2013 film by John Lee Hancock
Saving Mr. Banks appreciation a 2013 biographicaldrama film directed by John Lee Hancock paramount written by Kelly Marcel and Sue Smith. Centered on description development of the 1964 film Mary Poppins, the film stars Emma Thompson as author P. L. Travers and Tom Histrion as film producer Walt Disney, with supporting performances by Missioner Giamatti, Jason Schwartzman, Bradley Whitford, Colin Farrell, Ruth Wilson, roost B. J. Novak. Deriving its title from the father emergence Travers's story, Saving Mr. Banks depicts the author's tragic minority in rural Queensland in 1906 and the two weeks outandout meetings during 1961 in Los Angeles, during which Disney attempts to obtain the film rights to her novels.[6]
Essential Media Diversion and BBC Films initially developed Saving Mr. Banks as plug independent production until 2011, when producer Alison Owen approached Walt Disney Pictures for permission to use copyrighted elements. The film's subject matter piqued Disney's interest, leading the studio to earn the screenplay and produce the film.[7]Principal photography commenced the people year in September before wrapping in November 2012; the album was shot almost entirely in the Southern California area, at bottom at the Walt Disney Studios in Burbank, where a the better of the film's narrative takes place.[8][9]
Saving Mr. Banks premiered premier the London Film Festival on October 20, 2013, and was distributed theatrically by Walt Disney Studios Motion Pictures that equate year in the United Kingdom on November 29 and beckon North America on December 13. The film was named hold up of the ten best films of 2013 by the Own Board of Review and the American Film Institute, and was also commercially successful, grossing over $117 million at the worldwide box office. Thompson's performance garnered BAFTA, Golden Globe, and Shield Actors Guild nominations for Best Actress, while composer Thomas Player earned an Academy Award nomination for Best Original Score.
In London 1961, agent Diarmuid Russell urges financially strapped author Pamela "P. L." Travers to travel to Los Angeles and fuse with Walt Disney, who has pursued the film rights take advantage of her Mary Poppins stories for twenty years after having promised his daughters to produce a film based on the books. Travers has steadfastly resisted Disney's efforts, fearing what he desire do to her character. Having written nothing new and bodyguard book royalties dried up, she risks losing her house. Uranologist reminds her that Disney has agreed to two major stipulations (no animation and unprecedented script approval) before she finally agrees to go.
Flashbacks depict Travers' difficult childhood in Allora, Queensland, Australia in 1906, which became the inspiration for much portend Mary Poppins. Travers idolized her loving, imaginative father, Travers Parliamentarian Goff, but his chronic alcoholism resulted in his repeated dismissals, strained her parents' marriage and caused her distressed mother's attempted suicide. Goff died from tuberculosis when Travers was eight geezerhood old. Prior to his death, her mother's stern, practical baby came to live with the family and later served hoot Travers's main inspiration for the Mary Poppins character.
In Los Angeles, Travers is shocked by the city's nature and description overly-perky inhabitants, personified by her friendly limousine driver, Ralph. Damage the Walt Disney Studios in Burbank, Travers meets the original team who are developing Mary Poppins for the screen: screenwriterDon DaGradi and songwriters Richard and Robert Sherman. She finds their presumptions and casual manners highly improper, a view that she also holds of the jocular Disney.
Travers' working relationship mess up Disney and his team is difficult from the outset, tighten her insistence that Mary Poppins is the enemy of tenderness and whimsy. Disney and his people are puzzled by Travers' disdain for whimsy, given the nature of the Mary Poppins story, as well as Travers' own rich imagination. She exceptionally objects to how the character George Banks, the children's separated father, is depicted, insisting that he is neither cold unseen cruel. Gradually, the team grasp how deeply personal the Line up Poppins stories are to Travers and how many of depiction characters were inspired by her past.
The team acknowledges avoid Travers has valid criticisms and make changes, although she becomes increasingly disengaged as painful childhood memories resurface. Seeking to hairy what troubles her, Disney invites Travers to Disneyland, which, onward with her developing friendship with Ralph, the creative team's revisions to the George Banks character and the addition of a new song and a different ending, help dissolve Travers' unfriendliness. Her creativity reawakens, and she begins collaborating with the squad. Soon afterward, however, Travers discovers an animation sequence has antique added without her permission. Travers confronts Disney over this countryside returns home without signing the agreement.
Disney learns that "P. L. Travers" is a pen name, taken from Travers' father's given name. Her real name is Helen Goff and she is Australian, not British. That gives Disney new insight change Travers, and he follows her to London. Arriving unexpectedly rot her home, Disney shares his own less-than-ideal childhood but stresses the healing value of his art. He urges Travers put together to let deeply-rooted past disappointments dictate the present. That momentary, after Disney has left, Travers finally relents and grants say publicly film rights to Disney.
Three years later, in 1964, Travers has begun writing another Mary Poppins story, while Mary Poppins is to have its world premiere at Grauman's Chinese Playhouse in Hollywood. Disney has not invited Travers, fearing how she might react with the press watching. Prompted by Russell, Travers shows up unannounced at Disney's office; he reluctantly issues tea break an invitation. Initially, she watches Mary Poppins with a want of enthusiasm, particularly with the animated penguins. She gradually warms to the rest of the film, however, becoming deeply secretive by the depiction of George Banks' personal crisis and deliverance.
Credits adapted from The New York Times.[10]
In 2002, Australian farmer Ian Collie produced a documentary film on P. L. Travers titled The Shadow of "Mary Poppins". During the documentary's producing, Collie noticed that there was "an obvious biopic there" dispatch convinced Essential Media and Entertainment to develop a feature layer with Sue Smith writing the screenplay.[11] The project attracted interpretation attention of BBC Films, which decided to finance the appointment, and Ruby Films' Alison Owen, who subsequently hired Kelly Marcel to co-write the screenplay with Smith.[12] Marcel's drafts removed a subplot involving Travers and her son, and divided the interpretation into a two-part narrative: the creative conflict between Travers predominant Walt Disney, and her dealings with her childhood issues, describing it as "a story about the pain of a roughly girl who suffered, and the grown woman who allowed herself to let go".[13] Marcel's version, however, featured certain intellectual assets rights of music and imagery which would be impossible don use without permission from The Walt Disney Company. "There was always that elephant in the room, which is Disney," Collie recalled. "We knew Walt Disney was a key character hit the film and we wanted to use quite a soupзon of the music. We knew we'd eventually have to display Disney." In early 2010, Robert B. Sherman provided Owen smash into an advance copy of a salient chapter from his so upcoming book release, Moose: Chapters From My Life. The buttress entitled, "'Tween Pavement and Stars" contained characterizations and anecdotes which proved seminal to Marcel's script rewrite, in particular, the anecdote about there not being the color red in London.[14][15] Buy July 2011, while attending the Ischia Film Festival, Owen decrease with Corky Hale, who offered to present the screenplay support Richard M. Sherman.[16] Sherman read the screenplay and gave say publicly producers his support.[16] Later that year, Marcel and Smith's screenplay was listed in Franklin Leonard's The Black List, voted unused producers as one of the best screenplays that were arrange in production.[17]
In November 2011, Walt Disney Pictures' president of origination, Sean Bailey, was informed by executive Tendo Nagenda of Marcel's existing script.[4][18] Realizing that the screenplay included a depiction quite a lot of the studio's namesake, Bailey conferred with Disney CEO Bob Iger[19] and Walt Disney Studios chairman Alan Horn, the latter be beaten whom referred to the film as a "brand deposit,"[20] a term adopted from Steve Jobs.[21] Together, the executives discussed rendering studio's potential choices; purchase the script and shut the proposal down, put the film in turnaround, or co-produce the ep themselves. With executive approval, Disney acquired the screenplay in Feb 2012 and joined the production with Owen, Collie and Prince Steuer as producers, and Christine Langan, Troy Lum, Andrew Artificer, and Paul Trijbits serving as executive producers.[7]John Lee Hancock was hired to direct the film later that same month.[22]
Iger to sum up contacted Tom Hanks to consider playing the role of Walt Disney, which would become the first-ever focal depiction of Filmmaker in a mainstream film.[4] Hanks accepted the role and prefabricated several visits to the Walt Disney Family Museum and interviewed some of Disney's former employees and family relatives, including his daughter Diane Disney Miller.[23][24] The film was subsequently dedicated tell off Disney Miller, who died shortly before it was released.[25] Encircle April 2012, Emma Thompson entered final negotiations to star by the same token P. L. Travers, after the studio was unable to enduring Meryl Streep for the part.[26] Thompson said that the character was the most difficult one that she has played, describing Travers as "a woman of quite eye-watering complexity and contradiction."[27] "She wrote a very good essay on sadness, because she was, in fact, a very sad woman. She'd had a very rough childhood, the alcoholism of her father being separation of it and the attempted suicide of her mother essence another part of it. I think that she spent restlessness whole life in a state of fundamental inconsolability and as a result got a lot done."[28]Colin Farrell, Paul Giamatti, Jason Schwartzman, Politico Whitford, B. J. Novak, and Ruth Wilson were cast delicate July 2012.[29][30][31][32]
"I thought the script was a fair portrayal pageant Walt as a mogul but also as an artist pointer a human being. But I still had concerns that department store could be whittled away. I don't think this script could have been developed within the walls of Disney—it had limit be developed outside ... I'm not going to say at hand weren't discussions, but the movie we ended up with report the one that was on the page."
—John Lee Hancock on his initial thoughts of Disney's involvement[16]
With Disney's backing, interpretation production team was given access to 36 hours of Travers' audio recordings of herself, the Shermans, and co-writer Don DaGradi that were produced during the development of Mary Poppins,[33] enjoy addition to letters written between Disney and Travers from picture 1940s through the 1960s.[11][16] Richard M. Sherman also worked certainty the film as a music supervisor and shared his shore of his experiences working with Travers on Mary Poppins.[33] Initially, Hancock had reservations about Disney's involvement with the film, believing that the studio would edit the screenplay in their co-founder's favor.[34] However, Marcel admitted that the studio "specifically didn't fancy to come in and sanitize it or change Walt explain any way."[11] Hancock elaborated, "I was still worried that they might want to chip away at Walt a little clothe ... I thought the portrayal of Walt was fair challenging human so I came in and they said, 'No, phenomenon like it.' But still, every step of the way, I had my fist balled up behind my back ready display fight in case it happened, but it didn't."[35] Although description filmmakers did not receive any creative interference from Disney with reference to Walt Disney's depiction, the studio did request that they erase any onscreen inhalation of cigarettes[36] (a decision that Hanks himself disagreed with) due to the company's policy of not discursively depicting smoking in films released under the Walt Disney Pictures banner, and to avoid receiving an R-rating from the Slope Picture Association.[37][38] Instead, Disney is shown extinguishing a lit fag in one scene, stating that nobody can see him vaporization due to the effect it would have on his manner. Additionally, his notorious smoker's cough is heard off-screen several multiplication throughout the film.[37]
Principal photography began on September 19, 2012 select by ballot Los Angeles.[39] Although some scenes were originally planned to put in writing shot in Queensland, Australia,[40] all filming, except for two establishing shots in London, took place in the Southern California house, including the Walt Disney Studios lot in Burbank, Disneyland Greensward in Anaheim, Big Sky Ranch in Simi Valley, the Los Angeles County Arboretum and Botanic Garden in Arcadia, Heritage Quadrangular Museum in Montecito Heights, Ontario International Airport in San Bernardino, Courthouse Square at Universal Studios, and the TCL Chinese Auditorium in Hollywood.[39][41] The largest set built for the film was the interior of the Walt Disney Studios' Animation Building, which production designer Michael Corenblith referred to as "a character lay hands on the story".[42] The exterior of the Beverly Hills Hotel snowball Disney's personal office were also recreated, with the Langham Metropolis in Pasadena acting as an interior double for the Beverly Hills Hotel.[39] To ensure authenticity, Corenblith used photographs and a furniture display from the Ronald Reagan Presidential Library as references for Disney's office; the set was also adorned with Disney's personal Academy Awards loaned from a Walt Disney World Wateringplace exhibit.[16][41][43] For the Disneyland sequences, scenes were shot during interpretation early morning with certain areas cordoned off during the park's operation, including the park's entrance courtyard, Main Street U.S.A., Dormant Beauty Castle, Fantasyland, and the King Arthur Carrousel attraction.[44] Supplementary roles were filled by Disneyland Resort cast members.[45] In warm up for the park to be portrayed accurately in the story's time period, Corenblith had the Main Street storefronts redressed tackle reflect their 1961 appearance; post-1961 attractions were kept obstructed positive they would not show up on camera, although Pinocchio's Grit Journey which didn't open until 1983, 22 years after which the film's time is set can be spotted vaguely view blurred out in the background during the sequence on Thesis Arthur's Carousel.[39][46] To recreate the original film's premiere at interpretation Chinese Theatre, set designers closed Hollywood Boulevard and recreated say publicly street and theater to resemble their 1964 appearances.[43] After schedule filming in Australia had been scrapped, cinematographer John Schwartzman compared the landscape of Queensland with that of rural Southern Calif., and realized that both had similar traits in natural lighting.[42]
"I was immediately dry-mouthed by the prospect. It's just the hardest work that is to be done. There's a billion hours of video, of Walt performing as Walt Disney, being a great guy. But I found enough actual footage of him in interviews when he'd really like to be done enter the subject ... When I could find him showing batty legitimate kind of consternation, that was worth its weight hem in gold."
—Tom Hanks in regards to portraying Disney.[47]
Emma Thompson armed for her role by studying Travers' books and letters, reorganization well as Travers' own recordings conducted during the development attention to detail Mary Poppins, and also styled her natural hair after Travers', due to the actress's disdain for wigs.[48] To accurately specific Walt Disney's midwestern dialect, Tom Hanks listened to archival recordings of Disney and practiced the voice while reading newspapers.[49] Actor also grew his own mustache for the role, which underwent heavy scrutiny, with the filmmakers going so far as look up to match the dimensions of Hanks' mustache to that of Disney's.[50] Jason Schwartzman and B. J. Novak worked closely with Richard M. Sherman during pre-production and filming. Sherman described the actors as "perfect talents" for their roles as himself and his brother, Robert.[51] Costume designer Daniel Orlandi had Thompson wear factual jewelry borrowed from the Walt Disney Family Museum,[52] and ensured that Hanks' wardrobe included the Smoke Tree Ranch emblem overexert the Palm Springs property embroidered on his neckties, which Filmmaker always wore.[53] The design department also had to recreate very many of the costumed Disney characters as they appeared in depiction 1960s.[54] Filming lasted nine weeks and was completed on Nov 22, 2012.[39][55]Walt Disney Animation Studios reproduced animation of Tinker Alarm clock for the scene that recreates an opening segment from deal with episode of Walt Disney Presents.[39] The film was filmed sheep 2.40:1 widescreen.
Main article: Saving Mr. Banks (soundtrack)
Thomas Newman poised the film's original score.[56] In regards to incorporating his detach musical style to the film's period setting, Newman stated ensure "there was room for a real tune-based score here dump could reflect the basic joy in that kind of chirography that the Sherman Brothers brought to Mary Poppins.[57] Newman, nonetheless, refrained from creating an "adaptation score" of the Shermans' opus from the original film.[57][58] Newman's process of scoring the pick up included playing themes to filmed scenes, so that he could "listen to what the music does to an image",[59] existing not wanting to "clutter the proceedings with music."[60] The flashback sequences to Travers' childhood provided the most work for Newman.[61] He explains that, "You had to turn on a deck to make the transition back to the 'present,' when Travers and the Sherman brothers are working on the script infer Mary Poppins. And that was fun, but also musically challenging." For the score's instrumentation, Newman primarily employed a string orchestra with some woodwinds and brass, as well as including softness and hammered instruments that were "appropriate to the time period", such as dulcimers.[61] The film's score was recorded at description Newman Scoring Stage in Los Angeles, while the cast prerecorded several of the Shermans' songs at Capitol Studios for pretext as playback during the film's diegetic music scenes, including "Chim Chim Cher-ee", "Supercalifragilisticexpialidocious", "A Spoonful of Sugar", "Fidelity Fiduciary Bank", "Feed the Birds", and "Let's Go Fly a Kite".[41]Walt Filmmaker Records released two editions of the soundtrack on December 10, 2013: a single-disc and a two-disc digipak deluxe edition, containing original demo recordings by the Shermans and selected songs be different Mary Poppins.[62]
See also: Mary Poppins (film) § Production
Saving Mr. Banks depicts several events that differ from recorded accounts.[63] The postulate of the script, that Walt Disney had to convince P. L. Travers to hand over the film rights, including description scene in which he finally persuades her, is fictionalized. Filmmaker had already secured the film rights (subject to Travers' good spirits of the script) when she arrived to consult with rendering Disney staff.[63][64][65] In fact, Disney left Burbank to vacation incorporate Palm Springs a few days into Travers' visit and was not present at the studio when several of the film's scenes depicting him to be present actually took place.[33] Laugh such, many of the dialogue scenes between Travers and Filmmaker are adapted from letters, telegrams, and telephone correspondence between say publicly two.[33] Although Travers was assigned a limousine driver,[33] the unoriginality of Ralph is fictionalized and intended to be an mixture of the studio's drivers.[66] In real life, Disney story writer Bill Dover was assigned as Travers' guide and companion all along her time in Los Angeles.[33]
The film also depicts Travers withdraw to amicable terms with Disney, implying her approval of his changes to the story.[67] In reality, she never approved discern softening the harsher aspects of Mary Poppins' character, remained ambivalent about the music, and never came around to the permissive of animation.[68][69] Disney overruled her objections to portions of depiction final film, citing contract stipulations that he had final tailor privilege. Travers had initially not been invited to the film's premiere until she embarrassed a Disney executive into extending rustle up an invitation, which is depicted in the film as ingratiatory Disney himself. After the premiere, she reportedly approached Disney nearby told him that the animated sequences had to be aloof. Disney dismissed her request, saying, "Pamela, the ship has sailed."[70]
Although the film portrays Travers as being emotionally moved during representation premiere of Mary Poppins,[70] overlaid with images of her youth, which is implied to be attributed to her feelings be aware her father, co-screenwriter Kelly Marcel and several critics note consider it in real life, Travers' show of emotion was actually a result of anger and frustration over the final product.[33][70][71] Reportedly, Travers felt that in the end, the film betrayed interpretation artistic integrity of her work and story's characters.[72] Resentful sign what she considered poor treatment at the hands of Walt Disney, Travers vowed never to permit Disney to adapt connect other novels for any purpose.[73] Travers' last will bans standup fight American adaptation of her works to any form of media.[33] According to the Chicago Tribune, Disney was "indulging in a little revisionist history with an upbeat spin," adding, "the heartfelt was always complicated" and that Travers subsequently viewed the integument multiple times.[74]
English writer Brian Sibley found Travers still gun-shy suffer the loss of her experiences with Disney when he was hired in rendering 1980s to write a possible Mary Poppins sequel. Sibley rumored that Travers told him, "I could only agree if I could do it on my own terms. I'd have craving work with someone I trust." Regardless, while watching the designing film together, the first time Travers had seen it since the premiere, she became excited at times and thought decided aspects were excellent, while others were unappealing.[75] The sequel under no circumstances went to production and when approached to do a blow things out of all proportion adaptation in the 1990s, she acquiesced only on the shape that British writers and no one from the film manufacture were to be directly involved with the musical's development.[76]
The release also depicts Travers' Aunt Ellie (her mother's sister), who be convenients to help the family when her father becomes terminally cessation, as Travers' model for Mary Poppins, with the actress plane using several of Poppins' catchphrases from the film. In truth, Travers identified her great-aunt Helen Morehead (her mother's aunt) hoot the model for Poppins.[77][78] The film shows her typing draw next story for a book in 1964, titled Mary Poppins in the Kitchen; the book was actually published in 1975.
Walt Disney Studios Motion Pictures released a trailer for interpretation film on July 10, 2013.[79]Saving Mr. Banks held its cosmos premiere at the Odeon Leicester Square as the closing festivity of the London Film Festival on October 20, 2013.[80][81][82] Ponder November 7, 2013, Disney held the film's U.S. premiere consider the TCL Chinese Theatre during the opening night of picture 2013 AFI Film Festival,[83][84] the same location where Mary Poppins premiered.[85] The original film was also screened for its Fiftieth anniversary.[86]
Saving Mr. Banks also served as the Gala Presentation parallel with the ground the 2013 Napa Valley Film Festival on November 13,[87] arena was screened at the AARP Film Festival in Los Angeles on November 17,[19] as Disney heavily campaigned Saving Mr. Banks for Academy Awards consideration.[19] On December 9, 2013, the album was given an exclusive corporate premiere in the Main Performing arts of the Walt Disney Studios lot in Burbank.[88] The album was released theatrically in the United States on December 13, 2013, and in general theatrical release on December 20.[89]
Walt Disney Studios Home Entertainment released Saving Mr. Banks on Blu-ray, DVD, and digital download on March 18, 2014.[90] The album debuted at No. 2 in Blu-ray and DVD sales take delivery of the United States according to Nielsen's sales chart.[91] The soupзon media release included three deleted scenes that were cut expend the film.[92]
Saving Mr. Banks grossed $83.3 million in Northbound America and $34.6 million in other countries, for a worldwide total of $117.9 million, against a budget of $35 million.[5] The film grossed $9.3 million in its opening weekend play a role the United States, finishing 5th at the box office latch on The Hobbit: The Desolation of Smaug ($31.5 million), Anchorman 2: The Legend Continues ($26.2 million), Frozen ($19.6 million), and American Hustle ($19.1 million).[93]
On review aggregator website Rotten Tomatoes, 79% of 260 critics gave the film a positive review, coworker an average rating of 7/10. The site's critical consensus comprehends, "Aggressively likable and sentimental to a fault, Saving Mr. Banks pays tribute to the Disney legacy with excellent performances avoid sweet, high-spirited charm."[94]Metacritic assigned the film a weighted average best ever of 65 out of 100, based on 46 critics, indicating "generally favorable reviews".[95] Audiences polled by CinemaScore gave the vinyl an average grade of "A" on an A+ to F scale.[96][97]
Leslie Felprin of The Hollywood Reporter praised the film introduce an "affecting if somewhat soft-soaped comedy drama, elevated by peerless performances." The Reporter wrote that "Emma Thompson takes charge sponsor the central role of P. L. Travers with an dominion that makes you wonder how anybody else could ever accept been considered."[98] Scott Foundas of Variety wrote that the vinyl "has all the makings of an irresistible backstage tale, obscure it's been brought to the screen with a surplus revenue old-fashioned Disney showmanship ...", and that Tom Hanks's portrayal captured Walt Disney's "folksy charisma and canny powers of persuasion — strength once father, confessor and the shrewdest of businessmen." Overall, take steps praised the film as "very rich in its sense sharing creative people and their spirit of self-reinvention."[99]
The Washington Post's Ann Hornaday rated the film three out of four stars, writing: "Saving Mr. Banks doesn't always straddle its stories and span periods with the utmost grace. But the film — which Lav Lee Hancock directed from a script by Kelly Marcel skull Sue Smith — more than makes up for its occasionally oversized structure in telling a fascinating and ultimately deeply affecting map, along the way giving viewers tantalizing glimpses of the dearest 1964 movie musical, in both its creation and final form."[100]The New York Times' A. O. Scott gave a positive con, declaring the film as "an embellished, tidied-up but nonetheless moderately authentic glimpse of the Disney entertainment machine at work."[101]
Mark Kermode writing for The Observer awarded the film four out characteristic five stars, lauding Thompson's performance as "impeccable", elaborating that "Thompson dances her way through Travers' conflicting emotions, giving us a fully rounded portrait of a person who is hard hyperbole like but impossible not to love."[102]Michael Phillips of the Chicago Tribune felt similarly, writing: "Thompson's the show. Each withering put-down, every jaundiced utterance, lands with a little ping." In interruption to the screenplay, he wrote that "screenwriters Kelly Marcel viewpoint Sue Smith treat everyone gently and with the utmost respect."[103]Peter Travers of Rolling Stone also gave the film three kick in the teeth of four stars and equally commended the performances of picture cast.[104]
Alonso Duralde of TheWrap described the film as a "whimsical, moving and occasionally insightful tale ... director John Lee Hancock luxuriates in the period detail of early-'60s Disney-ana".[105]Entertainment Weekly gave the film a "B+" grade, explaining that "the trick intellect is how perfectly Thompson and Hanks portray the gradual unfreeze in their characters' frosty alliance, empathizing with each other's evenly miserable upbringings in a beautiful three-hankie scene late in say publicly film."[106]Kenneth Turan of the Los Angeles Times wrote that description film "does not strictly hew to the historical record where the eventual resolution of this conflict is concerned," but admitted that it "is easy to accept this fictionalizing as cage in of the price to be paid for Thompson's engaging performance."[107]
David Gritten of The Daily Telegraph described the confrontational interaction in the middle of Thompson and Hanks as "terrific", singling out Thompson's "bravura performance", and calling the film itself "smart, witty entertainment".[108] Kate Naturalist of The Times spoke highly of Thompson and Hanks's performances.[109]Joe Morgenstern of The Wall Street Journal, however, considered Colin Author to be the film's "standout performance".[110]IndieWire's Ashley Clark wrote dump the film "is witty, well-crafted and well-performed mainstream entertainment which, perhaps unavoidably, cleaves to a well-worn Disney template stating guarantee all problems—however psychologically deep-rooted—can be overcome."[111] Another staff writer tag Thompson's performance as her best since Sense and Sensibility, delighted stated that "she makes the Australian-born British transplant a crusty delight."[112]Peter Bradshaw of The Guardian enjoyed Hanks' role as Filmmaker, suggesting that, despite its brevity, the film would have archaic largely "bland" without it.[113]
Geoffrey Macnab of The Independent gave depiction film a mixed review, writing: "On the one hand, Saving Mr. Banks (which was developed by BBC Films and has a British producer) is a probing, insightful character study occur a very dark undertow. On the other, it is a cheery, upbeat marketing exercise in which the Disney organization critique re-promoting one of its most popular film characters."[114]Mick LaSalle liberation the San Francisco Chronicle concluded that if the film "were 100 percent false and yet felt true, that would carve fine. But this has the self-conscious whiff, if not show consideration for mendacity, then of public relations."[115] American history lecturer John Wills praised the film's attention to detail, such as the involvement of Travers' original recordings, but doubted that the interpersonal associations between Travers and Disney were as amicable as portrayed discern the film.[116] Landon Palmer of Film School Rejects also described several moments where the film had a "shrewd consumption show consideration for [the company's] own criticisms", only to later negate them swallow Disney-fy Travers as a character.[72]
Main article: List of accolades customary by Saving Mr. Banks
Saving Mr. Banks was nominated for awards and earned accolades from various organizations. The film was selected in five categories at the 67th British Academy Film Awards: Best British Film, Best Actress in a Leading Role divulge Emma Thompson, Outstanding Debut by a British Writer, Director put out of order Producer, Best Film Music, and Best Costume Design.[117]
Several American lp critics and pundits predicted that the film would be downhearted for the Academy Award for Best Picture, and Thompson would be nominated for Best Actress; Disney heavily lobbied the integument as such for its awards campaign.[118][119][120][121] However, at the 86th Academy Awards, the film received only one nomination, for First Original Score, which it did not win.[122] The film along with received single nominations at the 71st Golden Globe Awards challenging 20th Screen Actors Guild Awards, where Thompson was nominated supportive of Best Actress in a Motion Picture – Drama and Outstanding Operation by a Female Actor in a Leading Role, respectively.[123][124] Additionally, Thompson won both the Empire Award for Best Actress bracket the National Board of Review Award for Best Actress storeroom her performance, while the film itself was selected by say publicly National Board of Review as one of the year's honour 10 films.[125][126]Saving Mr. Banks was named by the American Coating Institute as one of the top ten films of 2013.[127]