Connect with us
Tom Hanks and director Marielle Heller of "Won't You Be My Neighbor" (Lacey Terrell/ Sony Pictures) Tom Hanks and director Marielle Heller of "Won't You Be My Neighbor" (Lacey Terrell/ Sony Pictures)

Film

How ‘A Beautiful Day in the Neighborhood’ Filmmakers Told the Story of Mr. Rogers

Published

on

Talking to the director of the new movie about Mr. Rogers, and author whose article was the inspiration for the movie. 

A Beautiful Day in the Neighborhood, a new movie about legendary television host Fred Rogers and the time he changed the life of a reporter assigned to write a magazine profile of him, opens nationwide on Friday. The film is being positioned as a celebration of goodness, virtue, and kindness, especially at a time when those values are in somewhat short supply. 

It’s a movie so unabashedly earnest that it actually uses the phrase “not all heroes wear capes” unironically in its ad copy: 

Shortly before the film’s release, we spoke with Marielle Heller, who directed the film, and journalist Tom Junod, whose story was the inspiration for the film, about how they came to the project, and the lessons we can take from the legacy of Mr. Rogers today. 

The film is based on “Can You Say… Hero?”, a profile of Rogers that was authored by Junod in Esquire in 1998. Starring Tom Hanks as Rogers and Matthew Rhys as Junod stand-in Lloyd Vogel, the film depicts Junod/Vogel as a cynical, unhappy 40ish man, until his encounter with Rogers helps him come to terms with his life, reconcile with his father (Chris Cooper) and become a better father. 

Heller, who directed last year’s acclaimed Can You Ever Forgive Me?, said she had first heard about the project years earlier from its screenwriters, Micah Fitzerman-Blue and Noah Harpster. 

Photo credit: Lacey Terrell/ Sony Pictures

“I had met Noah and Micah, and they mentioned that they were working on this movie about Mr. Rogers,” Heller said. “They explained to me what the movie was about- and I said, why am I not directing that?”

Heller said she forgot about the project, until years later, when a producer brought it to her. 

“I wept through the script,” she said. “I was a Mr. Rogers fan [as a child], and I remember I kind of outgrew him, and getting a little too cool for school.” But like many parents, she rediscovered his philosophy when she had a child of her own, who was an avid watcher of the animated spinoff Daniel Tiger’s Neighborhood. 

Heller was actually on board the project before Hanks was. 

“He and I had developed a relationship, we had been looking for projects to do together,” she said. 

A Beautiful Day in the Neighborhood is actually the second Mr. Rogers movie in two years. Won’t You Be My Neighbor, the acclaimed documentary directed by Morgan Neville, was released in the summer of 2018, after the Hanks movie was already in production. 

Photo credit: Lacey Terrell / Sony Pictures

“Is this a good thing or a bad thing,” Heller remembers asking, before concluding that “more Fred Rogers in the world is only a good thing.” 

While there’s been talk of a Mr. Rogers movie for many years, it really came together when Hanks was cast, and as Tom Junod wrote in a piece earlier this month for The Atlantic, he requested that his name and those of his relatives change once he read the script. However, Junod is working on a book that will touch on the Rogers story, but is primarily about his real-life relationship with his father. 

“When I first heard from [the screenwriters] Micah and Noah, they told me right off, they had represented my relationship with Fred really accurately but made up quite a bit of family background,” Junod said in our interview. “The dis-similarities mean so little to me [but] the similarities mean a tremendous amount, and they hit me hard emotionally.” He added that friends who knew him in the ’90s have told him, after watching the movie, that they enjoying seeing “the classic Tom” on screen. 

While Junod has been a prominent magazine writer for over two decades – he’s perhaps best known for “The Falling Man,” one of the most celebrated pieces of reporting about the 9/11 attacks – Won’t You Be My Neighbor is the first time Hollywood has adapted his work. He did say that one of his other past stories was recently optioned. 

Needless to say, it’s been a difficult time for magazines, and many journalists have pointed out that things in the movie, most notably a budget that allows the reporter to fly to Pittsburgh multiple times for a 400-word profile, are radically different from how things are today. 

“One of the many things that moves me in the movie, but I think that storytelling- it’s so basic to the human species that I think that humans are always going to do,” Junod said. “We’re in a time of transition about how those stories are going to be told. I think that this movie is a tribute to that.” 

“I am aware that there is a powerful voice in there speaking directly to me, and that’s exactly the feeling I had when I was spending time with Fred,” Junod said of watching Hanks on screen as Rogers. “The thing that Tom does in that movie is exactly what Fred did. To me, that is the complete measure of the movie’s power, and Tom’s power as an actor.”

The director is also thinking about Rogers’ legacy. 

“My hope is that you don’t come away from this movie thinking what you’ve learned about Fred Rogers, but what you’ve learned about yourself,” Heller said. “I hope people come away from it more connected to humanity, and more connected to themselves.” 

Stephen Silver is a journalist and film critic based in the Philadelphia area. He is the co-founder of the Philadelphia Film Critics Circle and a Rotten Tomatoes-listed critic since 2008, and his work has appeared in New York Press, Philly Voice, The Jewish Telegraphic Agency, Tablet, The Times of Israel, and RogerEbert.com. In 2009, he became the first American journalist to interview both a sitting FCC chairman and a sitting host of "Jeopardy" on the same day.

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Film

Girl Power? The ‘Black Christmas’ Remake is About as Subtle as a Sledgehammer to the Face

Published

on

Black Christmas 2019 Review

1974’s Black Christmas is not one that is regularly referenced on Best Horror Movie lists, as it’s a standard foray into the sub-genre of slasher movies. Having already been remade in 2006 to a terrible response, it’s the kind of film ready to be re-visited — a not-so-classic in need of a boost. Directed by Sophia Takal, it’s unfortunate that 2019’s version does nothing to make the premise something worth watching, and instead falls very short of its mark.

During the Christmas break at Hawthorne College, sorority sisters Riley (Imogen Poots), Kris (Aleyse Shannon), Marty (Lily Donoghue), and Jesse (Brittany O’Grady) prepare to host an “orphan dinner” for those left at the college over the holidays, only to be harassed and eventually attacked by a group of masked, hooded men.

Black Christmas 2019

In order to make the premise more relevant for today’s crowd, writers Takal and April Wolfe update the nuts-and-bolts slasher with a feminist twist, including on-trend topics of toxic masculinity, rape culture, and female empowerment. Whilst its heart is in the right place, its execution is sloppy and comes across as condescending. Conversations about missing DivaCups and dildos are just as commonplace as those on white supremacy and the patriarchy, making it an often embarrassing watch and feeling like a cynical cash-grab.

The characters we’re supposed to be rooting for are likeable enough, but so paper-thin; a small breeze could knock them over. With one-trait personalities (PTSD-ridden, activist, loved-up, and comic relief), the film fails to create a truly well-developed female character, or one of any gender; men fall into one of two categories: chauvinist or sensitive love-interest, both to the extreme.

Black Christmas 2019 REview

Horror is a difficult genre to make work, but the fundamentals are to scare. Unfortunately, Black Christmas also lacks in the basic necessity of frightening its audience. Most supposed chilling moments come in the safe-bet form of a jump-scare, a lazy device that considers making a film-goer bolt in their seat as a result of a loud noise a win in their efforts to unsettle — and that’s if they work. Quiet for long stretches of time before the inevitable jump, the scares here will only work if this is the first horror film you’ve ever seen.

There is something to be commended in the fact that director and co-writers have attempted to differentiate from the original by adding a supernatural element to the proceedings, but by the third act, this ploy is so absurd as to be laughable (protagonists receiving text messages from a supposed ghost should never be a thing), and does nothing to enhance the story.

Black Christmas 2019 Review

It’s a shame for lead Poots, who has shown in the likes of Green Room that she is a talented actor, and worth more than the sum of this movie’s parts. Doing her best with what she’s given, Poots is a light in an otherwise dim proceeding, along with Shannon as sorority sister Kris, and the two have decent chemistry when on screen together. None of the rest of the cast stands out — most likely due to their lack of character — but the performances for a horror film of this ilk are par for the course, passable.

With good intentions, Black Christmas is a frustrating watch, with its overt dialogue and occasionally patronizing tone. It’s disappointing that a film with feminism at its core, directed by and co-written by women, misses its target by such a large distance.

Continue Reading

Film

‘Richard Jewell’ is Both For and Against Character Assassination

Published

on

Sam Rockwell and Paul Walter Hauser in Richard Jewell (Warner Bros.)

With Richard Jewell, director Clint Eastwood does two things at once: tell a compelling story of something that was all over the news about 25 years ago, and seek to make an incendiary political point meant to play to very specific modern-day resentments. Let’s just say the former objective is much more defensible than the latter. 

The film tells the story of a security guard (Paul Walter Hauser) in the Atlanta area who was working in Centennial Olympic Park during the 1996 Olympics when a bomb went off in the park. Jewell was first treated as a hero who rescued people during the bombing, but was later considered a suspect in the bombing by the FBI and named as such in the media. But Jewell, it turned out, was innocent, with domestic terrorist Eric Rudolph confessing to the crime years later. 

As depicted in Eastwood’s film, Richard Jewell bears more than a passing resemblance to Shawn Eckhardt, the character Hauser played two years ago in I, Tonya — a real-life creature of a sensational mid-’90s true crime case who hadn’t done much with his life, but has aspirations of something greater. In Jewell’s case, it’s thwarted dreams of becoming a cop, which haven’t kept him from worshiping and idealizing law enforcement. He’s also depicted as a man so simple-minded that he keeps doing things that made him look super-guilty, even though he isn’t.

Richard Jewell reporters

Richard Jewell takes us into how exactly the man came to be accused. The FBI, in the person of agent Jon Hamm, applied its vaunted profiling tactics — the ones you’ve seen lionized on such shows as Criminal Minds and Mindhunter — to the case, and came up with the wrong guy. 

Filmmaking-wise, what we have here is similar to most other late-period Eastwood films, and the pacing and storytelling aren’t the problem. The sequence right before the bombing, in particular, is especially harrowing and suspenseful.

While in the works for many years (Jonah Hill was at one point set to star as Jewell, and remains a producer), Richard Jewell itself was produced and completed uncommonly quickly, with production beginning in June, just six months before its release. Nevertheless, it creates a reasonable approximation of 1996 — The Macarena included! — and while seemingly the majority of studio movies these days are shot in Georgia, this one at least is actually set there.

The problem, however, is another decision the film makes. We see Hamm’s FBI agent leaking the existence of the investigation to media, specifically reporter Kathy Scruggs (Olivia Wilde), after what’s essentially a seduction on her part. This is the film’s biggest misstep, which is in fact an act of pure character assassination against Scruggs, a real-life journalist (deceased) who is accused of horrible ethical breaches that she almost certainly never committed, including offering to sleep with sources in exchange for information. Beyond that, the character is played by Wilde as something resembling a cartoon witch. There are a lot of unique characters who exist in newsrooms, but this character isn’t one of them.

And despite what you may have read, the Richard Jewell makes the FBI look even worse than the media. It also shows Jewell, who spent his whole life wanting to be a cop, defending and making excuses for these unscrupulous agents who are falsely accusing him. The script also doesn’t really get the dynamic that takes place between media and the police/FBI quite right; in 95 percent of high-profile crime stories, the only major source is law enforcement, and media outlets just go with whatever the cops tell them. 

What the Atlanta Journal-Constitution did was report — accurately, at the time — that the FBI was looking at Jewell as a suspect. Yes, they should have done more due diligence, but they also didn’t make things up. Had Scruggs behaved the way she did in the film in real life, that would be worthy of condemnation. But she didn’t. 

Furthermore, yes, what happened to Richard Jewell was pretty terrible. But on the other hand, he was never arrested, he never did a day in jail or prison, and was cleared after about three months. I wouldn’t wish that on anyone, but…other wrongfully accused people have gone away for years and decades. Multiple movies this year, including Brian Banks and Just Mercy, have told the stories of such cases. 

Hauser is very good, and getting to be expert at this sort of role, although the performance ends with him delivering a long, articulate speech in which Jewell turns into essentially a different person.  Sam Rockwell, on something of a roll with Jojo Rabbit and Fosse/Verdon, is just fine as his lawyer. There’s also a performance by Kathy Bates, as Jewell’s mother, that’s been getting inexplicable praise — it’s more a regional affectation than a great performance. 

While Eastwood — the Obama invisible chair speech notwithstanding — is far from a down-the-line right-winger, the timing of this particular release is somewhat cynical. It’s clearly pitched right now in a way to exploit discontent with media misconduct and “fake news,” while also directly in line with that weird cultural tic in which cops are seen as beyond reproach, while the FBI is evil. 

Richard Jewell isn’t bad as a character study, but its agenda is a whole other story. 

Continue Reading

Film

‘Apollo 11’ Leads the Best Documentaries of 2019

Published

on

Best Documentaries of 2019

2019 was a generally strong year for documentaries, with many of the best ones sharing one or more of several elements: a focus on music, a resonance with the current moment, and the word “Apollo” in the title.

The Year’s Best Documentaries

Best Documentaries 2019

1. Apollo 11. Directed by Todd Douglas Miller, this documentary made masterful use of archival footage — much of it on 70mm film long not available to the public — to tell the story of the Apollo 11 mission on its 50th anniversary. It’s one of those films that’s nerve-wracking, even as everyone watching knows exactly how it all happened. The film opened in theaters, then showed on CNN, and then returned to theaters this month. 

Best Documentaries 2019

2. The Kingmaker. The Queen of Versailles director Lauren Greenfield takes another look at the ridiculously wealthy, this time catching up with Imelda Marcos, the 90-year-old former first lady of The Philippines. For its first half hour, the film hints that it’s going to be a soft-focused look at a newsmaker of the past, before it takes a sudden turn into showing its subject as a monster who looted her own people of billions and was almost certainly complicit in horrific war crimes. The film played in theaters this fall and will debut on Showtime in early 2020. 

Best Documentaries 2019

3. Love, Antosha. The life of the beloved late actor Anton Yelchin, which ended in a freak accident in 2017, is celebrated with home movie footage, clips of his movies, and interviews with a star-studded array of his co-stars. It’s a sweet remembrance of a talent gone far too soon — while also telling the story, through both letters and interviews, of his relationship with the loving Russian immigrant parents he left behind. Now streaming from on-demand providers. 

Best Documentaries 2019

4. City of Joel. Director Jesse Sweet’s film is an astonishing work of anthropological filmmaking, as he looks at the tension and land disputes between a group of ultra-Orthodox Jews who arrived in an upstate New York town, and their secular neighbors. The film, which played the Jewish film festival circuit and is now available on demand, is uncommonly evenhanded, letting both sides of the dispute have their say. 

Best Documentaries 2019

5. David Crosby: Remember My Name. There were many very strong music documentaries this year, but this film, directed by A.J. Eaton and produced and narrated by Cameron Crowe, was the best of them all. Crosby, knowing he’s in poor health and unlikely to live many more years, is uncommonly candid about his regrets, especially his many feuds with his famous musical collaborators. Now available on demand, it’s also the best film Crowe has been associated with in almost two decades.

Best Documentaries 2019

6. Cold Case Hammarskjöld. Mads Brügger’s documentary starts off by looking at the mysterious 1961 plane crash death of U.N. Secretary General Dag Hammarskjöld, and then goes off in all sorts of crazy directions, including a supposed plot by South Africa’s apartheid government in the 1980s to infect people with AIDS. Not everything asserted here is true (most likely), but it’s all wildly intriguing. Now available on demand. 

Best Documentaries 2019

7. The Apollo. The year’s “other” Apollo documentary takes a look back at the history of Harlem’s famed Apollo Theater, a mecca of African-American culture for nearly a century. The film looks at how the theater has waxed and waned in importance over the years, while using a staged reading of Ta’Nehesi Coates’ “Between the World and Me” as a framing device. This one played at festivals and then debuted on HBO; it’s currently available on HBO’s streaming platform. 

Best Documentaries 2019

8. Horror Noire. Director Xavier Burgin’s documentary takes a look at the history of black horror films, using 2017’s Get Out as an inflection point to look back on decades of African-American representation — as well as ugly tropes — in the horror genre. The film had some big-screen showings before streaming on Shudder. 

Best Documentaries 2019
Tell Me Who I Am CR: Netflix

9. Tell Me Who I Am. Director Ed Perkins’ documentary about a pair of twins, and the family secrets one must tell the other, is very creepy and unsettling, but still essential. It debuted on Netflix, where it’s a perfect fit, and is still streaming there now. 

Best documentaries 2019

10. Diego Maradona. This look at the 1980s soccer star, directed by Amy filmmaker Asif Kapadia, makes masterful use of archival footage to depict the rise of this one-of-a-kind athlete. The doc, which played on HBO this fall and is still streaming there now, is a must for the many Americans who have gotten into soccer for the first time in the last decade, and are unfamiliar with the stars and stories of the past. 

****

Honorable mention: Black Mother, The Human Factor, Fiddler: A Miracle of Miracles, Carmine Street Guitars, Mike Wallace is Here, Varda by Agnes, Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, Screwball, American Factory, Homecoming: A Film by Beyonce,

Continue Reading

Trending