Green Book - Review
Director: Peter Farrelly
Cast: Viggo Mortensen, Mahershala Ali, Linda Cardellini
Having made his fame and fortune with writing and directing broad and crude comedies such as There's Something About Mary and Dumb and Dumber, Peter Farrelly has turned his hand to drama with the awards contender Green Book, a film based on a true story with themes of acceptance and triumph in the face of intolerance.
African-American acclaimed pianist Dr. Don Shirley (Ali) is about to embark upon a musical tour in the Deep South in 1962. Needing a driver and someone to protect him, Shirley employs Frank "Tony Lip" Vallelonga (Mortensen), a quick-tempered Italian-American from the Bronx. Over the course of their time together, they develop a surprising bond and mutual admiration for one another as they confront the dangers of racial segregation that they encounter on their journeys.
At the forefront of the film is the burgeoning friendship that develops between Tony and Dr. Shirley, two men whose worlds couldn't be further apart. But Green Book also attempts to highlight the prevalent racism in the Deep South of 1960s America but arguably doesn't depict the true horrors and dangers of being a black man or woman in the time period. Its effort to make a social commentary about race relations is done with a light touch that demands greater thought.
While Green Book is very myopic in its treatment of racism, often repeating the same narrative notes over and over again, its lead pairing are a wonderful force and give committed performances - even if the roles are constricted by cliches. Viggo Mortensen as Tony Lip, the chain-smoking, big-eating tough guy is the epitome of every Italian-American stereotype that we've seen in countless films and television shows. He eschews manners and social etiquette by cursing freely, eating with his hands and leading with his fists but Mortensen surrenders himself to the character, armed with exaggerated gestures and a broad Bronx accent. Meanwhile, Ali's Dr. Shirley (played with great thoughtfulness by the Oscar-winning actor) is reserved and favours quiet time over benign chat with Tony, although he eventually warms to his rough charms. He is a pampered musician who quite literally sits on a throne whilst his people cater to his every whim but is blighted by the racism that he incurs on a daily basis and a drinking problem. However, the latter issue is quickly inferred but never appropriately addressed or resolved in any meaningful way.
Green Book rests heavily on the strength of its lead performances and the actors' chemistry with each other. Even their dynamism cannot distract from the predictable and formulaic script that fails to surprise or challenge audience expectations. The message that it perpetrates is lacking in nuance and the film is intensely uninspired and lazy in its approach to character arcs. The commentary on racism and what it takes to a change a person's heart and perceptions is executed so cloyingly, making the film's honest intentions simplistic and all surface-level.
Salved by two winning performances from actors at the top of their game, Peter Farrelly's first foray into dramatic territory with Green Book isn't a complete misfire but is suggestive that the film-maker requires more thoughtfulness and innovation.
EB
Cast: Viggo Mortensen, Mahershala Ali, Linda Cardellini
Having made his fame and fortune with writing and directing broad and crude comedies such as There's Something About Mary and Dumb and Dumber, Peter Farrelly has turned his hand to drama with the awards contender Green Book, a film based on a true story with themes of acceptance and triumph in the face of intolerance.African-American acclaimed pianist Dr. Don Shirley (Ali) is about to embark upon a musical tour in the Deep South in 1962. Needing a driver and someone to protect him, Shirley employs Frank "Tony Lip" Vallelonga (Mortensen), a quick-tempered Italian-American from the Bronx. Over the course of their time together, they develop a surprising bond and mutual admiration for one another as they confront the dangers of racial segregation that they encounter on their journeys.
At the forefront of the film is the burgeoning friendship that develops between Tony and Dr. Shirley, two men whose worlds couldn't be further apart. But Green Book also attempts to highlight the prevalent racism in the Deep South of 1960s America but arguably doesn't depict the true horrors and dangers of being a black man or woman in the time period. Its effort to make a social commentary about race relations is done with a light touch that demands greater thought.
While Green Book is very myopic in its treatment of racism, often repeating the same narrative notes over and over again, its lead pairing are a wonderful force and give committed performances - even if the roles are constricted by cliches. Viggo Mortensen as Tony Lip, the chain-smoking, big-eating tough guy is the epitome of every Italian-American stereotype that we've seen in countless films and television shows. He eschews manners and social etiquette by cursing freely, eating with his hands and leading with his fists but Mortensen surrenders himself to the character, armed with exaggerated gestures and a broad Bronx accent. Meanwhile, Ali's Dr. Shirley (played with great thoughtfulness by the Oscar-winning actor) is reserved and favours quiet time over benign chat with Tony, although he eventually warms to his rough charms. He is a pampered musician who quite literally sits on a throne whilst his people cater to his every whim but is blighted by the racism that he incurs on a daily basis and a drinking problem. However, the latter issue is quickly inferred but never appropriately addressed or resolved in any meaningful way.
Green Book rests heavily on the strength of its lead performances and the actors' chemistry with each other. Even their dynamism cannot distract from the predictable and formulaic script that fails to surprise or challenge audience expectations. The message that it perpetrates is lacking in nuance and the film is intensely uninspired and lazy in its approach to character arcs. The commentary on racism and what it takes to a change a person's heart and perceptions is executed so cloyingly, making the film's honest intentions simplistic and all surface-level.
Salved by two winning performances from actors at the top of their game, Peter Farrelly's first foray into dramatic territory with Green Book isn't a complete misfire but is suggestive that the film-maker requires more thoughtfulness and innovation.
EB
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