Better Man

Michael Gracey's Better Man is a bold reinvention of the music biopic, defying convention with its blend of surreal imagery, emotional honesty and narrative ambition. Giving British pop icon Robbie Williams the role of a CGI monkey, voiced by Robbie Williams himself and physically embodied by the motion-capture work of Jonno Davies, Michael Gracey brings to life a deeply personal and visually imaginative portrait of a man who spent decades performing to adulation while struggling with his own self-image. The concept, derived from Robbie Williams' own admission that he often felt like a dancing monkey in the entertainment industry, provides a striking lens through which the story unfolds. Though unconventional, this choice serves as a thematic anchor for a tale that is both familiar in its rise-and-fall structure and refreshing in its execution.

The story begins in the working-class town of Stoke-on-Trent, where young Robbie Williams, played in his formative years by Jack Sherran, is presented as a child who finds solace in entertaining others despite the emotional scars left by his father, Peter Williams, played with complexity by Steve Pemberton. Peter Williams, a cabaret singer with dreams of stardom, abandoned the family at an early age, leaving Robbie Williams to be raised by his mother, Janet Williams, played by Kate Mulvany, and his beloved grandmother, Betty Williams, played with warmth and depth by Alison Steadman. These early years are marked by insecurity and a desire for approval, setting the stage for Robbie Williams' rise to stardom as the youngest member of the boy band Take That, led by Nigel Martin-Smith, played by Damon Herriman.

As Robbie Williams' story unfolds, the film explores the meteoric success of Take That and the pressures that accompany being thrust into the limelight at a young age. The musical sequences that trace the band's ascent are among the film's most visually exhilarating moments. One of the most striking scenes, to Robbie Williams' solo hit Rock DJ, transforms the streets of London's Regent Street into a vibrant, choreographed celebration of youthful ambition and energy. Choreographed by Ashley Wallen, this sequence is a testament to Michael Gracey's ability to combine dynamic movement with bold visual storytelling. However, when the film moves on to Robbie Williams' solo career, following his controversial departure from Take That, the tone shifts to a more introspective examination of the darker side of celebrity. Robbie Williams' struggles with addiction, depression and self-doubt are portrayed with unflinching honesty, painting a raw and often heartbreaking portrait of a man at war with himself.

Jonno Davies' performance as Robbie Williams captured by the movement is nothing short of extraordinary. Thanks to the flawless work of Weta Digital, his interpretation captures the essence of Robbie Williams' charm, vulnerability and self-destructive tendencies. Robbie Williams himself lends his voice to the character, narrating the film with a mixture of humor and brutal self-awareness. Lines like I'm a narcissistic, indestructible, shit-eating moron set the tone for a biopic that isn't afraid to confront its subject's flaws. This frank approach extends to the description of Robbie Williams' tumultuous relationship with Nicole Appleton, played by Raechelle Banno. Their romance, marked by moments of passion and heartbreak, is beautifully rendered in a ballroom dance sequence to the Robbie Williams ballad She's the One. The scene captures the ups and downs of their relationship with an emotional depth that transcends the film's more fantastical elements.

While the decision to depict Robbie Williams as a CGI monkey could easily have drifted into gimmickry, Michael Gracey's direction ensures that the visual metaphor reinforces the narrative rather than undermining it. The simian representation serves as a physical manifestation of Robbie Williams' internal struggles, in particular his sense of inadequacy and self-perception as a mere entertainer for the masses. This theme is further explored in a poignant sequence during Robbie Williams' record-breaking performance at Knebworth. As he stands before a sea of adoring fans, he is haunted by hallucinations of his past self, also represented in the form of monkeys, who taunt him with his failures and insecurities. The scene, choreographed like a surreal battlefield of inner demons, is a striking depiction of the psychological toll of fame and the constant struggle for self-acceptance.

The supporting cast provides a rich gallery of characters to underpin the film's most extravagant moments. Steve Pemberton's Peter Williams is a deeply flawed but sympathetic figure, whose absence and eventual return add emotional complexity to Robbie Williams' journey. Betty Williams, played by Alison Steadman, is a source of unconditional love and stability, while Nigel Martin-Smith, played by Damon Herriman, embodies the ruthless nature of the music industry. Tom Budge, as songwriter and producer Guy Chambers, plays a key role in Robbie Williams' solo success, their collaboration described as both creatively fruitful and personally transformative.

Michael Gracey's experience with visual effects and music videos is evident throughout Better Man, particularly in its ambitious musical numbers. These sequences, which range from intimate duets to large-scale productions, are visually stunning and emotionally resonant. Robbie Williams' music, re-recorded for the film, is perfectly integrated into the narrative and often serves as a reflection of the character's emotional state. The juxtaposition of upbeat anthems like Let Me Entertain You and darker numbers like Come Undone underscores the duality of Robbie Williams' character, both artist and man struggling with his own demons.

However, Better Man is not without its minor flaws. The film's reliance on biopic conventions - such as the fractured father-son relationship and the descent into drug addiction - sometimes undermines its most innovative elements. In the final act, the visual metaphor begins to feel overdone, and we can't help wondering whether a more restrained use of the device might not have had more impact. Despite these slight flaws, the emotional core of the film remains intact, carried by the sincerity of Robbie Williams' narration and the authenticity of the performances.

The film's conclusion, set against the backdrop of Robbie Williams' iconic Knebworth performance, brings this unconventional biopic to a fitting close. In a poignant moment, Robbie Williams sings Frank Sinatra's My Way, a nod to his father's influence and a declaration of his own resilience. This scene sums up the film's central theme: the quest for self-acceptance in the face of immense pressure and personal upheaval. It is a testament to Robbie Williams' ability to confront his past with honesty and humor, qualities that make Better Man both a celebration of his art and a meditation on the complexities of celebrity.

Better Man is a film that dares to be different. Michael Gracey and Robbie Williams take the familiar structure of the musical biopic and infuse it with boldness and heart, creating a work that is as entertaining as it is thought-provoking. Embracing both the absurd and the deeply human, Better Man captures the essence of Robbie Williams: an artist unafraid to bare his soul, flaws and all, with the aim of creating connections. It's a cinematic experience that, like its subject, is impossible to ignore.

Better Man
Directed by Michael Gracey
Written by Michael Gracey, Oliver Cole, Simon Gleeson
Produced by Craig McMahon, Paul Currie, Michael Gracey, Coco Xiaolu Ma
Starring Robbie Williams, Jonno Davies, Steve Pemberton, Alison Steadman
Cinematography : Erik Wilson
Music by Batu Sener (score), Robbie Williams (songs)
Production companies : Footloose Productions, Zero Gravity Management, Jumpy Cow Pictures, Showman, Rocket Science
Distributed by Roadshow Films (Australia), Paramount Pictures (United States)
Release dates : 30 August 2024 (Telluride), 25 December 2024 (United States), January 22, 2025 (France)
Running time : 134 minutes

Seen December 13, 2024 at Grand Rex

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