warmth to Hanks' performance and this is one of those rare occasions where I temporarily forgot I was watching him. He's been a very good actor for many, many years, but this year I've had to reassess my opinion of him and state that he has transcended his deserved 'movie stardom' to become a very fine actor indeed. Unsurprisingly (and most welcome), Hanks is matched every single step of the way by Thompson. There is a magical thawing in her Travers in the course of Saving Mr. Banks where she pokes her head out of her hard, crispy chrysalis and threatens to become a warm(ish), witty woman. Early on in the film, it is difficult to like Travers as her demands become more extreme, her retorts more cutting and her demeanour downright unpleasant, but Kelly Marcel and Sue Smith's screenplay weaves the story of the film rights with the tale of Travers' troubled childhood to give reason for her crustiness and context to her literary creation. It is this aspect of Saving Mr. Banks that surprises most and completes the film. Director John Lee Hancock (The Blind Side) approaches each side of his female protagonist's life very differently and her buried history is shot in muted, dusty colours with a jagged Western romanticism that tempers the bleak happenings that shaped the girl into the woman. Colin Farrell is on his best form for years as Travers Goff, the drunk father who lives in his own fantastic world of imagination and adventure to escape the harsh reality of the real world. He is a man who fails consistently and knows it, but loves his daughter unequivocally. As with Hanks and Thompson, the chemistry between Farrell and Annie Rose Buckley (playing Ginty, the young Travers) is effortlessly beautiful. The casting is just one of the joys of Saving Mr. Banks, with Paul Giamatti chief amongst the supporting actors as Travers' driver, Ralph, a doleful puppy in human form that responds to every brush-off and verbal slap with another smile and encouraging word. In the studio Bradley Whitford as screenwriter Don DaGradi and B.J. Novak and Jason Schwartzman as the Sherman brothers bring more gentle humour as Travers' desperate, unwilling adversaries. There's no lazy leaning towards slapstick or cheap shots, rather Hancock steers their scenes gently allowing both the frostiness and the occasional sprinkles of sunlight to sparkle with sincerity. There are hints of Travers' adult life beyond her books but, though comments remain, it feels as though the backstory was excised for the final cut and so I came away from the film feeling that something was missing. The final act is perhaps a little too tidy; it glides towards a resolution too smoothly and nothing is made of the rumoured aftermath of the deal, but these are minor niggles in a beautiful film that carries one along and moistens the eyes occasionally. Saving Mr. Banks is an unqualified success. It is a joy to watch and leaves one hoping that Mary Poppins earns yet another screening in this year's Christmas TV schedule.

"Saving Mr. Banks" is an exquisite film. It draws you in with the delightful reality of Disney as well as the triumphantly stark reality (inasmuch as it is reality; I do lack her background) of Mrs. Travers. I purposely leave out parts of the film for the sake of the movie-goer, but let me say how delightful the songs are, the people are, the displays of emotion-- my part as well, as I nearly cried and fully laughed at certain points throughout. The film speaks to me and it feels complete in its currency-- tuppence, if you will-- in taking Mrs. Travers' story and embellishing it with the truth of the creators' (both Travers and Disney, for the part he has in the creation of the film) lives. The lives of the characters-- and I do mean most people seen on screen, in particular the driver and Mrs. Travers' mother-- are well-told and well-lived, and spark a certain comfort and warmth, even in the cold of their realities and harsher backstories. I believe the film has done its job beautifully, and I wouldn't change it for the world. Even the animated penguins, although for me there is still my deep and abiding love for their real counterparts.