Green Book plays like a twenty-first century rendition of Driving Miss Daisy, a well-meaning and relatively gentle movie about race relations where a prejudiced white person comes about thanks to their firsthand friendship with an African-American male. It’s reportedly inspired by the true story of Tony Lip (Viggo Mortensen), a nightclub bouncer, driving around a famed pianist, Dr. Don Shirley (Mahershala Ali), as he performed throughout the South in 1962. The best part of the movie is the character interaction between this odd couple, and you’ll get plenty of it too. The actors burrow into their very distinctly conflicting characters, so it’s a natural pleasure to watch them eventually bond and learn from one another. This is the kind of racism that doesn’t make people feel too uncomfortable, and you could say that about the film as a whole. It’s a bit safe and has its intentions set on being a big, inclusive crowd-pleaser, and it plays like one. There are moments to make you laugh, moments to make you cheer, and moments to make you tear up. Morstensen and Ali are terrific together and find dignity and humanity in characters that could have easily become one-note stereotypes. The more we learn about Dr. Shirley the more interesting he becomes, a man used to feeling like an outsider no matter the company he keeps. Watching the two men grow and open up to one another can be heartwarming and deeply satisfying. Remarkably, the film is directed and co-written by one half of the Farrelly brothers, the pair responsible for ribald comedies like There’s Something About Mary and Dumb and Dumber. It’s an easy movie to fall for, with its winning formula and enjoyable actors, but there’s a little nagging concern I have that Green Book is too safe, too straight, and too pat in its life lessons. Despite its Best Picture win, it’s not like Driving Miss Daisy has any lasting cultural impression, and I wonder if maybe Green Book is destined for the same. Still, the acting and writing is enough to bring a smile to your face and remind one’s self about the power of kindness.
Nate’s Grade: B
At first glance, the movie seems like an odd fit for director David Cronenberg, that is until you realize that, as Freud himself might approve, the entire movie is bubbling with sexual repression and kink. The movie showcases the friendship between the two titans of psychoanalysis, Sigmund Freud (Viggo Mortensen) and Carl Jung (Michael Fassbender), and the strange patient (Keira Knightley) who brought them together and tore them apart. This is a very intimate chamber drama, confined to lots of men in suits talking in great detail about psychology and philosophy and desire (there are three separate scenes of dream decoding and lots of letter correspondence voice over). Knightley is superb as a hysterical patient torn apart by her socially inappropriate desires. It may be a tic-heavy performance but my God can the woman act. She’s like a feral beast at points. The majority of the film follows Jung’s affair with Knightley and his friction with the single-minded Freud, who incidentally is never without a cigar clenched between his teeth. Jung wants to expand their field of study to include paranormal activities; Freud wanted to stay within the realms of science to give their movement credibility. Cronenberg’s period drama can be a bit too sedate at times given its aberrant sexuality. You don’t really empathize with either Freud or Jung, and thus the drama is a robust and intellectually stimulating exercise but only an exercise. For people who do not share an interest in psychoanalysis, they’re in for a long slog. A Dangerous Method is a rather short film, only 99 minutes, and would have benefited from being a bit more dangerous with its subdued subject matter.
Nate’s Grade: B+