BETTER MAN
Director: Michael Gracey
Writers: Simon Gleeson, Oliver Cole, Michael Gracey
Stars: Robbie Williams, Jonno Davies, Steve Pemberton, Alison Steadman, Raechelle Banno
I’ve always regarded Robbie Williams as a mediocre talent. The final admission in Robbie’s real voice-over in Better Man, confirmed this. He, like his father, is simply an entertainer, he proclaims. Unlike his father, he gained stardom and a million-dollar lifestyle which he squandered on drinks, drugs, and sexual pleasures. So many didn’t survive these excesses. Robbie has. Even holding onto his wealth and finding the perfect companion, making friends with past enemies, and keeping his not inconsiderable fan base. Not a bad life for an entertainer who might well be playing the working men’s clubs in another life. Those that still remain.
What did Michael Gracey (Australian director of The Greatest Showman) think when he considered this project? He, who has done films with the likes of Pink in recent years. Surely, he too, recognized the limitations of the subject’s talent? Of course, he did. How else did he come up with the brilliant idea of turning Robbie into a loveable chimpanzee, truly monkeying around. From baby to fully grown chimp, hairy Williams is a revelation to behold. Only Robbie’s eyes remain. Even his voice is superbly represented by Jonno Davies. Robbie’s own bland voice-over here and there was unnecessary. Mr Davies would have been a more consistent choice, but I suppose Robbie wanted to be heard somewhere.
The first third of the film, from his family life (Steve Pemberton and Alison Steadman providing solid support as his father and grandmother), to him joining Take That, was a joyful watch. The music and song element exhilarating. ‘Rock D.J.’ filmed on London’s Regent Street is a choreographic highlight that could challenge the opening number in La La Land for Best Dance Sequence. ‘She’s the One’ too is a delightful modern Pas de deux between the Robbie dance double (Ross Sands) and Raechelle Banno (playing Nicole Appleton). All was looking good.
‘Take That’ began their journey on the Gay circuit, before their wily manager introduced them to a club full of teenage girls who screamed their hearts out. A shrewd strategy. In the dressing room, on a high from it all, Robbie says; “I felt like Elvis, but thin.” For me, I think this might be the point Better Man began its downhill spiral. Even an overweight Elvis could outclass Take That. There follows; an overlong journey of excess and convoluting images of Robbie fighting off his monkey demons, seeing the light, making amends with past friends and enemies, and finally admitting his limitations. All achieved with cinematic brilliance and style by director Gracey, but hollow in its protagonist’s continuing arrogance. Robbie’s final droll voice-over sums it up really: “I’m a fucking entertainer. It might be cabaret, but it’s world class cabaret, and I’m the fucking best at it. Fuck yourselves.” There was a smile behind his eyes, but a tad of sadness in mine.
A COMPLETE UNKNOWN
Director: James Mangold
Writers: James Mangold, Jay Cocks, Elijah Wald
Stars: Timothée Chalamet, Edward Norton, Monica Barbaro, Elle Fanning
Robbie and Dylan? Chalk and Cheese? More like Genius and Folly. These two biopics have nothing in common. A Complete Unknown captures the early NY acoustic years of Bob Dylan up to his 1965 show at Newport Folk Festival. Both these music biopics take much artistic license with regard to historical events, but in Dylan’s journey, it matters not. It’s the emotional impact throughout that overshadows any purist’s need for antique accuracy. Timothée Chalamet’s impossible task of portraying the enigma that is Dylan is nothing less than magnificent. He doesn’t impersonate, he merely suggests who might be behind those blank eyes and shades. Continuing his search for emotional stability throughout his brilliant renditions of Dylan’s early repertoire of soul-searching songs. He doesn’t try to emulate Bob’s early sometimes incoherent voice, but brings a vocal freshness, almost new sound, whilst maintaining his homage to Dylan.
James Mangold is no stranger to music biopics, namely his multi-award winning ‘Walk the Line’ – Joaquin Phoenix playing Johnny Cash brilliantly, and singing the songs too, but Chalamet surpasses this with the sheer amount of performances on show. I counted over 30 songs he had mastered. Remarkable. Alongside this, he managed to inhabit the spirit and soul of Dylan, without falling into cliché mimicry. It may be because I was a youth of the sixties that his interpretation and musical prowess had such emotional impact, but I think not. From beginning to end, this passionate tribute to Dylan will give joy and meaning to all generations should they open their eyes, hearts, and minds to it.
The journey begins with Dylan’s search to meet his idol, Woody Guthrie, who has been hospitalized not long before. He plays a song for Guthrie, and fellow musician and friend Pete Seeger. Both, immediately see his talent. Seeger (another wonderful performance by Edward Norton – almost unrecognizable) takes him under his wing, introducing him to the New York music scene. He meets Sylvie Russo (a heartrending Elle Fanning), an artist/teacher, and moves in with her. A short time later, he meets Joan Baez (another powerhouse performance from Monica Barbaro), a much more successful singer at the time. Inevitably, they begin their on/off affair. And so, the love triangle begins. But is Dylan capable of love? His obsessive search for creative freedom doesn’t leave much room for a constant partner. He bounces from one to the other, writing about their influence on him. And more. Then, the dénouement, at the Newport Festival. Will he go electric, or be a good boy, and keep to his acoustic roots? Most know the answer, but for those who may not, I’ll leave it there.
In conclusion, this is a film all music lovers should see. If there’s any justice, Timothée Chalamet and others should be showered with awards, and any movie about Dylan recommended by Neil Young is more than good enough for me. Thank you, Bob Dylan, for your genius. Sorry, Robbie.
Reviews by Kevin Short 26/01/2025