The musician biographical drama is a subgenre that has become increasingly saturated of late, with Elton John, Whitney Houston, Amy Winehouse, Elvis Presley, Aretha Franklin, Bob Marley, and Bob Dylan among others having their stories told on the big screen within the past five years. The latest in the category is Better Man, which tells the rags to riches tale of controversial pop performer Robbie Williams who rose to fame in boyband Take That before embarking on a successful solo career. Directed by Australian visual artist turned filmmaker Michael Gracey, known for his work on the Greatest Showman, there’s a trick that separates this biopic from the rest – the star is portrayed as a CGI-animated monkey.
With humble working class beginnings, a fractured relationship with his father, failed romances, and addiction issues, the script ticks a lot of the conventional boxes of what being a celebrity entails, especially in 1990s Britain. However, seeing the protagonist evolve as a chimpanzee distances the piece from traditional trappings. This stroke of ingenuity gives the film a magic realism quality, allowing musical numbers to veer off into unhinged fantasy; a chaotic ‘Rock DJ’ sequence at Piccadilly Circus is particularly brilliant and highlights the director’s flair and imagination in this field. As you would expect from a self-proclaimed egomaniac, Williams provides his own narration which at first feels a bit awkward or even cringeworthy, but as the plot develops it brings a sincere honesty and refreshing vulnerability to his story.
Though it’s Williams’ own eyes and voice behind the special effects, his leading role is physically performed in motion capture by stage actor Jonno Davies. This unique approach to the character smartly taps into the unevolved aspect of a man that gets everything he could’ve ever wanted as a teenager. This opportunity for excess leads him down a predictably dark path of substance abuse and depression, though it’s far easier to empathise with a troubled monkey than a foul-mouthed lager lout. He’s joined by a supporting cast that play key figures in his life at that time, from Gary Barlow and the rest of the boyband to his popstar ex Nicole Appleton, and the iconic Gallagher brothers. These performances are a mixed bag and lean towards parody in certain scenes, but Alison Steadman is excellent as his loving grandmother Betty; their sweet bond is well written, and one of the highlights of an otherwise iffy screenplay.
It’s a bold high-concept swing from director Michael Gracey to present his emotionally-stunted leading man in chimp mode, but Better Man works because of it. As far as Robbie William’s efforts go, this experimental picture could’ve quite easily have been a Rudebox but instead it can be filed safely alongside Angels and Come Undone – embrace the absurdity and let him entertain you.
Cinema Perspective 