As we hurriedly prepare for the big year-end holiday, or even trying to catch up with all the films released in time for the awards and best lists, it’s nice to be reminded of a Christmas aspect that’s often overlooked. It’s an extra bonus when that’s the central theme of one of the year’s finest films. I’m referring to “good will toward men”, but to not be sexist, this would include all “humankind”. While it may feel great to wrap up in warm nostalgia for sweeter bygone days (and memories of those long-ago holidays), there really wasn’t a lot of “good will” toward some men. Mind you, we’ve still got a ways to go, but things are much better than they were, say 66 years ago. This new film takes off those “rose-colored” glasses that distort yesteryear. But what about that title? Is this a grass-colored tome that contains demonic spirits? Not exactly, but there’s a bit of truth there, in this story inspired by true events. And, as we’ll soon see, the GREEN BOOK was very real.
It’s the Fall of 1962 and things are hopping in that New York nightspot the Copacabana. Head bouncer Tony “Lip” Vallelonga (Viggo Mortensen) is quick to toss out guys “gettin’ outta’ line”, delivering a busted nose as a reminder to “be nice”. Unfortunately, his employers are shutting the place down in November and December for “renovations” (could this be because of a prank he pulled on a “connected” guest). Tony’s got a family, a gorgeous wife Dolores (Linda Cardellini) and two boys in grade school, so he has to find a way to keep the money flowing. Before he’s forced to contact some of those “connected” types, a pal gives him a lead on a gig driving for a doctor. But there must be some mistake, the doc’s address is Carnegie Hall? The doc is Donald Shirley (Mahershala Ali) who has a doctorate in music (and a piano wiz). Tony’s put off by Shirley’s African robes and throne-like chair and refuses to be a valet (“I ain’t shinin’ no shoes!”). And he’s not sure about workin’ for a “colored guy”, so he makes a big salary demand. Which Shirley matches (after clearing it with a call to Dolores). So Tony’s working till Christmas per his wife insistence.
The next day Tony meets up with the record execs that are footing the bill for the concert tour to promote his new album. The other members of the “Don Shirley Trio”, Oleg (Dimiter D. Marinov) and George (Mike Hatton) have loaded their bass violin and cello into one of the two new teal Cadillacs. Tony is given the keys to the other Caddy along with the “green book”, “The Negro Motorist Green Book”, a guide to “Negroes only” hotels and eateries. The two-month tour will take the trio from NYC through the very segregated South with Birmingham, Alabama their final stop. In the long days ahead, the uncultured, brutish Tony clashes with the aloof, sophisticated Don. But as the pair encounters the ignorance and intolerance of the times, they lower their barriers and find that they’ve got more in common than anyone would guess. But can Tony make sure that the trio plays all their engagements (he’s just been paid one half of his fee up front, the rest upon completetion)? And, more importantly, can he make back to the Bronx before December 26?
As you might gather, this is basically a two character story, as in the vein of DRIVING MISS DAISY or even SLEUTH. Much of the film’s scenes are Tony driving and conversing with Donald, lounging in the back seat. Thankfully the filmmakers have cast two wonderful actors at the “top of their game” to bring these characters (though real men) to vivid life. The bigger role belongs to Mortensen, who’s been a film actor for over 33 years. After a two year hiatus (he was CAPTAIN FANTASTIC in 2016) he proves that he’s so much more than the charismatic swordsman from the LORD OF THE RINGS trilogy. Mortensen completely inhabits this neighborhood “paisan” who barely stays on the right side of the law (though he’s certainly tempted). Gaining a good bit of weight for the role (not to RAGING BULL extremes), his Tony resembles the star high school jock who forgot how to push away the pasta (so endearing in his tank t-shirt and boxers, much like TV’s Tony Soprano), but can still flatten gigantic “goombas”. He’s a ‘dese’ and ‘dose’ guy who is steeped in the local prejudices (note his disgust at the two black tile installers in the film’s first act) but learns to slowly change and respect someone he friends despise. And though he’s got little in the way of ‘book smarts’ he knows how to “read” people and when to fight or flee. Happily, Mortensen has the ideal acting sparring partner in the compelling Ali, astounding in his first feature since earning an Oscar for his superb supporting turn in MOONLIGHT. Mind you, he’s as much the star of this movie as Mortensen, though he’s so different from the smooth, silky gangsters of that earlier film and the Netflix “Luke Cage” show (Juan and “Cottonmouth”, respectively), it shows the breadth of this gifted actor’s range. Don indeed looks down on Tony, with a condescending sneer at first. But Ali shows us that Don realizes quickly that Tony could be his perfect protector and manager. Still, in those first hundred or so miles on the road, Don’s aloof and snobbish, and is quick to humiliate Tony, in a memorable scene involving a “lucky” stone. But then he begins to open up and reveal the hurt, lonely child prodigy still inside his hard, proud exterior. He’s determined to enter the “lion’s den” of the segregated South while refusing to be the grinning affable piano-man with the half glass of scotch resting near the keys, even though he must play pop tunes like “Happy Talk” rather than his classical pieces. He seems wrapped up in his music, as if in a cocoon, drinking himself to sleep in those dingy hotel rooms, until making a human connection allows him to breathe. It’s a compelling and quite moving performance. The two are ably supported by the delightful, radiant Cardellini as Tony’s string willed Bronx-based bride, whose heart is melted by her hubby’s letters from the trip (wonder if he had some help). And the great stand-up comic Sebastian Maniscalco provides lots of laughs as Tony’s best pal and brother-in-law.
So, here’s the most surprising thing about this film. Well, it’s not the fact that it’s “inspired by true events” (though they take some liberties…the actual trip/tour was over a year). No, the stunner is the director, it’s Peter Farrelly. Yes, the same guy that, with his brother Bobby, made a string of “gross-out” R-rated comedies, THERE’S SOMETHING ABOUT MARY, KINGPIN, and DUMB AND DUMBER TO most recently in 2014. Hmmm, maybe I shouldn’t be so shocked since Jerry Zucker broke off from his AIRPLANE! co-directors to make GHOST. Hey, and Mel Brooks produced THE ELEPHANT MAN. Sure, there are many laughs here, but Farrelly has tackled some tough subjects here, head on. He shows the vicious cycle of bigotry with some of the most hateful bile spewing from the most genteel members of society, although the film has its share of drooling rednecks and trigger-happy lawmen. Of course, this all started with the script he co-wrote with Brian Hayes Currie and Nick Vallelonga (Tony’s son). Aside from DAISY, the story seamlessly weaves in elements from civil rights films like THE HELP and SELMA, along with the warmth of PLANES, TRAINS, AND AUTOMOBILES (minus the first two of the list), and even some of the romance of ROXANNE. The early 1960’s is expertly recreated from the hairstyles to the fashions and those glorious classic autos. In the opening Copa sequence, you almost expect the camera to swing around and catch Ray Liotta and Joe Pesci sitting at a table with their girlfriends from GOODFELLAS (that’s a great way to start a movie). But best of all, Farrelly makes the time feel current, with a palpable sense of danger around every curve of the road and in every little “podunk” village (I had no knowledge of “sundown towns”, what a travesty). And, as previously noted, he elicits high caliber work from his two leads. GREEN BOOK is a reminder of how far equality has come, a needed nudge that we still have a ways to go, and a real-life lesson in how hearts and minds can change through empathy, respect, and friendship. Need I say, this entertaining work is one of the year’s best. That’s why it earns…
5 Out of 5
