Green Book : Sur les routes du sud

I saw Don Shirley perform in college in 1966. At the time I simply thought he was a hell of a pianist, using that bass and cello to come up with a unique sound. So when this movie came along, I thought "I saw that guy!" I know the critics are being hard on this film, but I sat for two hours, totally captivated. I know there are stereotypes. Could that be because the repeated actions against minorities and the actions of racists have become so commonplace they seem like stereotypes. I believe the performances of these two fine actor made the show. There is a subtlety to this movie that transcends many others of its type. Yes, there are Southern cops; yes, there are men's rooms that are off limits; yes, there are simplistic views of racism by white New Yorkers. But what I got was a realistic presentation of an evolving friendship. Shirley is abrasive and self-centered; Lip is clueless most of the time. And I believed in them. See this film.

This film proves why movies can be so powerful with a touching, poignant and some times funny story of opposites attract. Enjoyed every moment although it isn't always easy to watch. Mortenson and Ali shine and there are strong supporting roles as well.

Some of my movie friends were stunned when I mentioned in a thread that this was my "People's Choice Award" vote for TIFF 2018 (it won, btw). I generally go for weightier fare, so my being won over by a PG-13 road film with the familiar "they-couldn't-have-been-more-different" premise directed by the auteur co-responsible for such recent classics as "Dumb and Dumber To" and "The Three Stooges" elicited a virtual double-take.

But I couldn't help it ... it really WAS the best film I saw (out of 17), and far and away the most entertaining. I think this is largely because it's based on a real-life story about the beginning of a lifelong friendship - a story that has writing participation by the son of one of the real-life characters. There's definitely an air of authenticity to the events as they unfold that could never occur with a purely contrived plot. Consider: A college-educated concert pianist of Jamaican descent hires a temporarily-unemployed Italian-American nightclub bouncer who's streetwise but academically dim to drive him to venues in the Deep South back in 1962. That's not a setup that a Hollywood script written from scratch would ever have come up with.

The two lead actors really click. Mahershala Ali makes a nice Oscar follow-up playing the aloof pianist passenger to Viggo Mortensen's "b.s. artist" driver. Ali is certain to get another nomination; Mortensen's performance may be a little too broad to garner one, but he delivers exactly what's called for. And he makes a believable Italian-American, which is impressive considering that he's Danish.

I'm allergic to preaching and heavy-handedness in movies no matter what the message, and with the exception of one borderline scene, I'd say that the movie nicely sidesteps these proclivities that surface so often in socially-conscious films.

The music and FX are excellent. When an actor plays a piano player, there's always the challenge of making the playing look believable. It doesn't get any better than it gets here - Ali's piano playing is every bit as convincing as Margot Robbie's ice skating in I, TONYA. You never see a disconnect between hands and body as he's filmed against a variety of backgrounds. And if I could bet on an Oscar win right now, it would be Kris Bowers for Best Original Score. (He also supplies Ali's hands, which should clinch it.)

Top everything off with a Capra-esque Christmas Eve finale and a closing line that sends everyone home smiling, and it all adds up to a monster hit. Its commercial payoff could be huge - the movie practically begs for a TV series spinoff, and the real-life characters remained friends until they both died in 2013.

So congratulations to Peter Farrelly on his graduation from co-directing lowbrow fare to solo-directing middlebrow (i.e. mass-appeal) fare. You can't deny the talent and craftsmanship it takes to make a mainstream movie that works as well as this one does.

Ignore the sour grapes criticism from Spike Lee. This was THE best film of 2018, and one of the best-ever feel-good buddy/road films. There is something very sincere about this film - it is understated in its messaging, and keeps the focus on the evolving bond and respect that grows between two polar opposite personalities. A well-made film, with first-rate acting, that makes you feel this good without feeling "manipulated", is a rare treat indeed. Highly recommended.

My main reason for watching 'Green Book' was due to me wanting to see as many 2018 films as possible, and that it had won the Best Picture Oscar (so naturally wanted to see too that it was that good). Like Viggo Mortensen as an actor, the film's concept was appealing and it looked appetising. Word of mouth, including from very trusted friends online and in real life, was very positive so there were plenty of other reasons too.

'Green Book' turned out to be when watching a very good film and nearly a great one with many fantastic things. Wouldn't go as far to say that it is my favourite film of 2018, and as far as the other Best Picture nominees go there was a preference for 'Roma' and 'The Favourite', but if to put it in a group of either best, solid middle and worst films of the year 'Green Book' would be closest to being in the best category of those three groups. It is a very, very well done film and its good intentions are evident throughout and noble.

It could have done with more grit in places, really do appreciate that it was trying not to be heavy-handed or trying to offend with a quite heavy theme but they could have done more with it and given a little more depth to what there was. Not saying it wasn't there, quite the contrary, just wish there was more.

Credit is due for the laudable and successful efforts in making the story accessible and it is one that easy to like and get into, but actually it could have afforded to do a little more risk-taking and have a little more complexity.

Viggo Mortensen though brings a lot of charm and entertainment value to his role, and Mahershala Ali is a dignified and very moving contrast. Their chemistry is wholly natural and beautifully irresistible (never feeling contrived or rushed) which provides a lot of 'Green Book's' heart, while their characters are more than just characters and instead feel very human. This is very different territory for director Peter Farrelly and it is surprisingly restrained direction from him and it suits the material very well. It's a lovely looking film too and affectionately photographed, while the music is beautifully chosen and fitted some nice nostalgic song choices here.

The script is thoughtful, charming and also moving, and regardless of anybody feeling that it is a little too accessible and could have done with more grit the story kept me riveted and left me moved, inspired and like my heart had been warmed. The YMCA scene is a powerful one and a character development turning point handled beautifully.

Summing up, one of those very good and nearly great films. 8/10