SAVING MR BANKS

The storytelling in this film is specific, genuine and often incredibly funny, and this is reflected in the technical work in the movie, especially the marvellous editing from Mark Livolsi and terrific score from Thomas Newman. The assistance of Walt Disney Studios also adds to the realism and texture of the film, with access not only to actual locations such as Disney’s specially-designed backlot and Disneyland itself, but details about Disney that you wouldn’t expect to find in a film from the studio. Travers is presented with all her flaws and ticks, and refreshingly, Disney is given mostly the same treatment.

The real success of the film is down to its delicate and respectful performances. The leads are backed up by a cracking supporting cast, including Bradley Whitford, B.J. Novak and Jason Schwartzman as the creatives behind the ‘Mary Poppins’, and Paul Giamatti as Travers’ driver while she is in California. Colin Farrell does some of his best work in years as Travers’ father, a sparkling performance full of life but with the hints of tragedy always in the background. As expected, Tom Hanks makes a cracker Walt Disney, a part he always seemed built to play, and to his immense credit, his performance gives us Disney as a man rather than a legend. We know now that he was one of the most significant artists of the last century, but Hanks gives us a fleeting portrait of him as a concerned father, a hard-working and supportive employer and a slightly unhinged dreamer. Every moment he is on screen is a pleasure. And then there’s Emma Thompson, who gives one of the finest performances, not just of the year, but of her career. Thompson is a revelation as Travers, a performance that balances her cold refusal to compromise with tremendous pain and tragedy. In lesser hands, Travers could have been the typical cantankerous British toff, but Thompson has always had a keen talent for showing the complexities inherent in an artist (like her superb performance in 2006 film ‘Stranger Than Fiction’), so that Travers becomes a suit of armour we watch slowly crumble, defensive yet deeply sensitive. I don’t doubt that much of the success of the film is down to her performance, its beating heart and soul.

There is one other character always present in the film, and that is the film it’s talking about. There wouldn’t be many people who haven’t seen and adored the 1964 film adapted from Travers’ book, but what ‘Saving Mr Banks’ does so beautifully and honestly is remind you why this film has endured and why it is continually rediscovered by each generation. Hancock weaves ‘Mary Poppins’ into the fabric of the film, using its images and sounds to enrich and enhance many dramatic beats. One moment in particular, a devastating demonstration of the depths of her father’s alcoholism, is made even more powerful by the presence of material from the 1964 film. It’s difficult to describe their techniques without giving anything away, but they provide some of the most memorable moments of the film.

By moving away from the making-of story and focusing on the people involved in the creation of a great work of art, ‘Saving Mr Banks’ succeeds where many before it have failed. This is a powerful and joyful film on how storytelling is created, a genuine surprise when you consider the mess it might have been. Emma Thompson will walk into an Oscar nomination with her performance as Pamela Travers, and I have no doubt the film will be embraced by audiences with open arms. It’s that rare kind of film from a studio, one that takes you on a stirring emotional journey, unafraid to throw significant punches when necessary, and leave you feeling exhausted and exhilarated. It has "instant classic" written all over every lovingly-made frame.