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Saving Mr. Banks is a feel-good movie. That's what it's marketed as, and that is what it is. Interestingly enough, it's during the less sentimental moments of the film when Saving Mr. Banks most consistently makes one feel good. The first half provides most of the comedy, and it's a really enjoyable time. The second half, however, contains more of the emotion, and while this is supposed to represent the more touching and personal moments of the film, it feels decidedly more artificial (and undoubtedly less entertaining) than the first half. But make no mistake, Saving Mr. Banks is a good film, 100%. Unfortunately, only the first 50% is truly exceptional.
P.L. Travers, author of the Mary Poppins novels, is very passionate about her books- specifically the characters. So when Walt Disney tries to acquire the film rights to Travers' novels, she is horrified at the changes that Disney has suggested. This results in an intense and extensive fight with Travers' and Disney both trying to change the other person's mind, though there can be no film made at all if Travers chooses not to sign away the rights to make the film.
Even though you could probably already guess, Saving Mr. Banks really sweetens up the story. In reality, P.L. Travers hated the film so much (even by the end of production) that she walked out of the premiere in tears. And I don't think it's spoiling anything to say that by the end of the film, P.L. Travers has certainly warmed up to the movie. This isn't so much a flaw, as a warning: If you're disgusted by Hollywood pumping too much sugar in stories you might rather have been served without sweetening, stay away from Saving Mr. Banks. With that being said, though, Saving Mr. Banks isn't without some hard edges.
For example, there are numerous flashbacks to P.L. Travers' childhood, where her father is a struggling alcoholic. These flashbacks are certainly more heavy-handed than the rest of the film. And while I'm on the subject of these flashbacks, I might as well comment that they're a lot less interesting than the parts with Travers as an adult. And unfortunately, these flashbacks probably take up a third of the film. Now, granted, they are beautifully shot, and they are somewhat engaging, but the parts of the film involving Travers as an adult are so well done, it's hard to find interest in these less-entertaining flashbacks.
Now, as I said, the parts that occur in Travers adult life, where she is fighting for creative control (or at least creative influence) in the film is extremely well done. The script is excellent; with witty dialogue, highly successful comedy, and plenty of opportunities for the actors onscreen to stretch their legs and show off. The outrageously finicky attitude of P.L. Travers is truly hilarious, and while her actions would be obnoxious in real life, she's very funny in film.
Nearly as funny as Travers reaction and disgust towards the changes Disney suggests, are the reactions towards P.L. Travers by the script and songwriters of Mary Poppins. There are many hilarious moments in this movie (primarily in the first half). I only wish that more of the film had been devoted to these comedic scenes, as the emotional element doesn't work nearly as well (though it's certainly not ineffective).
Emma Thompson lights up the screen as the nit-picky, uptight P.L. Travers. I found myself smiling widely almost every time she's on the screen. She delivers the comedic portion of her part perfectly, and the emotional part sympathetically. The other highlight is Tom Hanks as Walt Disney, who is intensely likable, and very charming. The supporting cast are also very good (though one does wonder how much the script is to thank for this), but I have two problems with the casting. The first is in regards to Colin Farrell, who portrays P.L. Travers' father in the flashbacks, as Farrell is hugely miscast. The second is directed at B. J. Novak, who is far too recognizable. One can't look at him without seeing B. J. Novak. Still, the acting overall, is solid.
The score, composed by Thomas Newman, is pleasant enough. It makes nice use of piano, and has some interesting instrumentation (not that I would expect anything else from Newman), but it does lack the charm of a Sherman Brother score. And I only make that comparison because this is, after all, a film about the making of Mary Poppins, and it would've been nice to hear some more tie-in with the themes from the film, as use of these themes are sparse.
Even though Saving Mr. Banks has many problems and issues, the sheer amount of laughs and amusement from the first half of the film cannot be discounted, even though the second half of the film isn't as entertaining. The acting is solid all around (with Emma Thompson in particular being a notable stand-out), and the screenplay is terrific. Still, by making this a feel-good movie, Saving Mr. Banks has some slow moments. Saving Mr. Banks is not perfect, but it's so intensely likable, it's hard to imagine someone not smiling throughout it.
8/10
