Saving Mr. Wu 2015

In 1961 London, struggling author Pamela “P. L.” Travers (Emma Thompson) finds herself in a tough situation when her agent Diarmuid Russell (Ronan Vibert) persuades her to travel to Los Angeles to meet with the legendary Walt Disney (Tom Hanks). For twenty years, Disney has sought the film rights to her beloved Mary Poppins stories at the behest of his daughters, who wish for a film adaptation. Despite this, Travers remains extremely reluctant, harboring disdain for Disney’s background primarily in animated films.

Flashbacks reveal Travers’ formative years in Allora, Queensland during 1906, which deeply influenced her creation of Mary Poppins. She shares a close bond with her charming and handsome father Travers Robert Goff (Colin Farrell), who tragically succumbs to alcoholism.

Upon reaching Los Angeles, Travers is confronted by the city’s perceived unreality and the overly optimistic demeanor of its residents, embodied by her overly friendly chauffeur Ralph (Paul Giamatti). At the Walt Disney Studios in Burbank, she collaborates with the film’s creative team, including screenwriter Don DaGradi (Bradley Whitford) and the Sherman brothers, Richard and Robert (Jason Schwartzman and B.J. Novak), both of whom embody the casual attitude that irks Travers.

Right from the start, Travers sets a challenging tone for the collaboration. She stresses that Mary Poppins is an embodiment of pragmatism over sentimentality, leaving the team in a state of confusion. They struggle to comprehend her aversion to fantasy, especially when her own childhood holds such vibrant imaginations. Notably, Travers has a significant emotional stake in the character of George Banks, which she feels the team misrepresents, prompting her to express distress during their sessions.

The character of Mr. Banks draws from Travers’ own father, whose inability to battle his addiction led to tragic repercussions at his banking job, including ridicule from superiors. Conversely, Disney’s team mistakenly interprets Mr. Banks as a mere villain, out to exploit others for profit—an interpretation that deeply offends Travers. Interestingly, Mary Poppins herself is modeled loosely after a nanny hired by Travers’ family after her father’s decline. This nanny embodied strictness and falsely promised to provide order during turbulent times, a promise that ultimately goes unfulfilled with her father’s passing, further complicating Travers’ feelings towards those in positions of care.

As Travers continues her work with the team, she becomes increasingly isolated, haunted by painful memories that numb her engagement with the present. In a bid to address her disquiet, Disney invites her to Disneyland, where her bond with Ralph, adjustments to the portrayal of George Banks, and the incorporation of a new song gradually soften her demeanor. As her imagination reignites, she begins to participate more actively with the team.

However, this forward momentum shatters when Travers uncovers plans for animation within the film—something she adamantly opposes. A confrontation ensues when she declares she will not relinquish the film rights, causing her to storm back to London. Taking note of her pen name, Disney is enlightened by her real identity as Helen Goff and resolutely follows her back to London, determined to mend their fractured relationship.

In a fortuitous turn of events, Disney arrives unannounced at Travers’ home, sharing aspects of his own flawed childhood while highlighting the potential healing power of storytelling. His heartfelt plea prompts Travers to acknowledge the aspects of her disillusionment, ultimately leading her to grant the film rights, a pivotal moment for both their journeys.

Fast forward to 1964, the world premiere of Mary Poppins approaches at Grauman’s Chinese Theatre. However, Travers finds herself uninvited due to Disney’s concerns about her potential negativity. Egged on by her agent, she crashes Disney’s office, manages to secure an invitation, and reluctantly attends the premiere. Initially viewing the film with skepticism, particularly during the animated sequences, Travers slowly transforms her stance, finding herself emotionally impacted by Mary Poppins, especially moved by the redemptive arc of George Banks, an experience that resonates deeply with her own life.

The film concludes with a poignant recording of an actual session featuring Travers, the Sherman Brothers, and DaGradi, highlighting the intricate dance between creation and personal experience.