I Have a Dream

There is something special while watching an excellent drama and realizing, perhaps before, or maybe only after the credits role, that a director known almost exclusively for comedy has deftly made the genre switch. Think Jerry Zucker (from Airplane! and writing/producing The Naked Gun franchise to Ghost), Jay Roach (the Austin Powers and Meet the Parents franchises to Trumbo), or Adam McKay (Anchorman and Talladega Nights: The Ballad of Ricky Bobby to The Big Short and this year’s Vice). . . and the newest member to enter this club: Peter Farrelly – making the jump from Dumb and Dumber and There’s Something About Mary to 2018’s Academy Award Best Picture nominee, Green Book.

Filmizon.com’s Nikolai Adams with Viggo Mortensen (who stars as Tony ‘Lip’ Vallelonga in Green Book)

A tale near and dear to its writer, Nick Vallelonga (it is also co-written by Brian Hayes Currie and Peter Farrelly), Nick is the son of the film’s main character, Tony ‘Lip’ Vallelonga (Viggo Mortensen). Set in the early 1960s, Tony is an Italian American New Yorker, working as a ‘public relations’ expert for The Copacabana (i.e. a rough and tumble bouncer) – a pudgy bull-shitter who acts first and asks questions later.

Out of work for two months while the nightclub renovates, he is asked to interview for a driving job. . . the man, Dr. Don Shirley (Mahershala Ali), a prim, proper, mannered, and pampered African American musician living above Carnegie Hall. . . a virtuoso not only on the piano, but also when it comes to psychology, various languages, and almost everything else that exudes culture.

The musician will be touring with his trio in the deep south, entering a world of complications – a time of conflict: hatred and bigotry crackle in the air, while there is still an ocean-like divide between Caucasian and African American.

A unique spin on the buddy dramedy, the pair are anything but. Tony, a racist himself, is not afraid to show his prejudices – grabbing his wallet from the dashboard as he makes a roadside stop to pee. . . while he remains completely dumbfounded by Shirley’s lack of blackness (the Dr. does not listen to Little Richard nor Chubby Checker, has never tasted fried chicken or tried ‘coloured’ greens – as he pronounces it). On the other hand, Dr. Shirley sees an uncouth man, lacking culture, grace, and restraint. . . a person who has never even attempted to better himself. There is a divide in their own personal logics, for instance, when Tony finds a jade stone on the ground (close to a display at a store), he picks it up and pockets it, while Shirley lectures him on stealing – and demands that he return the item.

Paid half up front and the remainder after the job is done, it is Tony’s task to make sure the musician makes it to every one of his gigs on time. . . a mission that will be easier said than done. Just one example, the film’s title references ‘The Negro Motorist Green Book’, a text guiding African Americans as to where they are safe to stay and eat while on the road in the south (this only touches on the dangers of journeying down south at this time).

With a balanced script, the writing team slowly builds a comradery betwixt the two, close proximity and the sole mission a unifying bond for the pair. Soon, the genius is helping the very literal lug with his love letters to his wife back in New York (played with beauty and grace by Linda Cardellini), while Tony more than earns his pay, surprising the Dr. with his deep compassion as well as in the way his streak of prejudice quite quickly ebbs away.

With some of the best performances you’ll see this year, the movie centres on the fabulous pairing of Mortensen and Ali. Mortensen (who gained weight for the role) once again builds a character that feels as if the man has been living this life for decades, the actor never falling into caricature, developing a quick talking, less than intelligent bouncer who comes off as a one trick pony (tough and crude), yet, below his gruff exterior, there is a caring heart and a willing ability to change (easier said than done when preconceived notions have run through the veins of you and your family for generations). Also worth noting, known as a serious actor, the man displays excellent comedic timing here. His antithesis, Ali oozes pure intellect, a master writer and musical prodigy – mannered in every one of his very particular movements (the way he sits, eats, walks, and plays the piano) and facial expression. . . but, below this, there is a sorrowfulness, a pain and loneliness that comes from finding yourself between two different cultures (unwelcomed in both) and never being able to be your true self. Yet, the two characters do share one thing: bravery – Tony willing to jump into any situation to save the day, while Shirley smiles and shakes hands, performing for those who, as soon as you turn your back, will start making racist slurs (courage in the hope for change).

And, though this revolves around serious subject matter, plenty of comedy comes from the mismatched pair. Tony’s ‘live every moment like its your last’ (including his voracious appetite) leads him to excitedly claim, “Kentucky Fried Chicken! In Kentucky! When’s that ever gonna happen!”, while his snarky New York Italian heritage sometimes brings sarcasm to the forefront. Then there is his uncultured accent, making mistakes ever which way, pronouncing the great composer Chopin “Joe Pan”, while paraphrasing President Kennedy’s famous speech, “Ask not. . . Your country, what you can do for it. Ask what you do for yourself. Y’know”. All of this complements Shirley’s wit and dry snark, always in bewildered frustration after hearing the head scratching commentary. It is worth noting here that Farrelly deserves much credit, for the comedy never interferes with the film’s serious subject matter or message – the drama and comedy in perfect unison, a prime balancing act.

Capturing a beautiful truth (beyond some complaints about historical inaccuracies), Green Book is a moving, vital picture for 2018/2019. . . an example of how far we have come and how far we still have to go – its message, powerful yet never preachy, is that of bravery in the face of bigotry, bettering oneself over time, learning from past mistakes, finding common ground (so that we are stronger united than divided), and simply taking a chance (whether easy or not) – perhaps best summed up by Tony’s wisest line, “the world’s full of lonely people afraid to make the first move”. There is also a different authenticity to the piece – with it being Nick Vallelonga’s story, every minute detail is there (the Vallelonga family played by real members of his family, friends playing themselves – the hot dog eater was involved in the original contest that the scene is based off of, while Cardellini wore her character’s actual ring and bracelet). The 1962 Cadillac Sedan DeVille must also be mentioned – it a perfect vehicle for the two stars, their front to back seat banter within it, priceless. And lest we forget the music by Kris Bowers (a stunning feat – Bowers is also the double for Ali’s musical prowess). So, hit the road to see this Award season hopeful, it’s well worth celebrating.