The story behind the story behind the story of ‘Mary Poppins’
Saving Mr. Banks
Starring Tom Hanks & Emma Thompson
Directed by John Lee Hancock
PG-13, 123 min.
A Walt Disney movie about Walt Disney making a Walt Disney movie, Saving Mr. Banks is a story behind a story behind a story that will strike a sentimental chord with anyone who remembers Disney’s 1964 hit about a certain singing, flying British nanny.
The true tale of how Uncle Walt convinced P.L. Travers, the writer of Mary Poppins, to sell him the rights to turn her storybook series into the now-classic movie musical is spun here into a witty, heart-tugging yarn about Disney’s unstoppable force confronting Travers’ immoveable object.
Tom Hanks plays the avuncular Disney, atop his Magic Kingdom empire in 1961 and trying to finally come through on a 20-year promise to his young daughters to take their favorite childhood character, Mary Poppins, from the storybook to the screen. The prickly Travers (Emma Thompson), the British author of the series of books featuring the English nanny with magical powers, has consistently, persistently tuned down Disney’s offers.
But now, in a financial bind, Travers finally agrees to come to Los Angeles and proceed with a film treatment as long as she’s given script approval and made part of the process. She tells Walt to his face, however, that she won’t have her fiercely guarded Mary “turned into one of your silly cartoons.”
The movie toggles between Travers’ comically difficult work with Disney and his staff, and flashbacks to her golden-glow childhood in Australia with her alcoholic father (Colin Farrell), building connections between the author, her past and her literary creation that don’t become evident until much later in the movie.
Travers hates everything, at least initially—everything about Los Angeles, Hollywood, Disney and the movie his company is trying to make. She hates Dick Van Dyke, the actor hired as the star. She hates the songs, written by the crack Disney tunesmith siblings Robert and Richard Sherman (B.J. Novak and Jason Schwartzman). She hates the idea of dancing penguins.
Paul Giamiatti has a recurring role as the friendly chauffeur hired by Disney to squire Travers around, becoming the only American she meets to really break through her icy shell. (It’s enough to make you wonder how the same actor could be playing a heartless slave broker just a few multiplex doors down in 12 Years A Slave.)
We all know how things turned out: Walt compromised just enough to win the tug of war, and the movie got made the way he envisioned it. Disney’s Mary Poppins was a smash. Critics praised it, fans adored it and it helped segue Disney from cartoons into live-action features. It won five Academy Awards.
As he did in The Blind Side, director John Lee Hancock pours on the emotion, so much so that it sugarcoats the shortcomings in the script, which fails to neatly, completely wrap up the rather dense details of Travers’ daddy issues and why exactly Mr. Banks, the father of the children in “Mary Poppins,” was in need of being saved.
But Thompson does a fine job, and so does Hanks, especially in a late scene together where their two characters warm to each other when he shares a story about his own hardscrapple youth, and about his own daddy issues—one that helps seal his deal.
And by golly, if you don’t get a bit of a lump in your throat during the “Let’s Go Fly a Kite” scene, well, you’ve got more ice that needs melting than even Ms. Travers.
—Neil Pond, American Profile Magazine
The Media Tourist 