Review Summary: One of the most wonderful films of recent memory.
I remember Mr. Rogers very well from my childhood. He really was something special. While I wasn't a regular watcher of his program, I certainly admired him for his patience and kindness. From his love of children to showing us what it means to be a good friend, he was one of those people who didn't just say things, he showed them with his actions. And through his long-running television program, he was a shining example for a handful of generations of children over the years.
I was a bit jaded about this movie at first, as I wasn't sure if Hollywood could depict Rogers the right way. As a man of faith who had a truly unique persona, it would be a monumental task and you'd have to put the project in the right hands. Thankfully, those hands were Marielle Heller's (last year's Can You Forgive Me?), and you can tell that she worked hard to live up to Rogers' reputation here. And she succeeds incredibly. Because in almost every way, Beautiful Day is true to the spirit of Rogers himself and everything he and his television series represents.
Starting with the opening logo (returning the TriStar logo back to its' 90's version and with the famous music box chimes of Rogers' theme song orchestrating its' theme music), there's a strong sense of nostalgia here that never lets go. Daniel Tiger and King Friday, the trolley, and the re-use of famous sets definitely bring back many memories. But even more so is hearing Hanks sing the famous opening and closing songs of Neighborhood. And on top of that, Heller makes the bold choice to film these shots in the classic 4:3 screen ratio of the series, and even has some sets made out of the clay buildings like in the shows' opening and closing segments.
Continuing on from this, Heller stages Beautiful Day like an extended episode of the TV series. Its' a bold (and maybe even slightly jarring) way to introduce its' characters and the plot, and it works well (there's even a brief segment on how magazines are made). The transitions are seamless, and Rogers' dialogue does a good job setting each situation up. I also have to credit Heller for not getting too carried away with this approach, as she wisely keeps the focus on Lloyd's character.
Yes, it is important to note that Mr. Rogers is not the main character in this movie. This is a story of a young, married man who is helped out and befriended by Rogers. As this character, Matthew Rhys does a phenomenal job depicting this multi-layered character. He starts off as an antagonist of sorts, a reporter meant to corner famous individuals. But at the same time, we relate to his pain and his brokenness, as well as his unwillingness to forgive. And we see him slowly start to deal with his emotions and past as he continues to get to know Rogers. It's all handled in a realistic, yet PG-rated way, and Rhys balances all of it so superbly well.
However, despite being a supporting role, Tom Hanks proves he was born to play this role. I was nervous at first because in his mid-50's, I thought he would be too young. But like Walt Disney in Saving Mr. Banks a few years ago, Hanks puts his heart and soul into this character. Its' a very intricate performance, as he captures Rogers' selflessness, gentleness, wit and imagination perfectly. It really is an "out of body" experience. His performance makes for several memorable moments, and it should win him an Oscar in a couple of months. His aging is also done nicely, without any real use of computer effects.
The rest of the performances are strong too. As Lloyd's father, Chris Cooper turns in a very sincere and a persona we'd like to love and hate. Susan Kelechi Watson gives relatable and realistic support (and gravitas) to Lloyd's wife Andrea, while Maryann Plunkett makes a wonderful and inviting Mrs. Rogers. I only wish we could have seen more of her, but it seems like the film is keeping with the fact of Mrs. Rogers not being in the public eye or on the series like her husband.
Speaking of not being in the public eye, the film also represents Rogers' humble spirit by taking him out of the picture during a good portion of the third act. This may be a bit surprising for some, but its' actually for the better. With the film clearly focused on Lloyd, this allows the film to keep it on his story and his needed reconciliation with his family and his father. These scenes are very well-done also, and lead to a very strong ending (which has a couple of emotional implications as well).
Heller's brother, Nate, composed the film's score, and does a wonderful job remaining true to Rogers' themes, while creating some inspired music of his own. The editing and pacing remains strong throughout, with some unique perspectives thrown in. On the downside to this, Heller decides to have Lloyd come to terms with his emotions by dreaming about being a character on the show. This is a little too out-there given the circumstances, but not altogether surprising considering its' well....Mr. Rogers' Neighborhood. But maybe it could have benefited from a different approach (though the ending is strong). And, as I partially mentioned earlier, the production design, costume design, and overall art direction evokes the late-90's very impressively.
However, the one thing about Neighborhood that makes it a memorable experience is in how it masterfully recreates Rogers' most impactful moments (and, in turn, how that influences Lloyd). Whether its' his discussions with a young kid with a rare disease, or wanting everyone to take a minute of "silence" to think about someone who loved them into existence, you can't help but be moved or awestruck by all of this. It's all executed brilliantly. I left the theater wishing I had at least half the heart and soul of Rogers', and thinking that like Lloyd, we are all capable of being the best we can possibly be (despite hard life seasons).
It is all of these things that makes Beautiful Day in the Neighborhood one of the most uplifting and well-made films I've seen this decade. The performances, the strong writing, the nostalgia, and the amazing messages all come together for something really special that needs to be seen (and perhaps even win Best Picture if possible).
My Score: 9.0/10
Content Concerns for Family Viewing:
Rating: PG for "some strong thematic material, a brief fight, and some mild language".
Recommended age range: Ages 9 and up (depending on maturity and sensitivity).
Language: Four uses of "h***" join one "d***it!" and five or six of "oh my g**". One misuse of "J****!". "Holy crap!" and "Mister freaking Rogers" are used too.
Adult Content: Lloyd's father is accused of "sleeping around". Lloyd is seen in boxer underwear in bed. He and his wife kiss a few times and snuggle in bed in one scene.
Violence: The brief fight involves Lloyd and his dad, with both getting cuts and scrapes. Someone collapses (hinted to be a heart attack). Lloyd also passes out at one point. We hear about Lloyd's mother's horrible condition before she passed.
Drugs/Alcohol: Lloyd's father is clearly an alcoholic. He acts inebriated at a wedding and he drinks heavily a handful of times. We see him and Lloyd share a glass of bourbon.
Other: Lloyd and his dad have a lot of tension between them. It's later revealed that his dad left the family when his mother got sick. The dream scene where Lloyd encounters his sick mother may be upsetting for some.
