01/01/2025
Cineworld, Edinburgh
Our first cinema trip of 2025 is to see a film that actually came out last year – Boxing Day to be precise. A further complication is that this would certainly have made our list of the best films of 2024 had we managed to squeeze it in a day earlier. No matter. Better Man is brilliant and I have every reason to believe I’ll still feel as strongly about it when it comes time to compile this year’s selection.
Pop biopics can be tricky beasts. You can play it straight like Bohemian Rhapsody, you can evoke a multi-layered fantasia, as in Rocket Man – or you can go for a balls-out, head-scrambling slice of pure invention, which is what Michael Gracey (of Greatest Showman fame) has done with the life story of Robbie Williams. I should probably add here that I’m not a rabid fan of Williams and his music (though Angels has long been a go-to for me on the rare occasions when I get to do a bit of karaoke). Had I not picked up on early rumours of this film’s delights, I would probably have let it slip under my radar.
It’s hardly a spoiler to mention that Williams doesn’t even appear in his own biopic, apart from singing his best-known songs, but is instead portrayed by a CGI generated ape, mo-capped by Jonno Davies. This device is a stroke of genius, highlighting Williams’ sense of alienation, while also removing all worries of an actor not looking enough like the real man. Somehow, the metaphor renders many of the resulting scenes incredibly moving.
We first encounter our hero as a cheeky little monkey, living in a humble home with his mum, Janet (Kate Mulvany), his beloved gran, Betty (Alison Steadman), and his fame-obsessed dad, Peter (Steve Pemberton) – a pound shop Frank Sinatra, who heads off to seek his own fortune when Williams is just a boy. His son spends the rest of his life seeking his old man’s approval.
At the ripe old age of fifteen, fame unexpectedly beckons when Robbie auditions for a place in a new boy band being set up by would-be pop impresario Nigel Martin Smith (Damon Herriman). Against all the odds, he makes the cut – though it’s clear from early-on that he and the other band members are merely there to act as backup to Smith’s prodigy, Gary Barlow (Jake Simmance). As Take That embark on a punishing schedule of appearances around the UK’s gay clubs, it soon becomes clear that Robbie is having trouble handling the pressures of fame…
On paper, this may all sound straightforward enough but, as reimagined through Gracey’s mindset, the film is a collection of exhilarating, exuberant and occasionally devastating set pieces: there’s a wonderfully playful dance routine through the streets of London set to Rock DJ; a swooning waltz between Robbie and Nicole Appleton (Raechelle Banno) on the deck of a ship; and, best of all, a raucous rendition of Let Me Entertain You at Knebworth, which quickly escalates into an epic battle between Robbie and hordes of his inner demons. The film never flags but steps deftly into each successive interpretation with perfect timing. I keep having to stop myself from applauding.
Williams has been criticised for dishing the dirt on actual people, but it should be said that the person who comes in for most of the criticism is Robbie himself, often acting up like a spoiled brat with too much money in the bank. Viewers should be warned that the film is unflinching in its treatment of mental illness and self-harm. A funereal sequence set to the aforementioned Angels is particularly affecting and I don’t mind admitting that I view it through floods of tears.
One last thing: I know I say this far too often but, for the full effect, do see this one on the big screen. It’s a fabulous piece of filmmaking that effortlessly oversteps the relative simplicity of its subject to create something genuinely spectacular. And even if you don’t care one jot for Robbie Williams’ music, this one will still hit you in the feels.
5 stars
Philip Caveney
