Saving Mr. Banks 2013

In 1961 London, we follow Pamela “P. L.” Travers (Emma Thompson), a financially strapped author who is reluctantly compelled to journey to Los Angeles. This trip happens at the insistence of her agent, Diarmuid Russell (Ronan Vibert), leading her to a meeting with Walt Disney (Tom Hanks). For two long decades, Disney has pursued Travers, hoping to secure the film rights to her beloved Mary Poppins stories at the behest of his daughters, who are eager to see the character brought to life on screen. However, Travers has serious reservations about handing over her creation, primarily because she views Disney, known for his animated films, with disdain.

Travers’ childhood in Allora, Queensland, during 1906 comes to life through poignant flashbacks, revealing how it deeply influenced her Mary Poppins narrative. In these recollections, we see her bond with her charming but troubled father, Travers Robert Goff (Colin Farrell), who battles alcoholism.

Upon her arrival in Los Angeles, Travers is immediately struck by the city’s superficial charm and the overly friendly disposition of its residents, highlighted by her affable limo driver, Ralph (Paul Giamatti). At the Walt Disney Studios in Burbank, she begins working alongside a creative team that includes screenwriter Don DaGradi (Bradley Whitford) and the renowned music composers Richard and Robert Sherman (Jason Schwartzman and B.J. Novak). Travers finds their laid-back attitudes and creative assumptions utterly inappropriate, and she feels an immediate surge of irritation upon encountering Disney himself.

Travers struggles to cooperate with the creative team, insisting that Mary Poppins resists sentimentality and whimsicality. This stance baffles Disney and his team, especially given the imaginative essence of the Mary Poppins story and the vividness of Travers’ own childhood memories. One of her chief complaints involves the portrayal of George Banks, a character she feels is being grossly mischaracterized, which leads her to leave a development session in tears. It soon becomes clear to the team how intimately Mary Poppins is connected to Travers’ own life experiences and the characters that embody her past.

For instance, George Banks is modeled after Travers’ father, who, struggling with alcoholism while serving as a bank manager in Australia, faced ridicule from his superiors and community, impacting Travers significantly. The creative team’s interpretation of Banks as a ruthless banker leaves Travers feeling misrepresented. Furthermore, the character of Mary Poppins hints at the impact of a strict nanny hired during her father’s illness, a woman who assured Travers that she would “fix everything.” After her father’s death, Travers unfairly channels her grief towards the nanny.

Despite her mounting disengagement, Travers continues to collaborate with the team. As old wounds from her childhood resurface, Disney takes it upon himself to understand her turmoil, even inviting her to Disneyland. This leads to a budding friendship with Ralph and a softening perspective towards the revisions the team has made to George Banks’ character, as well as the inclusion of a new song intended to close the film. Travers begins to reconnect with her imagination and engage enthusiastically with the creative process.

However, this hopeful progression is abruptly interrupted when Travers discovers that the film will include an animated segment, a choice she vehemently opposes. She confronts Disney, indignantly asserting that she will not relinquish the film rights, and she ultimately departs for London. Unbeknownst to Travers, Disney learns that her real name is Helen Goff and, armed with a fresh understanding of her struggles, he travels to London with a resolve to seek her collaboration once more.

In a surprising visit to Travers’ home, Disney candidly shares aspects of his own challenging childhood and emphasizes the therapeutic potential of storytelling, urging her to let go of her deep-seated disillusionment. This heartfelt conversation persuades Travers to finally grant him the rights to her beloved character.

Fast forward to 1964, as Mary Poppins nears its world premiere at the famed Grauman’s Chinese Theatre. Disney, fearing a negative reaction from Travers, has not invited her to the event. Spurred on by her agent, she decides to travel to Los Angeles, crashing Disney’s office to secure an invitation. As she watches Mary Poppins, Travers starts with skepticism, particularly reacting poorly to the animated sequence. Surprisingly, as the film unfolds, she finds herself touched by the portrayal of George Banks’ redemption—a moment that resonates profoundly with her own past.

The film concludes with a heartfelt touch, as a recorded session featuring Travers alongside the Sherman Brothers and DaGradi plays during the end credits, capturing the essence of her journey.