Another 'inspired by a true story' movie surefiring its way to this years Academy Awards, tells the story of the odd cat-fight between P. L. Travers (Emma Thompson), author of the famed Mary Poppins books, and Walt Disney (Tom Hanks) en route to the production of the live action feature. After 20 years of constantly pressuring the author on selling her book to Disney, Travers finally reluctantly agrees given her financial plight. However, she stipulates the need for her to have control over the end product with script authority and veto power. This creates tension with the scriptwriter and the musicians (especially given Travers is reluctant to agree to any music at all). With this uneasy relationship slowly boiling over it seems like the picture is destined for failure. However, the experiences of the writer bring back painful memories of her youth, which give insight as to the origins of her beloved flying nanny.
The movie juxtaposes the prickly P.L. Travers with the overbearing optimism of Disney and the Californian sunshine. Watching Disney especially, presented as a jovial and considerate person, as opposed to the troubled Travers, managed to arouse my inner grumpiness, cheering on the Australian-born children author in her endeavour of being an full-fledged pain in the buttocks to the animation studio and her employees. Ultimately somewhat let down that Travers lets herself be corrupted by the twinkle toes of Hollywood, especially with the externally honest, internally two-faced Disney in mind. Thus, I must admit I failed to catch on to the rampaging mirthfulness of the movie, instead finding myself irritated by the positive light being shone on the American way of being, as contrasted to the straight-faced jabbing sardonicism of the foreigner.
Emma Thompson remains a shining light throughout, in thick or thin, in drama or comedy, delivering arguably the best and most complete performance of the year (regardless of sex). Beautifully layered thanks to her starkly English attitude as well as some very well intertwined flashbacks, much can be forgiven and forgotten. Nonetheless, when Disney slowly seems to be winning the fight for the heart, I found myself pulling back emotionally at the insincere American entirety of the movie. Especially given the presentation of Walt Disney in this movie is a far cry from reality, sugar-coating a man who deserves no such accolades. The internal conflict that drives the movie slowly irritates, with the only emotional impact owing to the sidelined back-story of P. L. Travers and exceptional acting by Thompson.
The movie juxtaposes the prickly P.L. Travers with the overbearing optimism of Disney and the Californian sunshine. Watching Disney especially, presented as a jovial and considerate person, as opposed to the troubled Travers, managed to arouse my inner grumpiness, cheering on the Australian-born children author in her endeavour of being an full-fledged pain in the buttocks to the animation studio and her employees. Ultimately somewhat let down that Travers lets herself be corrupted by the twinkle toes of Hollywood, especially with the externally honest, internally two-faced Disney in mind. Thus, I must admit I failed to catch on to the rampaging mirthfulness of the movie, instead finding myself irritated by the positive light being shone on the American way of being, as contrasted to the straight-faced jabbing sardonicism of the foreigner.
Emma Thompson remains a shining light throughout, in thick or thin, in drama or comedy, delivering arguably the best and most complete performance of the year (regardless of sex). Beautifully layered thanks to her starkly English attitude as well as some very well intertwined flashbacks, much can be forgiven and forgotten. Nonetheless, when Disney slowly seems to be winning the fight for the heart, I found myself pulling back emotionally at the insincere American entirety of the movie. Especially given the presentation of Walt Disney in this movie is a far cry from reality, sugar-coating a man who deserves no such accolades. The internal conflict that drives the movie slowly irritates, with the only emotional impact owing to the sidelined back-story of P. L. Travers and exceptional acting by Thompson.