Saving Mr. Banks

The author of Mary Poppins, P. L. Travers has quite the experience dealing with Walt Disney and Co. as he courts her for rights to her beloved novel. She entertains them because she needs the money a movie deal will give her, but she really doesn't want to sell, especially if they're going to make as many changes to the story and characters as she's afraid they will. She's very particular that everything stays exactly how she imagined, and we slowly learn why though flashbacks of her childhood in early 1900's Australia, and then watch her protest and drag her heels in 1960's Los Angeles while bubbly assistants, scriptwriters songwriters and Disney himself obtusely parade her "Disneyfied" story in front of her.

"No, no, no!" is her favorite expression.

So the movie slowly sifts though poor Mrs. Travers' mixed and jumbled emotions as she clings hesitantly to the movie rights while Disney gently tugs on them. And it does it in a more interesting way than I originally thought it would. Half the movie is very much a behind-the-scenes look at the making of Mary Poppins, and being a fan of the movie for as long as I can remember, I found that interesting and fun.

But I also know that a considerable amount of it didn't actually happen. Like in a scene where the writers have had a breakthrough, and present her with something she actually not only approves of, but likes so much that she temporarily comes out of her shell and starts dancing around the room with the screenwriter. It was sweet; it made me smile, but I was simultaneously thinking "no way this actually happened."

I certainly hope that some of the amusing parts weren't made up though!

Emma Thompson and Tom Hanks' performances were highly praised, so I expected quite a bit out of them, and wasn't disappointed. They both gave quality, detailed and devoted performances. However, as the movie went along, I became more interested in a few supporting characters. Like Paul Giamatti, who obviously was fantastic, (when is he ever not) had a great character to delve into as Mrs. Travers' driver. By the end of the movie he is undoubtedly the most endearing character, and rubbed off on the grumpy Travers a little too.

I also enjoyed B.J. Novak and Jason Schwartzman as the brothers Robert and Richard Sherman who wrote the music for the film. Their endeavors to please both Disney and Travers (mostly without even knowing what is was Travers actually wanted) were very amusing. I applaud their efforts, even if in reality they had half as much trouble as the movie depicted, because the results, as we know, are now iconic.

Behold: the creators of Supercalifragilisticexpialidocious!

Of course we all know what happens -- we've all seen the result. And very few can deny it's a wonderful result. Mary Poppins is popular today because of Disney and the magic his team worked. We feel for Mrs. Travers argues to keep the film as she wants it, but at the same time we are not nearly as attached to her book as she is; all we want is for her to give in so those poor people can just make that wonderful childhood movie. Methinks the lady doth protest too much -- her desperate arguments and revealing flashbacks are certainly dramatic, but there was too much of it, and I was having so much fun enjoying the lighthearted "behind the scenes" moments that whenever it turned serious, I just wished it would go back to being fun and stay that way.

Saving Mr. Banks has plenty of sweet, sentimental insights into the mind and past of the creator of Mary Poppins -- all sprinkled with a little pixie dust -- but there's just not enough magic here to make anyone reach for this film instead of the one it celebrates. And I suppose that's how it should be.