The opening scene of Saving Mr. Banks will viewers without resorting to insider rather tricky. Outdoor picture children's author PL Travers a telephone conversation with someone we do not hear. She speaks regularly about ?? he ?? and ?? it ?? without the viewer to give any hint about where she got it. ??He?? no one shows less than Walt Disney, which at that time (the early sixties) is one of the most powerful people in Hollywood. ?? It ?? refers to Travers ?? creation Mary Poppins, which Disney has put his sights. Travers is totally not waiting for a saccharine Disney film adaptation of her work, but after years have kept the boat, she looks to forced anyway tack. Cross the line drawn by the promise that it is no animation (cartoon ?? or ?? as Travers calls them contemptuously) and participation in the script, the temperamental British writer departs reluctantly to Hollywood.
Once there is immediately apparent that Disney and Travers like night and day different. Or rather, as sun and rain. The sunny weather in California can not appeal Travers namely; she prefers the British rain. Not surprising therefore that the frantic efforts of Disney and his staff to put Travers in the sun, have a totally opposite effect. Of the "Walt Disney presents'-sign with the name of the author below which they will be welcomed at the airport until its full gedisneyficeerde hotel room; everything just leads to irritation. Fortunately not at the viewer, because these scenes go for the laugh and succeed very well in there. Incidentally, Travers ?? saying that rain makes life delicious answered soberly by her frumpy driver with the objection that the sun has the same effect.
The fascinating contrast between the two main characters is one of the greatest qualities of the film, especially because no party is elected. Disney and Travers his contemporaries and to some extent united by their work (which focuses on the same target group), but it seems both to be passed in a completely opposite direction suggested. So Disney can clearly not be colorful and child friendly enough, while Travers convulsively clings to her job and not give an inch admits in the script process. That makes it particularly difficult aunt to work with, but there appear to be entirely understandable reasons for its protective nature. The key is for both of them in a mixture of authorship and parenthood. Disney namely says that his films (and Mary Poppins makes in particular) to please his own children. Travers, however, is unmarried and childless, but sees her characters and her family.
By far the strongest aspect of Saving Mr. Banks is the casting. Tom Hanks in the role of Walt Disney is clearly a golden opportunity, but the absolute star is Emma Thompson in her Oscar-worthy rendition of PL Travers. Neurotic, eccentric, undisturbed but also hugely vulnerable; Thompson switches effortlessly from one trait to another without her character to make a typetje. Special enough her grades are mainly subscribed when are heard the shots during the credits of the real script consultation. Then actually turns out that Thompson has taken its role lot more human and more subdued than they had to do actually.
To Saving Mr. Banks to follow is not necessary Mary Poppins to have seen, but to really enjoy it, it is advisable. Partly because of the recognition of the songs and named plot points, second because it stood extended by Travers ?? tough childhood in Australia. In addition to all kinds of elements from her later work shows the sources of inspiration, which will be a feast of recognition for attentive viewers. In terms of tone these scenes are much more melancholy than the Hollywood segments dominated by light humor, but it turns out fine contrast to fit in a movie with ditto protagonists. Saving Mr. Banks is simply a film with a smile and a tear. Or a raindrop actually a ray of sunlight.
