There’s no telling how much of “Saving Mr. Banks” is actually true. Just how callous was P.L. Travers? Was Walt Disney really out to make dreams come true in adapting her popular book, “Mary Poppins”? And is it true that he essentially acted as Travers’ psyche savior as portrayed in the film? It’s tough to say, though recent articles have pointed out that much of what is portrayed in the film is a fallacy, an illusory look into one of the world’s biggest and most recognizable companies made by that very same company.
Surely much of the truth—particularly the occasionally harsh realities of Mr. Disney himself—were glossed over for reputational purposes. But based-on-true-stories don’t succeed or fail solely on their historical accuracy, but rather on their ability to take even what could amount to a small kernel of the truth and craft something worth watching. In this regard, “Saving Mr. Banks” is a rousing success.
The movie, in a nutshell, is about Travers’ (Emma Thompson) popular book’s journey to the big screen. Through flashbacks that portray her rough childhood with an alcoholic father (Colin Farrell) that she nevertheless adored, it paints a picture that explains her hesitance towards adapting it. For over 25 years, Disney (Tom Hanks) tried to convince Travers to allow him to make this movie, a goal he claims stems from his desire to keep a promise he made to his children who adore her book and the characters in it.
Over the span of a couple weeks, Travers travels to Walt Disney Studios and puts its employees through the wringer, insisting on having creative control over the final product and demanding all kinds of ludicrous things, like the complete removal of the color red from the movie. Eventually, her stubbornness starts to wane, resulting in one of the most beloved films of all time.
It’s that stubbornness, however, that gives the film its weight, even if some journalists are failing to see the meaning and misconstruing it as misogynistic. Seemingly every ridiculous demand she makes has an explanation, which is explained by the film’s frequent flashbacks. While Ms. Travers may seem unreasonable and cruel at first, these moments shed light on her in a way that builds empathy. By the end, she isn’t painted as a villain, but rather a woman who has had trouble coping with the reality of her childhood.
In terms of storytelling, “Saving Mr. Banks” is a tour de force, managing to jump back and forth between timelines seamlessly and without confusion. All of it adds up to an enchanting whole, one that has lots of things to say and explains itself well, even within its two hour time constraint. Perhaps its most successful idea comes in its emphasis on imagination.
Echoing the (admittedly more thoughtful) sentiments of 2004’s marvelous “Finding Neverland,” the film understands the importance of imagination, in the ways it can make something bad seem good and fix past memories to be something of profound happiness. Even as adults, it’s important to remember the good things, even when it’s hard to forget the bad, and that’s what “Saving Mr. Banks” explores so well, even going so far as to say that there’s no greater joy than “seeing the world through the eyes of a child.”
That single line encapsulates the film’s very essence, as the “Mary Poppins” film ended up keeping the memories of Travers’ father alive, but more in the way she wished it had happened rather than as they actually did. In this way, “Saving Mr. Banks” proves itself to be surprisingly moving. Anchored by a terrific, Oscar worthy performance from Emma Thompson alongside a top notch ensemble cast, the film is a real treat.
It may be hard to fight off the cynical realization that the film is trimmed in a way to protect the Disney company’s image and it may not portray the events at hand in a fair and balanced way (even if the real recordings that play over the credits create striking parallels between it and what we’ve just seen), but that’s not the film’s intent. “Saving Mr. Banks” has higher aspirations and it succeeds in reaching nearly every single one of them.