As a film critic who’s seen more than a few biopics about musicians, I must say that “Better Man” is one of the most unique and daring films I’ve seen in this genre. The decision to use a CG monkey as the protagonist was audacious, to say the least, but it worked! It wasn’t long before I found myself rooting for Robbie Williams, the digital primate star.
As a gamer who’s always on the lookout for fresh cinematic experiences, I’ve found myself in a bit of a rut – we’re drowning in music biopics! Sure, “Walk Hard: The Dewey Cox Story” from 17 years ago did a fine job of pointing out the typical traits of this genre, but after the success of “Bohemian Rhapsody”, it seems we can’t escape these films. Here’s hoping that by the end of the 2020s, we’ll see Pete Davidson getting his first Oscar nod for playing Glen Phillips in a Toad the Wet Sprocket movie titled “Good Intentions”. If we’re going to keep churning out these movies, could we please make them more like the Robbie Williams biopic “Better Man”, rather than films like “Bob Marley: One Love” or “A Complete Unknown”? “Better Man” may not have completely shaken off the irritating aspects of music biopics, but it certainly left an indelible impression of Robbie Williams on me. I went into that Michael Gracey film not knowing Robbie from Eve, but “Better Man” definitely made him stick in my mind!
Initially, the screenplay for “Better Man,” penned by Gracey, Oliver Cole, and Simon Gleeson, starts off with an intriguing twist: Robbie Williams is depicted as a CGI ape in this film. Despite being treated like a typical human by everyone else, Williams’ character is a bipedal ape who can speak and behave just like a person. The script avoids any self-conscious dialogue or narration that might explain this peculiar detail, instead choosing to present it matter-of-factly. This bold move aligns well with Robbie Williams’ stage persona, which has always been characterized by an air of “take-it-or-leave-it.
Since his early years, Williams has struggled with self-loathing and uncertainty. To mask these insecurities, he often presents a tough, arrogant persona. Williams feels that people disliking him is almost unavoidable, so he might as well offer them something to dislike. This mindset stems from his childhood marked by an absent father, Peter (Steve Pemberton), who left Williams to pursue show business. At 15, Williams found significant success with the boy band Take That, which eventually led him down a path of addiction and becoming a burden to the group. As a result, he went on to pursue a solo career.
On his own, Williams scored countless number-one hits, anchored a slew of sold-out concerts, and married fellow musician Nicole Appleton (Raechelle Banno). He also becomes a monster, molded by the fires of trauma, depression, and addiction, seeking out fame and quick bursts of serotonin to cope with the aching emptiness in his soul. In a stark departure from his glossy family-friendly work on The Greatest Showman, Gracey depicts the darkest parts of Williams like a horror movie. Past versions of Williams constantly torment the singer, glowering at him from crowds of adulating fans. Among those past versions is simian Williams sans skin, an especially unnerving sight to see.
Gracey’s creative vision for the movie Better Man swings dramatically between the harsh and the whimsical, which I find utterly fascinating. One moment, this film portrays Williams and his mother joyfully celebrating the singer joining Take That by dancing through their neighborhood under a sparkling disco ball. The next, it convinces you that a CG ape can take heroin on screen. It’s quite a rollercoaster ride, but in its unique way, it reflects the unpredictable highs and lows of mental health battles. Managing depression and other mental health issues is an irregular journey that doesn’t fit neatly into a box.
As a gamer, I found myself immersed in the rollercoaster ride that is Better Man, where the dramatic shifts in tone and vivid imagery left an indelible impression on me. The cinematography by Erik A. Wilson, along with the meticulous editing by Jeff Groth, Spencer Susser, and a talented team of artists, transformed the glamour of music stardom into a chilling nightmare. The over-the-top visuals from this year’s undervalued masterpiece Babylon, combined with Edgar Wright’s swift cuts, made sequences depicting Williams at the pinnacle of success feel like a psychological warzone. It was truly captivating to see these elements converge during some of the musician’s most iconic performances.
Instead of replicating iconic live performances from famous singers with strict recreations, many music biopics have been delivering concerts that were initially filled with wild excitement in a rather conventional manner. These days, they seem more like reminders of the past instead of innovating ways to capture the current energy. However, the portrayal of a 2003 Knebworth concert in “Better Man”, spearheaded by Williams alone, breaks away from this trend. This scene is rich with surreal and unsettling visuals (like depictions of Williams battling himself), elements that are unique to “Better Man”. The audacious creativity that propelled Williams to fame as a musician is now shaping the most impressive scenes in his biopic.
Regarding the film “Better Man,” although it offers delightful, expansive detours, it struggles to break free from the familiar tropes prevalent in music biopics. The frequent use of montage sequences to depict significant time periods, such as the one portraying the relationship between Williams and Appleton, can be hit-or-miss. Even top-tier films in this genre often falter by attempting to cram too many real-life events into a single movie. Unfortunately, “Better Man” falls victim to this pitfall as well. The dialogue, particularly the harsh exchanges between the film’s main father-son pair, seems overly dramatic and evokes memories of classic lines like “I said the wrong kid died!
In a regrettable twist, the conclusion turns out to be overly neat, contrasting sharply with the raw, edgy narrative that resembled a high-energy relative of films like ‘Walk the Line’ and ‘Bohemian Rhapsody’. The portrayal of Robbie Williams’ mental health struggles also seemed overly structured given the chaotic events leading up to it. It’s unfortunate that such a polished ending seems tailored to appease mainstream tastes. Within the realm of music biopics, there’s only so much creative freedom, even for a CG ape or an unconventional rocker like Robbie Williams. Fortunately, ‘Better Man’ excels in many remarkable ways, one of which is its commitment to featuring a CG monkey as the star.
The greatest compliment I can offer Better Man is that watching this digital primate having sex with human women, engaging in intimate Who’s Afraid of Virginia Woolf-style domestic squabbles, and doing drugs didn’t inspire titters from yours truly. I just bought it. Whether it’s the rock-solid visual effects (courtesy of Weta FX) or just Better Man’s utter confidence in committing to going bananas with its protagonist, I never blinked twice at following an ape for two hours. Very quickly, that just became Robbie Williams. It’s a great trick to watch unfold and a terrific demonstration of how digital effects wizardry can be used to enhance more intimate affairs than, say, Black Adam.
It’s equally delightful to note that Gracey makes amends for the seemingly amateurish musical numbers in “The Greatest Showman” by creating an outstanding musical performance piece in “Better Man.” This standout moment is beautifully crafted around the Williams tune “Better DJ,” and it’s a breathtaking, uninterrupted scene where Robbie Williams and his Take That bandmates perform, dance, and move about London, celebrating triumphantly. The sequence is expertly filmed with smooth camera work that gradually pulls back, allowing viewers to fully appreciate the energetic dance choreography. This imaginative and visually stunning sequence is a rare find in music biopics. Alternatively, for any party-goer, “Better Man” is an electrifying, raw piece of art that’s worth getting excited about!
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2024-12-18 17:45