Ladies and gentlemen, brace yourselves for a riveting return from the mastermind behind “The Greatest Showman,” Michael Gracey, who has brought us another wildly imaginative musical biopic. This time, he’s tackling the tumultuous life of Robbie Williams in “Better Man,” a much-needed antidote to the conventional and overly sanitized celebrity biopics that have dominated Hollywood.
“Better Man” dives into the chaotic journey of Robbie Williams, the rebellious pop icon whose story is all too familiar: a starry-eyed kid yearning for fame to fill the emotional void; a meteoric rise to stardom; the ensuing chaos of wealth and fame that exacerbates personal struggles; and ultimately, a reckoning before it’s too late.
However, what sets this film apart is its raw portrayal of Williams as a profoundly insecure and unapologetic character. Opening with a disembodied voice questioning “Who is Robbie Williams?” the film offers unflinching self-reflection, humor, and vulnerability, never shying away from the fact that his drive for fame was largely fueled by the desire to win over his cabaret-loving father, Peter, who abandoned the family for a music career he could never quite attain. “You’re born with it or you’re a nobody,” Peter tells young Robbie, highlighting the brutal truth of their relationship. Williams’ mantra? “Who cares if you love it? What matters is if other people love you doing it.”
Even more striking is the film’s bold decision to depict Williams as a computer-generated monkey throughout. Yes, you read that right. Imagine if “Bohemian Rhapsody” had starred a CGI monkey—this is exactly the creative twist Gracey delivers. Utilizing the same Weta FX team behind “Rise of the Planet of the Apes,” the film features Jonno Davies in a motion-capture suit, with Williams voicing the character.
Audiences will witness this monkey as it bleaches its fur, parties with Oasis, indulges in copious amounts of cocaine, and even drives recklessly while belting out pop anthems. Gracey has mentioned that he aimed to literalize Williams’ self-perception as a performing monkey, which adds a fascinating layer to the narrative. While the film doesn’t explicitly clarify this unique perspective, it cleverly illustrates how Williams views himself as a product of his own unfulfilled ambitions.
As the film prepares for its wide release, Paramount may want to consider a disclaimer for unsuspecting viewers, but the unorthodox portrayal is undeniably captivating. Gracey’s whimsical direction ensures that we’re continually reminded of Williams’ uniqueness, his troubled journey, and the harsh reality that a “normal” life was never within his grasp. By the film’s conclusion, we see the humanity in him despite the absurdity of the premise.
The transformation of Williams’ rowdy persona, along with the film’s fantastical representation, breathes new life into a well-trodden narrative. Fans of “The Greatest Showman” will undoubtedly recognize Gracey’s talent for flamboyant storytelling. In a standout musical number, a young monkey Robbie passionately performs “Feel” as he navigates the gritty streets of Stoke-on-Trent, enveloped in an expressionistic atmosphere that evokes P.T. Barnum’s formative years. This sequence strikes a poignant chord, amplified by the cheeky voiceover that frames it, showcasing Gracey’s knack for blending vulnerability with extravagant flair.
