It’s fair to say there aren’t many titles in this year’s awards season that aren’t tainted with some level of aptly timed controversy. The Academy just can’t seem to get it right, and not for the first time. Not that I’m surprised, this year’s bright ideas to increase viewing figures are not only ludicrous, but outright insulting to the quality of the films and those involved up for contention. As an avid observer of awards season, this is disappointing in the build-up to the biggie (Oscars night) as the Academy’s efforts to get down with the kids are actually taking away the prestige of winning the coveted golden man statuette, and in turn discouraging the public from tuning into the live broadcast. ‘Green Book’ hasn’t been so lucky to avoid a controversial reception, however, I didn’t read up on anything related to Don Shirley prior to seeing the film with the intention of going in without any preconceptions of the poetic licence taken with the truth. Fortunately this was the right approach, as ‘Green Book’ is a joyful ride from start to finish.
Inspired by a true story, NYC bouncer Frank ‘Tony Lip’ Vallelonga (Viggo Mortensen) faces temporary loss of employment as the nightclub he works at is closed for refurbishment. Jazz pianist and composer Don Shirley (Oscar winner Mahershala Ali) hires Tony to be his driver and bodyguard for his eight-week concert tour through the hugley racist Midwest and Deep South. The racial overtones are very prominent as Shirley is cautious about where he can stay and eat, and they will feel familiar to many who have watched ‘To Kill a Mockingbird’, ‘The Colour Purple’ and so on. Much of the humour lies in the men’s starkly different tastes and outlooks. Tony is a blue-collar everyman with gift of the gab. Shirley is refined with a serene disposition. The initially strained conversation slowly develops into a warm friendship after a few run-ins with racist cops and brutish drinkers that also triggers a shift in Tony’s narrowminded prejudices against blacks.
We can’t ignore the moralistic message, and Tony is the embodiment of the classic white saviour archetype we have seen before, however there is a lightness within the film’s confrontation of racism that reminded me of ‘Hidden Figures’. This prevents it from lapsing into heavy territory and becoming a typical issues film. Peter Farrelly handles the material with such delicate sensitivity that I was not only moved in places, but I found myself wondering how I would react to the stifling prejudices if I were in Shirley’s shoes. His answer to being demoted to use a shed toilet is simply ‘you never win with violence. You only win when you maintain your dignity’. Mahershala Ali is brilliant here, bringing sophisticated poise and quiet intelligence that should ensure a second Oscar win. Ali is the rare type of actor whose stillness speaks many layers of emotion without the need for a single word. His skill for nuance is used to best advantage in an artfully underplayed performance that grips our heartstrings long after the film has finished.
What stands out in ‘Green Book’ is its smartly written script with the right amount of humour to balance out its serious themes. Its message of courage is only strengthened by the funny moments we may not expect in a film that explores historical, and contemporary, racist attitudes. ‘Green Book’ is an unashamedly goodhearted, crowd-pleasing comedy drama bolstered by the fantastic performances of its two leads. I was charmed the whole way through and I didn’t want it to end. If I were a betting woman (which I am in Oscar month), I would put money on ‘Green Book’ winning Best Picture, for it has a story worth telling and plenty of heart to tell it with.
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