Green Book

Dir: Peter Farrelly

2018

****

I’m embarrassed to admit it, but I was put off Green Book by the fact it was heavily criticized for advancing a white savior narrative that so often perpetuates stereotypes in typically Oscar-nominated dramas. I love Driving Miss Daisy but I just couldn’t be bothered in getting into the discussion for the hundredth time. On the face of it I thought it probably was a white savior film and I avoided it. Shame on me. Shame on me for my lack of research but shame on me for avoiding what is an important discussion. As it happens I feel that it has been unfairly accused, and even if it wasn’t, what is wrong about the story of a bigot's redemption? Green Book is a tale of friendship, a friendship that was true, during a transitional time in modern history. At any rate, Peter Farrelly was open that he was aware of the white savior trope before filming and sought to avoid it. He said he had long discussions with the actors and producers on the point, and believes that it was not advanced by the film, saying it is "about two guys who were complete opposites and found a common ground, and it's not one guy saving the other. It's both saving each other and pulling each other into some place where they could bond and form a lifetime friendship.” I believe him and I don’t think that is studio speak to appease anyone. I have to admit I also misjudged the film based on Peter Farrelly’s involvement. I liked Kingpin and There’s Something About Mary when they came out but I wasn’t so keen about seeing a film made by one half of a pair responsible for such travesties as Me, Myself & Irene, Shallow Hal, Movie 43 and Dumb and Dumber. Yes, I said Dumb and Dumber, it is not the classic comedy people say it is, I respect people’s opinions but not when it comes to this film, it is horrible and you’re wrong if you disagree. Peter Farrelly might be only the fourth director to have not been nominated for the best director Oscar when the film itself had been nominated for best picture, but he did good. The highlight of the film however, is in the performances and relationship between Mahershala Ali and Viggo Mortensen. Set in 1962, the film is inspired by the true story of a tour of the Deep South by African American classical and jazz pianist Don Shirley (Mahershala Ali) and Italian American bouncer Frank "Tony Lip" Vallelonga (Viggo Mortensen) who served as Shirley's driver and bodyguard. All of the events featured actually happened but not necessarily in the order or the period they are shown. The film was written by Vallelonga's son, Nick Vallelonga, based on interviews with his father and Shirley, as well as letters his father wrote to his mother. The title of the film is named after The Negro Motorist Green Book, a mid-20th century guidebook for African-American travelers written by Victor Hugo Green that informed readers of which hotels and restaurants accepted Black visitors. It is explained in the film that Shirley chose to play in Southern states where a Black man wouldn’t be welcome to change opinion and because everyone told him he shouldn’t, hence the need for the Green Book. A dramatization is a dramatization, not a documentary. The facts should always be respected but certain liberties can be taken as long as they don’t represent a person in a totally different light then what was true. You have to take a pinch of salt with these films but unlike many a historical epic, this is essentially a true, true story. That said, Shirley's relatives condemned the film, stating that they were not contacted by studio representatives until after development, and that it misrepresented Shirley's relationship with his family. Don's brother Maurice Shirley said, "My brother never considered Tony to be his 'friend'; he was an employee, his chauffeur (who resented wearing a uniform and cap). This is why context and nuance are so important. The fact that a successful, well-to-do black artist would employ domestics that did NOT look like him, should not be lost in translation." However, in interview recordings of Don Shirley and Tony Vallelonga, the former stated "I trusted him implicitly. You see, Tony got to be, not only was he my driver. We never had an employer/employee relationship.". The interviews also support many other events depicted by the film. Peter Farrelly said that he was under the impression that there weren't a lot of family members still alive, that they did not take major liberties with the story, and that relatives of whom he was aware had been invited to a private screening for friends and family. Nick Vallelonga, the film's co-writer and Tony Vallelonga's son, acknowledged that members of the Shirley family were hurt that he did not speak to them and that he was sorry they were offended. He said that "Don Shirley himself told me not to speak to anyone" and that Shirley "approved what I put in and didn't put in." To me it sounds as if the family quite rightly wanted involvement but the story is still true. With all that to one side, I thought the film was strong. Visually it was nice but nothing special but there is something unformulaic about it that makes me think it was a good thing that Peter Farrelly was involved and not your usual Oscar-baiting director. That said, it really is all about the performances and the music, both of which are superb.