Green Book (2018)

A working-class Italian-American bouncer becomes the driver of an African-American classical pianist on a tour of venues through the 1960s American South.

Jess' Review

Lockdown in London hasn’t officially started yet, but I feel like it’s pretty inevitable so I thought f—k it, I’m going to get amazon prime. Not the smartest move for someone without a job, but surprise, I am not the smartest person. Sam and I have pretty much exhausted Netflix and NowTV so I figured let’s see what Amazon has got. Turns out it had Oscar-winner, Green Book. I have been asking Sam to watch this film with me since it came out back in 2018. And only now... only now in the midst of a global pandemic, does he agree to try it. Joke. But - still a small victory. Jess 1, Sam 0. Green Book, starring Viggo Mortensen and Mahershala Ali, follows the journey of a renowned pianist, Dom Shirley, (Oscar-winning Ali) and his driver, Tony Lips (Mortensen) through a tour of the Deep South. Going into this, I had high expectations. The film had rave reviews, multiple awards and two stellar lead actors. However, I was pretty confident it would deliver and I was not disappointed. Mortensen’s Tony was electric on the screen; an engaging ‘tough guy’ made increasingly endearing throughout. His acting was strong and accent unwavering. (Well done, Aragorn.) Ali was equally as fantastic and for me personally, had the edge in regards to his perfomance here. And together, the two leads have a vibrant chemistry that provides perhaps the film’s greatest strength. Their interactions are heartwarming, often funny and increasingly tender. Witnessing their growth, whilst perhaps a little predictable (sorry!), is a pleasure to view nonetheless. Based on real life events, DIRECTOR captures the time period and environments with vivid energy and accuracy. From the bustling Copacabana to moments in Dom’s sobering motel room - I felt immersed in each scene. Now, whilst this was fabulous in some of the concluding moments such as the bar, it was also, at times, completely uncomfortable for me. The commonplace racism of the Southern states in 1960 was sometimes hard for me to watch. Peter Farrelly hits the audience hard with the ugliness of both racial and homophobic prejudice, leaving a constant spattering of it’s presence even when the drama has passed. Going into this film, Sam had warned me of reviews critiquing Green Book’s accuracy to the real story, and it’s use of the ‘white saviour’ trope. I do see this. And it does seem to slightly taint the film’s message for me. But that being said, I thoroughly enjoyed watching Green Book. It was powerful, featuring excellent dialogue from strong, leading actors and boasting an uplifting message of acceptance. Bonus points for the soundtrack.

8.5/10

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Sam's Review

Day 1. The lockdown has unofficially begun at home. As the world begins to crumble, we've decided to watch films and ignore it all.

I've been begging Jess to watch The Green Book for a while now... That's not true, I just know it'll make her scoff if she reads it.. When something is reviewed so well, it often puts me off, because I go in with such high expectations, usually leading to disappointment.

Dr Shelby, played by Mahershala Ali, was a virtuoso. The music that sprang forth from his Steinway piano seemed to resonate in my chest. Stirring, yet heavy. It was perfectly in place in the grand rooms he played, yet also jarring. Racist white men and women watching a black man play the piano, viewing him for their personal entertainment. His isolation on the stage is potent, as all eyes watch him. His only weapon, his piano. His only shield, his smile. They clearly do not see him as an equal, and as such, his entertaining them confuses me. But, I believe that the discomfort is intentional, and that we deserve it. A mere fraction of what the insanely-talented pianist must have felt. There is racial tension sewn into the fabric of this film flawlessly, as they effortlessly capture a moment in time. A time that is so obnoxiously wrong it seems like fantasy. And yet, the pained smile of Ali's Dr. Shelby, the glint of sadness in his eyes, is far too real.

The story is gripping. While certain story arcs are predictable, the message of acceptance and unity is heartfelt, and done with tact. It's written, in part, by the real Tony Lips' son, Nick Vallelonga, who has clearly got his father's way with words. And the journey that Dr. Shelby and Tony Lips, played by Viggo Mortensen (or Vijo Morganstein, which is how I will always think of him after a certain episode of Always Sunny), embark on is daunting. And yet, as their car racks up mileage, I find their chemistry magnetic. Some actors are plagued by their iconic roles, the memory of them haunting each performance. And as a fan of Lord of the Rings, part of me was expecting to watch a New York native Aragorn, and instead, every time Mortensen stepped into frame, all I saw was Tony Lips. Ali was equally as impressive with the reserved, but commanding portrayal of Dr. Shelby.

In the end, once the credits rolled, I am left with a desire to hear more of Dr. Shelby's work. And if that's all I take from the film, it'll be worth it. The man was a genius, and Ali did him proud.

8/10