Saving Mr. Banks (2013)
Seemingly sure-fire Oscar bait, Saving Mr. Banks left enough Academy voters cold and it’s easy to see why. First off, the behind-the-scenes sparring to adapt Mary Poppins is the movie we want to see, watching crotchety author P.L. Travers (Emma Thompson) butt heads with head honcho Walt Disney (Tom Hanks). The movie is at its best when these two share the screen, with Walt’s genial strong-arming finding little traction with Travers stern refusals (no Dick van Dyke, no animation, no mustaches). What I wasn’t expecting was a parallel storyline detailing Travers childhood in Australia dealing with an unstable home life thanks to a drunken father (Colin Farrell). It literally takes up half the movie, and while there are a few interesting juxtapositions, the screenplay just trades off scenes; one in 1961, then one in 1906, then back again, etc. The issue is that the flashbacks are never very revelatory and have no business dominating the running time. All of the information gleaned from these flashbacks could have been corralled into one late flashback, or even mentioned in a speech. Saving Mr. Banks gives you two movies running parallel, but most people will only be interested in the one. It’s a pleasant film, benefiting from strong performances by Thompson and Hanks (perfectly cast), but one can’t shake the feeling of Disney P.R. pervading the film’s retelling. It comes from the perspective that Disney is always right and that Travers was always wrong, having to work through her personal issues before relenting, even tearing up at the final product. In real life, Travers never forgave Disney and never allowed another of her Poppins books to be adapted into a film, though not for want of trying by the studios. It feels unfair to portray an author’s artistic integrity as an obstacle that needs to be defeated, but there it is, and Disney’s Mary Poppins, while beloved, resembles much of what Travers feared. Who defends the cranky authors of the world when they have a point? Saving Mr. Banks is an entertaining film, charming and likeable, until you begin to look beyond the fairy dust and realize the revisionism before your eyes.
Nate’s Grade: B-