A Beautiful Day in the Neighborhood
(B+ or 3/4 stars)
'A Beautiful Day in the Neighborhood' (directed by Marielle Heller, of last yr.'s Can You Ever Forgive Me?) is a poignant biopic based on the unlikely, but transformational real-life friendship btwn. Fred "Mister" Rogers (Tom Hanks) & a journalist (Matthew Rhys, of The Americans). This film isn't your typical biopic, because while its central character in integral to the story, it's not about his life; more so, it is about Matthew Rhys' character and how Rogers affected him for the better. Really, the narrative unfolds almost like a fable; illustrating Rogers' values, wisdom & gentility by opening with a framed episode of Mister Rogers' Neighborhood, closing with that same episode, & having the plot unfold in-between.
When his Esquire magazine editor (Christine Lahti) assigns cynical, skeptical Lloyd Vogel (a character who is based on real-life journalist Tom Junod, played by Rhys) to write a 400-word article about TV host Mister Rogers for their cultural Heroes issue, he is perplexed & irked. For one, he wouldn't know how to write about such a seemingly goody two-shoes, and secondly, he's known for being a 'hostile' investigative journalist to be avoided. Despite having a devoted wife (Susan Kelechi Watson, from This is Us) & infant son, Lloyd is consumed with resentment toward his alcoholic father (stellar Chris Cooper) who abandoned the family {including his sister played by Tammy Blanchard & a mother who died when Lloyd was young} long ago.
Their first interaction, on the set of Mister Rogers' Neighborhood, is short, so Lloyd & Fred meet up again & again, striking up a friendship that exceeds that of writer & source. While conversing with kind, soft-spoken, "Is he too good to be believed?" Fred Rogers, Lloyd's stifled, repressed feelings erupt as these two very different men forge a genuine connection & unusual understanding that surpasses that of writer & source. In trying to strip away Rogers' pristine TV image, Lloyd embarks on an unexpected journey of self-discovery that may result in the healing of the wounds created by father, Jerry. Tears may flow, viewers. Mine nearly did during a NYC subway ride where passengers break into an impromptu serenade.
Not unlike last yr.'s Rogers' documentary, Won't You Be My Neighbor?, this alternately uplifting & melancholy drama is a nostalgic tribute to the man who embodied love, kindness & acceptance to children & adults for 40 years. Director Marielle Heller's 2nd unconventional biodrama takes a fascinating look at how a jaded journalist who is cynical about father figures learns to forgive, love & trust through his soulful connection with Rogers. Rhys is excellent as the distrustful, world-weary Manhattan writer who slowly realizes that Rogers is the real deal. Heller's unique directorial choices aid the film better than the script. I admired the production design; wonderfully recreating the miniature TV sets from the classic show. But Tom Hanks' beautiful performance is the main reason for the film's success.
Hanks transforms into Rogers without it feeling like a strict imitation. Sure, he dons the red cardigan, the sneakers and changes the soothing timbre & cadence of his speech to imitate Rogers with thespian aplomb, but the portrayal is more of a homage; he's more successful yet at simply capturing the essence of this very special man. This film is chock full of his philosophy about each child & person being precious. Rogers' widow Joanne put it best: "With so much conflict going on in the world, I think people are hungry for kindness. Fred's legacy reminds us to be kind and to be neighborly, to try & forgive those who have hurt us and try to see the innate goodness in all people" -- the ache for world kindness has never been more relevant.
When his Esquire magazine editor (Christine Lahti) assigns cynical, skeptical Lloyd Vogel (a character who is based on real-life journalist Tom Junod, played by Rhys) to write a 400-word article about TV host Mister Rogers for their cultural Heroes issue, he is perplexed & irked. For one, he wouldn't know how to write about such a seemingly goody two-shoes, and secondly, he's known for being a 'hostile' investigative journalist to be avoided. Despite having a devoted wife (Susan Kelechi Watson, from This is Us) & infant son, Lloyd is consumed with resentment toward his alcoholic father (stellar Chris Cooper) who abandoned the family {including his sister played by Tammy Blanchard & a mother who died when Lloyd was young} long ago.
Their first interaction, on the set of Mister Rogers' Neighborhood, is short, so Lloyd & Fred meet up again & again, striking up a friendship that exceeds that of writer & source. While conversing with kind, soft-spoken, "Is he too good to be believed?" Fred Rogers, Lloyd's stifled, repressed feelings erupt as these two very different men forge a genuine connection & unusual understanding that surpasses that of writer & source. In trying to strip away Rogers' pristine TV image, Lloyd embarks on an unexpected journey of self-discovery that may result in the healing of the wounds created by father, Jerry. Tears may flow, viewers. Mine nearly did during a NYC subway ride where passengers break into an impromptu serenade.
Not unlike last yr.'s Rogers' documentary, Won't You Be My Neighbor?, this alternately uplifting & melancholy drama is a nostalgic tribute to the man who embodied love, kindness & acceptance to children & adults for 40 years. Director Marielle Heller's 2nd unconventional biodrama takes a fascinating look at how a jaded journalist who is cynical about father figures learns to forgive, love & trust through his soulful connection with Rogers. Rhys is excellent as the distrustful, world-weary Manhattan writer who slowly realizes that Rogers is the real deal. Heller's unique directorial choices aid the film better than the script. I admired the production design; wonderfully recreating the miniature TV sets from the classic show. But Tom Hanks' beautiful performance is the main reason for the film's success.
Hanks transforms into Rogers without it feeling like a strict imitation. Sure, he dons the red cardigan, the sneakers and changes the soothing timbre & cadence of his speech to imitate Rogers with thespian aplomb, but the portrayal is more of a homage; he's more successful yet at simply capturing the essence of this very special man. This film is chock full of his philosophy about each child & person being precious. Rogers' widow Joanne put it best: "With so much conflict going on in the world, I think people are hungry for kindness. Fred's legacy reminds us to be kind and to be neighborly, to try & forgive those who have hurt us and try to see the innate goodness in all people" -- the ache for world kindness has never been more relevant.