‘Mary Poppins’ is one of Disney’s greatest achievements of all time, if not his greatest. The film was a regular in our household throughout my childhood, and I recently watched it again for the first time in about a decade. The film had more emotional resonance for me as an adult, not least because I enjoyed John Lee Hancock’s ‘Saving Mr. Banks’, the biographical drama about Mary Poppins’ transition from page to screen. I’m sure I’m not the only person who felt some level of anxious trepidation when I heard there was a sequel in the works with a different cast. However, as it turns out, with so much political and economical uncertainty dominating the hourly headlines, a spoonful of sugar is just what we need right now. And what better to uplift us in the most delightful way than a visit from Mary Poppins?
‘Mary Poppins Returns’ opens in the familiar territory of Cherry Tree Lane with the Banks children now grown-up. Michael (Ben Whishaw), one year widowed, lives in the childhood home and is struggling to raise his two sons and daughter and make ends meet. Jane (Emily Mortimer) lives in a flat nearby and works as a labour organiser. Unknown to Jane, Michael has taken out a loan from the Fidelity Fiduciary Bank to cover expenses, and when lawyers show up demanding Michael pay back the loan in a few days, the Banks home is faced with the threat of repossession unless he can repay the loan. Right on cue, out of the sky comes Mary Poppins (Emily Blunt) to bring the Banks family back together. Mary Poppins fills her post by taking the children on fantastical adventures complete with talking penguins and cockney lamplighters. There is a sense of history repeating itself here, with Michael (very like his brusque father) discouraging playtime and wanting his children to act proper for the sake of appearances.
Emily Blunt is pitch-perfect in the titular role, bringing a lovely balance of mystery, sternness and kindness in a pleasing, awards-worthy performance. Blunt makes the character her own in paying attention to the character’s vanity in hair touches and staring at her reflection in a balloon. Having seen Blunt’s resilient performance in the horror ‘A Quiet Place’, her versatility as an actress and performer is more apparent than ever here. The film features some of Britain’s finest acting alumni, from Colin Firth, Julie Walters to Disney legend Angela Lansbury. Meryl Streep’s single scene appearance as eccentric cousin Topsy didn’t sit right with me, as it just looked like Meryl Streep half-drunk and caked in garish make-up. There is an unnecessary subplot which sees lamplighter Jim (the Bert of the story) tentatively flirt and show interest in Jane. This doesn’t add anything interesting to the story, as the actors’ chemistry is non-existent and their rapport awkward to watch.
The film succeeds in not outright copying the 1964 film which it easily could have done. Instead it pays tribute to the magic of the original in its playful charm and warm tone. Underneath the cheery numbers and brightly coloured production, there is a heartfelt sadness that gives the film that bit more sophistication than the first. The ballad sung by Mary Poppins to comfort the children who long for their mother’s love, ‘The Place Where Lost Things Go’, left more than dry eyes and a lump in my throat. Marc Shaiman’s score is fittingly upbeat and lively, but the song and dance numbers lack the infectiousness of the first film’s. Then again, it would be futile to even attempt to top the iconic lyrics of ‘Supercalifragilisticexpialidocious’. Try saying it backwards. The songwriters do their best with the plot they are given, so it’s a commendable effort overall. Overflowing with endearing cheeriness and nostalgic whimsy, ‘Mary Poppins Returns’ boasts plenty for adults and children to enjoy on a wintry night. As Jim the lamplighter observes, it’s a good thing Mary Poppins comes along when she does. No doubt she’ll be descending from the clouds the next time we need her.
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