Monday 18 February 2019

Film of the week: The Green Book's road-trip tale is a bumpy but enjoyable ride

Ali and Mortensen deliver fantastic performances to mask Green Book’s flaws, says Paul Whitington

Mahershala Ali hires Viggo Mortensen to drive him around the racist deep south in the 1960s
Mahershala Ali hires Viggo Mortensen to drive him around the racist deep south in the 1960s
Paul Whitington

Paul Whitington

About halfway through watching Green Book, I fell into a kind of nostalgic reverie and imagined I was watching one of those jovial, harmless 1980s buddy movies, like Midnight Run or Trains, Planes And Automobiles. You know the kind of thing: two mismatched heroes take to the road to endure mortifying mishaps while learning that neither was quite so objectionable as they originally seemed.

That's pretty much exactly what happens in Peter Farrelly's multi-Oscar nominated yarn, but its jovial tone belies the fact that it's based on a true story and tackles the very serious subject of racism.

It's 1962, and Italian-American roughneck Frank 'Tony Lips' Vallelonga (Viggo Mortensen) is working as a bouncer at New York's Copacabana nightclub when a punch-up with a mafia boss's son leads to an unexpected career hiatus. At a loose end, he sees a newspaper ad looking for a driver to ferry a musician through a tour of the deep south. So far so good, thinks Tony, but when he turns up for the interview, he gets a shock when he discovers the musician is black.

Don Shirley (Mahershala Ali) is a revered pianist whose artful jazz and classical stylings have made him a sought-after live act. He's a refined and cultured man, and his advisers are horrified when he decides to hire Tony, an uncouth loudmouth who eats and smokes constantly, sometimes at the same time. But Dr Shirley, as everyone calls him, is no fool: Tony can look after himself, an attribute that might well come in handy down south.

Before they leave New York, Don's manager hands Tony a Green Book, a depressing but necessary travellers' guide telling African-Americans which hotels and cafés will tolerate them below the Mason-Dixon line. As it turns out, even some of the hotels Don is booked to play won't allow him in the restaurant, and when he performs for a private party at a Savannah mansion, the owner politely refuses to let him use the bathroom.

All of this is food for thought for Tony, an unrefined and sketchily educated man who's a bit of a racist himself. But even he begins to recognise the ugly absurdity of Jim Crow attitudes and, besides, him and Don are becoming friends.

American reviewers have drawn comparisons between Green Book and Driving Miss Daisy, another multi-Oscar nominated movie that politely explored racial tensions in a moving vehicle. That film aired a rather sanguine and simplistic attitude to American race relations that seemed sharply at odds with reality: after all, it was released just two years before the LA riots.

But if a sentimental race movie felt out of place in 1989, Green Book seems like a downright throwback after Ferguson, Charlotte, Trump, and recent Hollywood films like Moonlight and BlacKkKlansman. Compared to the likes of Moonlight, Green Book's politics seem crude, saccharin, positively antediluvian. It's been accused by some critics of underplaying the brutality of the old south, and Don Shirley's family have questioned the buddy thesis at the movie's heart: Tony was Don's employee, they insist, never his friend. All of these complaints have merit, and Green Book can count itself extremely fortunate to have earned a Best Picture Oscar nomination.

And yet, when you put all that to one side and just watch it, Green Book is an irresistible piece of entertainment. Mahershala Ali, who has tended to play compromised hard nuts, here expands his repertoire with a quiet, nuanced portrayal of a fussy, fastidious, isolated man. Shirley keeps the world at arm's length and seems at odds with mainstream African-American culture: "I'm blacker than you are!" Tony decides, after finding out that his employer has never heard of Aretha Franklin. But Shirley's reserve is partly motivated by a closely held secret.

Tony Lips makes the perfect foil for the neurotic, introspective musician. While Shirley thinks, Tony talks: he has a cheerful and enviably uncomplicated attitude to the world, and is a man of appetites (at one point he folds an entire pizza in half and shoves it in his mouth).

Not previously known for his comic timing, Mortensen hilariously inhabits the pugnacious but fair-minded Tony, who constantly dispenses unasked for opinions and, at one point, assures Shirley that his music is "like Liberace, only better". He and Ali are wonderful in this film, which may have its shortcomings, but is tremendous fun.

Green Book (12A, 130mins) - 4 stars

Films coming soon...

If Beale Street Could Talk (Regina King, KiKi Layne); The Lego Movie 2 (Chris Pratt, Elizabeth Banks, Tiffany Haddish, Will Arnett); Boy Erased (Nicole Kidman, Lucas Hedges, Joel Edgerton); All Is True (Kenneth Branagh, Judi Dench, Ian McKellen)

The Critics: Your guide to movies, music and more...

Can You Ever Forgive Me?

(15A, 108mins) - 4 stars

I can never understand why people are so amazed when comic actors turn out to be good straight ones, but Melissa McCarthy is so good in this funny, moving, true story that a career shift may ensue. She is Lee Israel, a struggling, boozy New York writer who's eking a living as a sub-editor in the early 1990s when she's fired. Desperate for money, she decides to tap into the lucrative trade in celebrity letters by forging missives from dead actors and writers. She has a flair for it, but gets sloppy. Marielle Heller's film paints a vivid picture of Manhattan's literary underbelly, and Richard E Grant is terrific as Lee's fabulously gay friend Jack.

Escape Room

(15A, 100mins) - 3 stars

There's nothing remotely new or original about this low-budget horror, but director Adam Robitel and his cast do enough to make it interesting for a while. When six very different individuals receive an invitation to a boutique escape game, they accept - the fools. First prize is $10,000, but none of them look likely to win it, because they soon realise that the dangers inherent in the supposed game are very real. Deborah Ann Woll plays a resourceful war veteran, Ben Miller a slick Wall Street broker, in a film that putters along quite nicely until it comes time to justify all this nonsense.

How To Train Your Dragon: The Hidden World

(PG, 104mins) - 4 stars

Very occasionally, a franchise grows into itself, and that's certainly the case here. Hiccup, the gentle Viking, has convinced his tribe that their obsession with dragon-hunting was misguided. Dragons were friends, he insisted, not food, and as this last instalment opens, the town of Berk is packed to bursting point with huge, cuddly, fire-burping beasts. Hiccup is now chief, but must foil a legendary dragon hunter who's out to kill his beloved Night Fury, Toothless. There are lots of jokes, but also surprising moments of pathos in this lively, funny, beautifully animated film.

Irish Independent

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