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Saving Mr. Banks
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Saving Mr. Banks
Theatrical release poster
Directed by
John Lee Hancock
Produced by
Alison Owen
Ian Collie
Philip Steuer
Written by
Kelly Marcel
Sue Smith
Starring
Emma Thompson
Tom Hanks
Paul Giamatti
Jason Schwartzman
Bradley Whitford
Colin Farrell
Music by
Thomas Newman
Cinematography
John Schwartzman
Edited by
Mark Livolsi
Production
company
Walt Disney Pictures
Ruby Films
Essential Media and Entertainment
BBC Films
Hopscotch Features
Distributed by
Walt Disney Studios
Motion Pictures
Release date
October 20, 2013 (2013-10-20) (BFI London Film Festival)
November 29, 2013 (2013-11-29) (United Kingdom)
December 13, 2013 (2013-12-13) (United States)
January 9, 2014 (2014-01-09) (Australia)
Running time
125 minutes[1]
Country
Australia
United Kingdom
United States
Language
English
Budget
$35 million[2]
Box office
$117.9 million[3]
Saving Mr. Banks is a 2013 period drama film directed by John Lee Hancock from a screenplay written by Kelly Marcel and Sue Smith. Centered on the development of the 1964 film Mary Poppins, the film stars Emma Thompson as author P. L. Travers and Tom Hanks as filmmaker Walt Disney, with supporting performances by Paul Giamatti, Jason Schwartzman, Bradley Whitford, and Colin Farrell. Deriving its title from the father in Travers' story, Saving Mr. Banks depicts the author's fortnight-long meetings during 1961 in Los Angeles, during which Disney attempts to obtain the screen rights to her novels.[4]
Essential Media Entertainment and BBC Films initially developed Saving Mr. Banks as an independent production until 2011, when producer Alison Owen approached Walt Disney Pictures for permission to use copyrighted elements. The film's subject matter piqued Disney's interest, leading the studio to acquire the screenplay and produce the film.[5] Principal photography commenced the following year in September before wrapping in November 2012; the film was shot almost entirely in the Southern California area, primarily at the Walt Disney Studios in Burbank, where a majority of the film's narrative takes place.[6][7]
Saving Mr. Banks premiered at the London Film Festival on October 20, 2013, and was released theatrically that same year in the United Kingdom on November 29 and in the United States on December 13. Upon release, the film received positive reviews, with praise directed towards the acting, screenplay, and musical score. Thompson's performance garnered a BAFTA Award, Golden Globe Award, Screen Actors Guild Award, and Critic's Choice Award nominations for Best Actress, while composer Thomas Newman earned an Academy Award nomination for Best Original Score. The film was also commercially successful, grossing $118 million at the worldwide box office.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Filming
3.3 Music
4 Historical accuracy
5 Release
6 Reception
6.1 Critical response
6.2 Accolades
7 References
8 External links
Plot[edit]
In 1961, the financially strapped author Pamela "P. L." Travers reluctantly travels from her home in London to Los Angeles to work with Walt Disney at the urging of her agent, Diarmuid Russell. Disney has pursued the film rights to her Mary Poppins stories for twenty years, having promised his daughters that he would produce a film based on them. Travers has steadfastly resisted Disney's efforts because she fears what he would do to her character. However, she has not written anything in a while and her book royalties have dwindled to nothing, so she risks losing her house. Still, Russell has to remind her that Disney has agreed to two major stipulations—no animation and unprecedented script approval—before she agrees to go.
Travers' difficult childhood in Allora, Queensland, Australia, is depicted through flashbacks, and is the inspiration for much of Mary Poppins. Travers idolized her loving, imaginative father, Travers Robert Goff, but his chronic alcoholism resulted in his repeated firings, strained her parents' marriage, and caused her distressed mother to attempt suicide. Goff died at an early age from tuberculosis when Travers was seven years old.
In Los Angeles, Travers is irritated by what she perceives as the city's unreality and the inhabitants' intrusive friendliness, personified by her limousine driver, Ralph. At the Walt Disney Studios in Burbank, Travers meets the creative team that are developing Mary Poppins for the screen: screenwriter Don DaGradi, and music composers Richard and Robert Sherman. She finds their presumptions and casual manners highly improper, a view she also holds of the jocular Disney.
Travers' working relationship with Disney and his team is difficult from the outset, with her insistence that Mary Poppins is the enemy of sentiment and whimsy. Disney and his people are puzzled by Travers' disdain for fantasy, given the nature of the Mary Poppins story, as well as Travers' own rich imagination. She particularly objects to how the character George Banks, the estranged father of the children in Mary Poppins' charge, is depicted, insisting that he is neither cold nor cruel. Gradually, they grasp how deeply personal the Mary Poppins stories are to her and how many of the characters were inspired by her past.
The team realize Travers has valid criticisms and make changes, though she becomes increasingly disengaged as painful childhood memories resurface. Seeking to understand what troubles her, Disney invites Travers to Disneyland, which, along with her developing friendship with Ralph, the creative team's revisions to the George Banks character, and the addition of a new song and a different ending, help dissolve Travers' opposition. Her creativity reawakens, and she begins working with the team; however, when Travers discovers that there is to be an animation sequence, she confronts Disney over his broken promise and returns home.
Disney learns that Travers is actually her pen name, taken from her father's given name. Her real name is Helen Goff, and she's actually Australian, not British. This gives Disney new insight into Travers, and he follows her to London. Arriving unexpectedly at her door, Disney tells her that he also had a less-than-ideal childhood, but stresses the healing value of his art. He urges Travers to not let deeply-rooted past disappointments dictate the present. Travers relents and grants Disney the film rights.
Three years later, in 1964, Mary Poppins is to have its world premiere at Grauman's Chinese Theatre in Hollywood. Disney has not invited Travers, fearing how she might react with the press watching. Prompted by Russell, Travers shows up unannounced at Disney's office; he reluctantly issues her an invitation. Initially, she watches Mary Poppins with a lack of enthusiasm, particularly during the animated sequences. She gradually warms to the rest of the film, however, becoming deeply moved by the depiction of George Banks' personal crisis and redemption.
Cast[edit]
Emma Thompson as Pamela "P. L." Travers, birth name Helen Goff.
Annie Rose Buckley as seven-year-old Helen, also referred to as "Ginty"
Tom Hanks as Walt Disney
Colin Farrell as Travers Robert Goff, Helen's father
Ruth Wilson as Margaret Goff, Helen's mother
Paul Giamatti as Ralph, Travers' chauffeur
Bradley Whitford as Don DaGradi, co-writer of the screenplay for Mary Poppins
Jason Schwartzman as Richard M. Sherman, composer and lyricist
B. J. Novak as Robert B. Sherman, composer and lyricist who co-wrote the film's songs with his brother Richard
Kathy Baker as Tommie, Disney's executive assistant
Melanie Paxson as Dolly, Disney's secretary
Rachel Griffiths as Ellie, Helen's aunt, who serves as the model for Mary Poppins
Ronan Vibert as Diarmuid Russell
Kristopher Kyer as Dick Van Dyke
Victoria Summer as Julie Andrews
Credits adapted from The New York Times.[8]
Production[edit]
Development[edit]
In 2002, Australian producer Ian Collie produced a documentary film on P. L. Travers titled The Shadow of "Mary Poppins". During the documentary's production, Collie noticed that there was "an obvious biopic there" and convinced Essential Media and Entertainment to develop a feature film with Sue Smith writing the screenplay.[9] The project attracted the attention of BBC Films, which decided to finance the project, and Ruby Films' Alison Owen, who subsequently hired Kelly Marcel to co-write the screenplay with Smith.[10] Marcel's drafts removed a subplot involving Travers and her son, and divided the story into a two-part narrative: the creative conflict between Travers and Walt Disney, and her dealings with her childhood issues, describing it as "a story about the pain of a little girl who suffered, and the grown woman who allowed herself to let go".[11] Marcel's version, however, featured certain intellectual property rights of music and imagery which would be impossible to use without permission from The Walt Disney Company. "There was always that elephant in the room, which is Disney," Collie recalled. "We knew Walt Disney was a key character in the film and we wanted to use quite a bit of the music. We knew we'd eventually have to show Disney." In early 2010, Robert B. Sherman provided producer Alison Owen with an advance copy of a salient chapter from his then upcoming book release, Moose: Chapters From My Life. The chapter entitled, "'Tween Pavement and Stars" contained characterizations and anecdotes which proved seminal to Marcel's script rewrite, in particular, the anecdote about there not being the color red in London.[12][13] In July 2011, while attending the Ischia Film Festival, Owen met with Corky Hale, who offered to present the screenplay to Richard M. Sherman.[14] Sherman read the screenplay and gave the producers his support.[14] Later that year, Marcel and Smith's screenplay was listed in Franklin Leonard's The Black List, voted by producers as one of the best screenplays that were not in production.[15]
In November 2011, Walt Disney Pictures' president of production, Sean Bailey, was informed by executive Tendo Nagenda of Marcel's existing script.[2][16] Realizing that the screenplay included a depiction of the studio's namesake, Bailey conferred with Disney CEO Bob Iger[17] and Walt Disney Studios chairman Alan Horn, the latter of whom referred to the film as a "brand deposit,"[18] a term adopted from Steve Jobs.[19] Together, the executives discussed the studio's potential choices; purchase the script and shut the project down, put the film in turnaround, or co-produce the film themselves. With executive approval, the studio acquired the screenplay in February 2012 and joined the production with Owen, Collie and Philip Steuer as producers, and Christine Langan, Troy Lum, Andrew Mason, and Paul Trijbits serving as executive producers.[5] John Lee Hancock was hired to direct the film later that same month.[20]
Iger subsequently contacted Tom Hanks to consider playing the role of Walt Disney, which would become the first-ever depiction of Disney in a mainstream film.[2] Hanks accepted the role, viewing it as "an opportunity to play somebody as world-shifting as Picasso or Chaplin".[21] Hanks made several visits to the Walt Disney Family Museum and interviewed some of Disney's former employees and family relatives, including his daughter Diane Disney Miller.[22][23] The film was subsequently dedicated to Disney Miller, who died shortly before it was released.[24] In April 2012, Emma Thompson entered final negotiations to star as P. L. Travers, after the studio was unable to secure Meryl Streep for the part.[25] Thompson said that the role was the most difficult one that she has played, describing Travers as "a woman of quite eye-watering complexity and contradiction."[26] "She wrote a very good essay on sadness, because she was, in fact, a very sad woman. She'd had a very rough childhood, the alcoholism of her father being part of it and the attempted suicide of her mother being another part of it. I think that she spent her whole life in a state of fundamental inconsolability and hence got a lot done."[27] Colin Farrell, Paul Giamatti, Jason Schwartzman, Bradley Whitford, B. J. Novak, and Ruth Wilson were cast in July 2012.[28][29][30][31]
"I thought the script was a fair portrayal of Walt as a mogul but also as an artist and a human being. But I still had concerns that it could be whittled away. I don't think this script could have been developed within the walls of Disney—it had to be developed outside...I'm not going to say there weren't discussions, but the movie we ended up with is the one that was on the page."
— John Lee Hancock on his initial thoughts of Disney's involvement[14]
With Disney's backing, the production team was given access to 36 hours of Travers' audio recordings of herself, the Shermans, and co-writer Don DaGradi that were produced during the development of Mary Poppins,[32] in addition to letters written between Disney and Travers from the 1940s through the 1960s.[9][14] Richard M. Sherman also worked on the film as a music supervisor and shared his side of his experiences working with Travers on Mary Poppins.[32] Initially, Hancock had reservations about Disney's involvement with the film, believing that the studio would edit the screenplay in their co-founder's favor.[33] However, Marcel admitted that the studio "specifically didn't want to come in and sanitize it or change Walt in any way."[9] Hancock elaborated, "I was still worried that they might want to chip away at Walt a little bit...I thought the portrayal of Walt was fair and human so I came in and they said, ‘No, we like it.’ But still, every step of the way, I had my fist balled up behind my back ready to fight in case it happened, but it didn’t."[34] Although the filmmakers did not receive any creative interference from Disney regarding Walt Disney's depiction, the studio did request that they omit any onscreen inhalation of cigarettes[35] due to the company's policy of not directly depicting smoking in films released under the Walt Disney Pictures banner, and to avoid receiving an R-rating from the Motion Picture Association of America.[36][37] Instead, Disney is shown extinguishing a lit cigarette in one scene, and his notorious smoker's cough is heard off-screen several times throughout the film.[36]
Filming[edit]
The former Animation Building on the Walt Disney Studios lot, which served as a primary filming location for the film.
Principal photography began in September 2012 in Los Angeles.[38] Although some scenes were originally planned to be shot in Queensland, Australia,[39] all filming, except for two establishing shots in London, took place in the Southern California area, including the Walt Disney Studios lot in Burbank, Disneyland Park in Anaheim, Big Sky Ranch in Simi Valley, the Los Angeles County Arboretum and Botanic Garden in Arcadia, Heritage Square Museum in Montecito Heights, Ontario International Airport in San Bernardino, Courthouse Square at Universal Studios, and the TCL Chinese Theatre in Hollywood.[38][40] The largest set built for the film was the interior of the Walt Disney Studios' Animation Building, which production designer Michael Corenblith referred to as "a character in the story".[41] The exterior of the Beverly Hills Hotel and Disney's personal office were also recreated, with the Langham Huntington in Pasadena acting as an interior double for the Beverly Hills Hotel.[38] To ensure authenticity, Corenblith used photographs and a furniture display from the Ronald Reagan Presidential Library as references for Disney's office; the set was also adorned with Disney's personal Academy Awards loaned from a Walt Disney World Resort exhibit.[14][40][42] For the Disneyland sequences, scenes were shot during the early morning with certain areas cordoned off during the park's operation, including the park's entrance courtyard, Main Street U.S.A., Sleeping Beauty Castle, Fantasyland, and the King Arthur Carrousel attraction.[43] Extra roles were filled by Disneyland Resort cast members.[44] In order for the park to be portrayed accurately in the story's time period, Corenblith had the Main Street storefronts redressed to reflect their 1961 appearance; post-1961 attractions were kept obstructed so they would not show up on camera.[38][45] To recreate the original film's premiere at the Chinese Theatre, set designers closed Hollywood Boulevard and recreated the street and theater to resemble their 1964 appearances.[42] After scheduled filming in Australia had been scrapped, cinematographer John Schwartzman compared the landscape of Queensland with that of rural Southern California, and realized that both had similar traits in natural lighting.[41]
"I was immediately dry-mouthed by the prospect. It’s just the hardest work that is to be done. There’s a billion hours of video, of Walt performing as Walt Disney, being a great guy. But I found enough actual footage of him in interviews when he'd really like to be done with the subject...When I could find him showing any legitimate kind of consternation, that was worth its weight in gold."
— Tom Hanks in regards to portraying Disney.[46]
Emma Thompson prepared for her role by studying Travers' own recordings conducted during the development of Mary Poppins, and also styled her natural hair after Travers', due to the actress's disdain for wigs.[47] To accurately convey Walt Disney's midwestern dialect, Tom Hanks listened to archival recordings of Disney and practiced the voice while reading newspapers.[48] Hanks also grew his own mustache for the role, which underwent heavy scrutiny, with the filmmakers going so far as to match the dimensions of Hanks' mustache to that of Disney's.[49] Jason Schwartzman and B. J. Novak worked closely with Richard M. Sherman during pre-production and filming. Sherman described the actors as "perfect talents" for their roles as himself and his brother, Robert.[50] Costume designer Daniel Orlandi had Thompson wear authentic jewelry borrowed from the Walt Disney Family Museum,[51] and ensured that Hanks' wardrobe included the Smoke Tree Ranch emblem from the Palm Springs property embroidered on his neckties, which Disney always wore.[52] The design department also had to recreate several of the costumed Disney characters as they appeared in the 1960s.[53] Filming lasted nine weeks and was completed on November 22, 2012.[38][54] Walt Disney Animation Studios reproduced an animation of Tinker Bell for the scene that recreates an opening segment from an episode of Walt Disney Presents.[38]
Music[edit]
Main article: Saving Mr. Banks (soundtrack)
Thomas Newman composed the film's original score.[55] In regards to incorporating his own musical style to the film's period setting, Newman stated that "there was room for a real tune-based score here that could reflect the basic joy in that kind of writing that the Sherman Brothers brought to Mary Poppins.[56] Newman, however, refrained from creating an "adaptation score" of the Shermans' music from the original film.[56][57] Newman's process of scoring the film included playing themes to filmed scenes, so that he could "listen to what the music does to an image",[58] and not wanting to "clutter the proceedings with music."[59] The flashback sequences to Travers' childhood provided the most work for Newman.[60] He explains that, "You had to turn on a dime to make the transition back to the 'present,' when Travers and the Sherman brothers are working on the script for Mary Poppins. And that was fun, but also musically challenging.” For the score's instrumentation, Newman primarily employed a string orchestra with some woodwinds and brass, as well as including piano and hammered instruments that were "appropriate to the time period", such as dulcimers.[60] The film's score was recorded at the Newman Scoring Stage in Los Angeles, while the cast recorded several of the Shermans' songs at Capitol Studios for use as playback during the film's diegetic music scenes, including "Chim Chim Cher-ee", "Supercalifragilisticexpialidocious", "A Spoonful of Sugar", "Fidelity Fiduciary Bank", "Feed the Birds", and "Let's Go Fly a Kite".[40] Walt Disney Records released two editions of the soundtrack on December 10, 2013: a single-disc and a two-disc digipak deluxe edition, containing original demo recordings by the Shermans and selected songs from Mary Poppins.[61]
Historical accuracy[edit]
See also: Mary Poppins (film) § Production
Saving Mr. Banks depicts several events that differ from recorded accounts.[62] The premise of the script—that Walt Disney had to convince P.L. Travers to hand over the film rights, including the scene when he finally persuades her—is fictionalized, as Disney had already secured the film rights (subject to Travers' approval of the script) when Travers arrived to consult with the Disney staff.[62][63][64] Disney, in fact, left Burbank to vacation in Palm Springs a few days into Travers' visit and was not present at the studio when several of the film's scenes depicting him to be present actually took place.[32] Therefore, many of the dialogue scenes between Travers and Disney are adapted from letters, telegrams, and telephone correspondence between the two.[32] Although Travers was assigned a limousine driver,[32] the character of Ralph is fictionalized and intended to be an amalgamation of the studio's drivers.[65] In real life, Disney story editor Bill Dover was assigned as Travers' guide and companion during her time in Los Angeles.[32]
The film also depicts Travers coming to amicable terms with Disney, implying her approval of his changes to the story.[66] In reality, she never approved of softening the harsher aspects of Mary Poppins' character, remained ambivalent about the music, and never came around to the use of animation.[67][68] Disney overruled her objections to portions of the final film, citing contract stipulations that he had final cut privilege. Travers had initially not been invited to the film's premiere, until she "embarrassed" a Disney executive into extending her an invitation; this is depicted in the film as coaxing Disney himself. After the premiere, she reportedly approached Disney and told him that the animated sequences had to be removed. Disney dismissed her request, saying, "Pamela, the ship has sailed."[69]
Although the film portrays Travers as being emotionally moved during the premiere of Mary Poppins[69]—overlaid with images of her childhood, which is implied to be attributed to her feelings about her father—co-screenwriter Kelly Marcel and several critics note that in real life, Travers' show of emotion was actually a result of anger and frustration over the final product.[32][69][70] Reportedly, Travers felt that in the end, the film betrayed the artistic integrity of her work and story's characters.[71] Resentful over what she considered poor treatment at the hands of Walt Disney, Travers vowed to never permit Disney to adapt her other novels for any purpose.[72] Travers' last will bans all American adaptation of her works to any form of media.[32] According to the Chicago Tribune, Disney was "indulging in a little revisionist history with an upbeat spin", adding, "the truth was always complicated" and that Travers subsequently viewed the film multiple times.[73]
English writer Brian Sibley found Travers still gun-shy from her experiences with Disney when he was hired in the 1980s to write a possible Mary Poppins sequel. Sibley reported that Travers told him, "I could only agree if I could do it on my own terms. I'd have to work with someone I trust." Regardless, while watching the original film together—the first time Travers had seen it since the premiere—she became excited at times and thought certain aspects were excellent, while others were unappealing.[74] The sequel never went to production, and when approached to do a stage adaptation in the 1990s, she only acquiesced on the condition that English-born writers and no one from the film production were to be directly involved with the musical's development.[75]
The film also depicts Travers' Aunt Ellie (her mother's sister), who comes to help the family when her father becomes terminally ill, as Travers' model for Mary Poppins, with her even using several of Poppins' catchphrases from the film. In fact, Travers identified her great aunt Helen Morehead (her mother's aunt), as the model for Poppins.[76][77]
Release[edit]
Walt Disney Studios Motion Pictures released a trailer for the film on July 10, 2013.[78] Saving Mr. Banks held its world premiere at the London Film Festival on October 20, 2013.[79][80][81] On November 7, 2013, Walt Disney Pictures held the film's U.S. premiere at the TCL Chinese Theatre during the opening night of the 2013 AFI Film Festival,[82][83] the same location where Mary Poppins premiered.[84] The original film was also screened for its 50th anniversary.[85]
Saving Mr. Banks also served as the Gala Presentation at the 2013 Napa Valley Film Festival on November 13,[86] and was screened at the AARP Film Festival in Los Angeles on November 17,[17] as Disney heavily campaigned Saving Mr. Banks for Academy Awards consideration.[17] On December 9, 2013, the film was given an exclusive corporate premiere in the Main Theater of the Walt Disney Studios lot in Burbank.[87] The film was released theatrically in the United States on December 13, 2013, and in general theatrical release on December 20.[88]
Saving Mr. Banks grossed $83.3 million in North America and $34.6 million in other countries, for a worldwide total of $117.9 million, against a budget of $35 million.[3] The film grossed $9.3 million in its opening weekend in the United States, finishing 5th at the box office behind The Hobbit: The Desolation of Smaug ($31.5 million), Anchorman 2: The Legend Continues ($26.2 million), Frozen ($19.6 million), and American Hustle ($19.1 million).[89]
Walt Disney Studios Home Entertainment released Saving Mr. Banks on Blu-ray, DVD, and digital download on March 18, 2014.[90] The film debuted at No. 2 in Blu-ray and DVD sales in the United States according to Nielsen's sales chart.[91] The home media release included three deleted scenes that were cut from the film.[92]
Reception[edit]
Critical response[edit]
Saving Mr. Banks received positive reviews from film critics, with major praise directed to the acting; particularly Thompson, Hanks, and Farrell's performances.[17] On review aggregator website Rotten Tomatoes, the film has an approval rating of 78% based on 241 reviews, with an average rating of 7/10. The site's critical consensus reads, "Aggressively likable and sentimental to a fault, Saving Mr. Banks pays tribute to the Disney legacy with excellent performances and sweet, high-spirited charm."[93] Metacritic assigned the film a weighted average score of 65 out of 100, based on 46 critics, indicating "generally favorable reviews".[94]
Leslie Felprin of The Hollywood Reporter praised the film as an "affecting if somewhat soft-soaped comedy drama, elevated by excellent performances." The Reporter wrote that "Emma Thompson takes charge of the central role of P. L. Travers with an authority that makes you wonder how anybody else could ever have been considered."[95] Scott Foundas of Variety wrote that the film "has all the makings of an irresistible backstage tale, and it's been brought to the screen with a surplus of old-fashioned Disney showmanship...", and that Tom Hanks's portrayal captured Walt Disney's "folksy charisma and canny powers of persuasion — at once father, confessor and the shrewdest of businessmen." Overall, he praised the film as "very rich in its sense of creative people and their spirit of self-reinvention."[96]
The Washington Post's Ann Hornaday rated the film three out of four stars, writing: "Saving Mr. Banks doesn't always straddle its stories and time periods with the utmost grace. But the film — which John Lee Hancock directed from a script by Kelly Marcel and Sue Smith — more than makes up for its occasionally unwieldy structure in telling a fascinating and ultimately deeply affecting story, along the way giving viewers tantalizing glimpses of the beloved 1964 movie musical, in both its creation and final form."[97] The New York Times' A. O. Scott gave a positive review, declaring the film as "an embellished, tidied-up but nonetheless reasonably authentic glimpse of the Disney entertainment machine at work."[98]
Mark Kermode writing for The Observer awarded the film four out of five stars, lauding Thompson's performance as "impeccable", elaborating that "Thompson dances her way through Travers' conflicting emotions, giving us a fully rounded portrait of a person who is hard to like but impossible not to love."[99] Michael Phillips of the Chicago Tribune felt similarly, writing: "Thompson's the show. Each withering put-down, every jaundiced utterance, lands with a little ping." In regard to the screenplay, he wrote that "screenwriters Kelly Marcel and Sue Smith treat everyone gently and with the utmost respect."[100] Peter Travers of Rolling Stone also gave the film three out of four stars and equally commended the performances of the cast.[101]
Alonso Duralde of TheWrap described the film as a "whimsical, moving and occasionally insightful tale ... director John Lee Hancock luxuriates in the period detail of early-’60s Disney-ana".[102] Entertainment Weekly gave the film a "B+" grade, explaining that "the trick here is how perfectly Thompson and Hanks portray the gradual thaw in their characters' frosty alliance, empathizing with each other's equally miserable upbringings in a beautiful three-hankie scene late in the film."[103] Kenneth Turan of Los Angeles Times wrote that the film "does not strictly hew to the historical record where the eventual resolution of this conflict is concerned," but admitted that it "is easy to accept this fictionalizing as part of the price to be paid for Thompson's engaging performance."[104]
David Gritten of The Daily Telegraph described the confrontational interaction between Thompson and Hanks as "terrific", singling out Thompson's "bravura performance", and calling the film itself "smart, witty entertainment".[105] Kate Muir of The Times spoke highly of Thompson and Hanks's performances.[106] Joe Morgenstern of The Wall Street Journal, however, considered Colin Farrell to be the film's "standout performance".[107] IndieWire's Ashley Clark wrote that the film "is witty, well-crafted and well-performed mainstream entertainment which, perhaps unavoidably, cleaves to a well-worn Disney template stating that all problems—however psychologically deep-rooted—can be overcome."[108] Another staff writer labeled Thompson's performance as her best since Sense and Sensibility, and stated that "she makes the Australian-born British transplant a curmudgeonly delight."[109] Peter Bradshaw of The Guardian enjoyed Hanks' role as Disney, suggesting that, despite its brevity, the film would have been largely "bland" without it.[110]
The film did receive some criticism. Geoffrey Macnab of The Independent gave the film a mixed review, writing: "On the one hand, Saving Mr. Banks (which was developed by BBC Films and has a British producer) is a probing, insightful character study with a very dark undertow. On the other, it is a cheery, upbeat marketing exercise in which the Disney organization is re-promoting one of its most popular film characters."[111] Mick LaSalle of the San Francisco Chronicle concluded that if the film ""were 100 percent false and yet felt true, that would be fine. But this has the self-conscious whiff, if not of mendacity, then of public relations."[112] Lou Lumenick of The New York Post criticized the accuracy of the film's events, concluding that "Saving Mr. Banks is ultimately much less about magic than making the sale, in more ways than one."[113] American history lecturer John Wills praised the film's attention to detail, such as the inclusion of Travers' original recordings, but doubted that the interpersonal relations between Travers and Disney were as amicable as portrayed in the film.[114] Landon Palmer of Film School Rejects also described several moments where the film had a "shrewd consumption of [the company's] own criticisms", only to later negate them and Disney-fy Travers as a character.[71]
Accolades[edit]
Main article: List of accolades received by Saving Mr. Banks
Saving Mr. Banks was nominated for several awards and earned accolades from various organizations, critics' groups and circles, particularly in recognition of Emma Thompson. The film received five nominations at the 67th British Academy Film Awards, including Best British Film, Best Actress in a Leading Role, Outstanding Debut by a British Writer, Director or Producer, Best Film Music, and Best Costume Design.[115]
The film received a Best Original Score nomination at the 86th Academy Awards, where—despite not earning a nomination—the film was widely considered by pundits to be a front-runner for Best Picture and Best Actress.[116][117][118][119][120] The film also received single nominations at the 71st Golden Globe Awards and 20th Screen Actors Guild Awards, where Thompson was nominated for Best Actress in a Motion Picture – Drama and Outstanding Performance by a Female Actor in a Leading Role, respectively.[121][122] Additionally, Thompson won both the Empire Award for Best Actress and the National Board of Review Award for Best Actress for her performance, while the film itself was selected by the National Board of Review as one of the year's top 10 films.[123][124] Saving Mr. Banks was named by the American Film Institute as one of the top ten films of 2013.[125]
References[edit]
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^ Jump up to: a b "Saving Mr. Banks (2013)". Box Office Mojo. Retrieved March 9, 2016.
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Jump up ^ Cunningham, Todd (19 December 2013). "'American Hustle' and 'Saving Mr. Banks' Face Mainstream Box-Office Exams This Weekend". TheWrap. Retrieved 20 December 2013.
Jump up ^ Gettell, Oliver (18 December 2013). "'Saving Mr. Banks' director: 'Such an advantage' shooting in L.A." Los Angeles Times. Retrieved 19 December 2013.
Jump up ^ "Saving Mr. Banks (2013)". The New York Times. Retrieved August 27, 2015.
^ Jump up to: a b c Shaw, Lucas (17 December 2013). "How 'Saving Mr. Banks' Overcame Disney's Resistance to a Movie About Disney". TheWrap. Retrieved 19 December 2013.
Jump up ^ Pond, Steve (17 December 2013). "Director John Lee Hancock on 'Saving Mr. Banks': We Went for the Truth, Not the Facts". TheWrap. Retrieved 19 December 2013.
Jump up ^ Marcel, Kelly (December 23, 2013). "'Saving Mr. Banks' screenwriter finds purpose in the tale". Los Angeles Times. Retrieved July 14, 2015.
Jump up ^ Sciretta, Peter (December 13, 2013). "Interview: Kelly Marcel On Writing 'Saving Mr. Banks'". /Film. Retrieved July 14, 2015.
Jump up ^ Sherman, Robert B. "Tween Pavement and Stars" ("No Red In London") in Moose: Chapters From My Life, AuthorHouse Publishing, Bloomington, IN, p. 372-375.
^ Jump up to: a b c d e Kilday, Gregg (16 December 2013). "Bringing Walt Disney (and Mary Poppins) Back to Life: The Making of 'Saving Mr. Banks'". The Hollywood Reporter. Retrieved 19 December 2013.
Jump up ^ Child, Ben (April 11, 2012). "Tom Hanks to play Walt Disney in Saving Mr Banks". The Guardian. Retrieved July 11, 2012.
Jump up ^ Kit, Borys (October 16, 2014). "'Cinderella' and 'Saving Mr. Banks' Executive Tendo Nagenda Promoted at Disney". The Hollywood Reporter. Retrieved August 7, 2016.
^ Jump up to: a b c d Lewis, Hilary (October 28, 2013). "AARP Film Festival to Include 'August: Osage County,' 'Saving Mr. Banks' and 'Labor Day'". The Hollywood Reporter. Retrieved October 28, 2013.
Jump up ^ Hammond, Pete (April 17, 2013). "CinemaCon: Disney's Vegas Act Includes Johnny Depp And 'Lone Ranger' Footage". Deadline.com. Retrieved May 14, 2013.
Jump up ^ Chmielewski, Dawn C. (October 6, 2011). "Steve Jobs brought his magic to Disney". Los Angeles Times. Retrieved October 21, 2013.
Jump up ^ Fleming, Mike (February 27, 2012). "John Lee Hancock In Talks For Making Of Mary Poppins Pic 'Saving Mr. Banks'". Deadline.com. Retrieved July 15, 2015.
Jump up ^ Palmer, Martyn (28 September 2013). "'I still get to make fantastic films — and that's perplexing to me': Tom Hanks on guns, God... and hanging out with The Beatles". Daily Mail UK. London. Retrieved 13 October 2013.
Jump up ^ Riefe, Jordan (18 October 2012). "Tom Hanks on Becoming Walt Disney for 'Saving Mr. Banks'". The Hollywood Reporter. Retrieved 25 October 2012.
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Jump up ^ Jay Weston (9 December 2013). "Tom Hanks IS Walt Disney in "Saving Mr. Banks"!". The Huffington Post. Retrieved July 20, 2014.
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Jump up ^ Sneider, Jeff (July 12, 2015). "Bradley Whitford in talks for 'Mr. Banks'". Variety. Retrieved July 15, 2015.
Jump up ^ Kit, Borys (July 31, 2012). "B.J. Novak Joins Disney's 'Saving Mr. Banks' (Exclusive)". The Hollywood Reporter. Retrieved October 2, 2012.
^ Jump up to: a b c d e f g h Goldsmith, Jeff (2013-12-24). "Saving Mr. Banks Q&A" (Podcast). Unlikely Films, Inc. Retrieved 2014-05-01.
Jump up ^ Barker, Andrew (December 20, 2013). "Variety Creative Impact Award in Directing: John Lee Hancock". Variety. Retrieved July 15, 2015.
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Jump up ^ Buerger, Megan (12 December 2013). "Why 'Saving Mr. Banks' Didn't Save Walt Disney From Smoking". The Wall Street Journal. Retrieved 16 December 2013.
^ Jump up to: a b McClintock, Pamela (16 November 2013). "Disney's Smoking Ban Means No Puffing for Walt Disney in 'Saving Mr. Banks'". The Hollywood Reporter. Retrieved 22 November 2013.
Jump up ^ Sacks, Ethan (8 December 2013). "Tom Hanks goes toe-to-toe with Emma Thompson in 'Saving Mr. Banks'". New York Daily News. Retrieved 9 December 2013.
^ Jump up to: a b c d e f "Saving Mr. Banks: Press Kit" (PDF). The Walt Disney Studios. Retrieved August 21, 2015.
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^ Jump up to: a b c "Saving Mr. Banks: Production Fun Facts" (PDF). The Walt Disney Studios. Retrieved August 21, 2015.
^ Jump up to: a b Gray, Tim (December 9, 2013). "Directors on Their Teams: John Lee Hancock on 'Saving Mr. Banks'". Variety. Retrieved November 21, 2014.
^ Jump up to: a b Verrier, Richard (18 December 2013). "For 'Mr. Banks,' Simi Valley works as Australian outback". Los Angeles Times. Retrieved 19 December 2013.
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Jump up ^ Rochlin, Margy (January 3, 2014). "Not Quite All Spoonfuls of Sugar". The New York Times. Retrieved August 24, 2015.
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Jump up ^ Mandell, Andrea (8 November 2013). "Tom Hanks read newspapers in Walt Disney's voice". USA Today. Retrieved 13 November 2013.
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Jump up ^ Miller, Julie (19 December 2013). "From Sketch to Still: Recreating Vintage Disney for Saving Mr. Banks". Vanity Fair. Retrieved 8 March 2014.
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Jump up ^ "Thomas Newman Scoring 'Saving Mr. Banks'". Film Music Reporter. 25 April 2013. Retrieved 21 October 2013.
^ Jump up to: a b Schweiger, Daniel (December 3, 2013). "Interview with Thomas Newman". Film Music Magazine. Retrieved August 21, 2015.
Jump up ^ Fahy, Patrick (December 5, 2013). "Thomas Newman: a composer's life in Hollywood". British Film Institute. Retrieved August 21, 2015.
Jump up ^ Kilday, Gregg (February 28, 2014). "Oscars: John Williams, Jill Scott Spotlight Song and Score Nominees at Academy's First-Ever Concert". The Hollywood Reporter. Retrieved May 27, 2014.
Jump up ^ Fusilli, Jim (February 21, 2014). "Will His 12th Oscar Nomination Be Thomas Newman's Charm?". The Wall Street Journal. Retrieved August 21, 2015.
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Jump up ^ "Walt Disney Records Presents Saving Mr. Banks Original Motion Picture Score Soundtrack And Saving Mr. Banks 2-Disc Deluxe Edition Soundtrack Features Previously Unreleased Song Demos By The Sherman Brothers Both Available On December 10" (Press release). PR Newswire. Burbank, California. November 26, 2013. Retrieved March 29, 2014.
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Jump up ^ Kubersky, Seth (January 7, 2014). "Fact-checking Saving Mr. Banks with Disney historian Jim Korkis". Orlando Weekly. Retrieved August 21, 2015.
Jump up ^ Corliss, Richard (12 December 2013). "Saving Mr. Banks: When Movies Lie and Make You Cry". Time. Retrieved 15 May 2014.
Jump up ^ Keegan, Rebecca (28 December 2013). "Is 'Saving Mr. Banks' too hard on 'Mary Poppins' creator?". Los Angeles Times. Retrieved 7 March 2014.
Jump up ^ Mandell, Andrea (10 December 2013). "Tom Hanks, Emma Thompson duel in 'Saving Mr. Banks'". USA Today. Retrieved 9 March 2014.
Jump up ^ Newman, Melinda (7 November 2013). "'Poppins' Author a Pill No Spoonful of Sugar Could Sweeten". Variety. Retrieved 7 November 2013.
^ Jump up to: a b c Lyons, Margaret (December 26, 2013). "Saving Mr. Banks Left Out an Awful Lot About P.L. Travers". New York. Retrieved 7 March 2014.
Jump up ^ Caitlin Flanagan (December 19, 2005). "Becoming Mary Poppins". The New Yorker. Retrieved 9 March 2014.
^ Jump up to: a b Landon Palmer (December 24, 2013). "Landon Palmer Saving Mr. Disney: The Conflicting Arts of Adaptation and Brand Management". Film School Rejects. Archived from the original on March 10, 2014. Retrieved March 9, 2014.
Jump up ^ Nance, Kevin (20 December 2013). "Valerie Lawson talks 'Mary Poppins, She Wrote' and P.L Travers". Chicago Tribune. Retrieved 21 April 2014.
Jump up ^ Jones, Chris (20 December 2013). "With 'Mary Poppins,' there's more to know under the umbrella". Chicago Tribune. Retrieved 22 April 2014. In fact, Travers went to see "Mary Poppins" plenty of times after that premiere, so maybe there is some truth to the screenplay. The only person who could verify that died in 1996
Jump up ^ Vincent Dowd (20 October 2013). "Mary Poppins: Brian Sibley's sequel that never was". BBC News. BBC. Retrieved 27 April 2014.
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Jump up ^ Kevin Nance (December 20, 2013). "'Mary Poppins, She Wrote' author discusses P.L Travers, 'Saving Mr. Banks'". Chicago Tribune. p. 2. Retrieved January 12, 2014.
Jump up ^ Abramovitch, Seth (11 July 2013). "'Saving Mr. Banks' Trailer: Tom Hanks as Walt Disney in 'Mary Poppins' Biopic". The Hollywood Reporter. Retrieved 11 July 2013.
Jump up ^ Kemp, Stuart (20 October 2013). "Tom Hanks Starrer 'Saving Mr. Banks' Closes BFI London Film Festival". The Hollywood Reporter. Retrieved 22 October 2013.
Jump up ^ Barraclough, Leo (8 August 2013). "'Saving Mr. Banks' to Close London Film Fest". Variety. Retrieved 8 August 2013.
Jump up ^ Szalai, Georg (8 August 2013). "Disney's 'Saving Mr. Banks' to Close BFI London Film Festival". The Hollywood Reporter. Retrieved 10 August 2013.
Jump up ^ Hammond, Pete (September 4, 2013). "AFI Fest Selects Disney's 'Saving Mr Banks', Bennett Miller's 'Foxcatcher' For Opening Slots". Deadline.com. Retrieved 4 September 2013.
Jump up ^ Kilday, Gregg (4 September 2013). "Tom Hanks' 'Saving Mr. Banks' to Open AFI Fest". The Hollywood Reporter. Retrieved 5 September 2013.
Jump up ^ Borys Kit; Scott Feinberg (9 November 2013). "'Saving Mr. Banks' Adds to Momentum at Sing-Along with 'Mary Poppins' Legend". The Hollywood Reporter. Retrieved 9 November 2013.
Jump up ^ Pond, Steve (22 October 2013). "AFI Fest Adds Oscar Foreign Contenders, Eli Roth, 'Mary Poppins'". TheWrap. Retrieved 22 October 2013.
Jump up ^ McClintock, Pamela (19 September 2013). "'August: Osage County', 'Saving Mr. Banks' Heading to Napa Valley Film Festival". The Hollywood Reporter. Retrieved 18 September 2013.
Jump up ^ Hammond, Pete (10 December 2013). "Julie Andrews And Dick Van Dyke Light Up 'Saving Mr. Banks' Premiere As Disney Goes All Interactive With 'Mary Poppins' (Exclusive)". Deadline.com. Retrieved 10 December 2013.
Jump up ^ Schillaci, Sophie; Pamela McClintock (13 June 2013). "Disney Dates Musical 'Into the Woods' Opposite 'Annie' in December 2014". The Hollywood Reporter. Retrieved 5 September 2013.
Jump up ^ "Weekend Box Office: December 20-22, 2013". Box Office Mojo. Retrieved July 15, 2015.
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Jump up ^ Arnold, Thomas K. (26 March 2014). "'Frozen' Easily Tops Home Video Sales Charts". Variety. Retrieved 29 March 2014.
Jump up ^ Labrecque, Jeff (13 June 2013). "'Saving Mr. Banks': See the deleted scene that explains everything". Entertainment Weekly. Retrieved August 21, 2015.
Jump up ^ "Saving Mr. Banks (2013)". Rotten Tomatoes. Fandango Media. Retrieved February 22, 2018.
Jump up ^ "Saving Mr. Banks Reviews". Metacritic. CBS Interactive. Retrieved November 21, 2013.
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Jump up ^ Hornaday,, Ann (12 December 2013). "'Saving Mr. Banks' review: The affecting story of how 'Mary Poppins' reached the screen". The Washington Post. Retrieved 13 December 2013.
Jump up ^ Scott, A.O. (12 December 2013). "An Unbeliever in Disney World". The New York Times. Retrieved 13 December 2013.
Jump up ^ Kermode, Mark (30 November 2013). "Saving Mr Banks – review". The Observer. Retrieved 2 December 2013.
Jump up ^ Phillips, Michael (12 December 2013). "Review: 'Saving Mr. Banks'". Chicago Tribune. Retrieved 13 December 2013.
Jump up ^ Travers, Peter (12 December 2013). "Saving Mr. Banks: Review". Rolling Stone. Retrieved 13 December 2013.
Jump up ^ Duralde, Alonso (6 November 2013). "'Saving Mr. Banks' Review: Emma Thompson and Tom Hanks Are Spit-Spot-On in This Hollywood Valentine". TheWrap. Retrieved 9 November 2013.
Jump up ^ Nashawaty, Chris (11 December 2013). "Movie Review: Saving Mr. Banks". Entertainment Weekly. Retrieved 14 December 2013.
Jump up ^ Turan, Kenneth (12 December 2013). "Review: Emma Thompson is a ripsnorter in 'Saving Mr. Banks'". Los Angeles Times. Retrieved 15 December 2013.
Jump up ^ Gritten, David (20 October 2013). "Saving Mr Banks, first review". The Daily Telegraph. London. Retrieved 21 October 2013.
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Jump up ^ Morgenstern, Joe (12 December 2013). "Review: Saving Mr. Banks". The Wall Street Journal. Retrieved 13 December 2013.
Jump up ^ Clark, Ashley (20 October 2013). "Review: 'Saving Mr. Banks,' With Emma Thompson and Tom Hanks, Puts an Enjoyable Spin On the 'Mary Poppins' Saga Without Romanticizing Disney". Indie Wire. Retrieved 22 October 2013.
Jump up ^ Mueller, Matt (8 November 2013). "Review: Thompson Triumphs in 'Saving Mr. Banks,' which Adds Spoonful of Sugar to Backstage 'Mary Poppins' Tale (TRAILER)". Thompson on Hollywood. Retrieved 9 November 2013.
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Jump up ^ "Historian at the Movies: Saving Mr. Banks reviewed". History Extra Magazine. Immediate Media Company. Retrieved 5 December 2013.
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Jump up ^ Tim, Gray (8 November 2013). "Cheers, Tears and Awards Buzz for the 3-Hankie 'Banks'". Variety. Retrieved 11 November 2013.
Jump up ^ Whipp, Glenn (5 December 2013). "'Saving Mr. Banks' and 'Nebraska' are safe bets for Oscar nods". Los Angeles Times. Retrieved 3 December 2013.
Jump up ^ Duboff, Josh (January 16, 2014). "2014 Oscar Nominations: Who Was Snubbed?". Vanity Fair. Retrieved August 7, 2016.
Jump up ^ "Golden Globe Awards Nominations: '12 Years A Slave' & 'American Hustle' Lead Pack". Deadline.com. December 12, 2013. Retrieved December 12, 2013.
Jump up ^ "Nominations Announced for the 20th Annual Screen Actors Guild Awards®". 11 December 2013. Retrieved 11 December 2013.
Jump up ^ "Jameson Empire Awards 2014: The Winners". Empire. March 31, 2014. Retrieved March 31, 2014.
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External links[edit]
Wikiquote has quotations related to: Saving Mr. Banks
Disney portal
Biography portal
Official website at Disney.com
Saving Mr. Banks on IMDb
Saving Mr. Banks at the TCM Movie Database
Saving Mr. Banks at Box Office Mojo
Saving Mr. Banks at Rotten Tomatoes
Saving Mr. Banks at Metacritic
Saving Mr. Banks at BBC Online
[show]
v
t
e
P. L. Travers' Mary Poppins
Books
Mary Poppins (1934)
Mary Poppins Comes Back (1935)
Mary Poppins Opens the Door (1943)
Mary Poppins in the Park (1952)
Mary Poppins From A to Z (1962)
Mary Poppins in the Kitchen (1975)
Mary Poppins in Cherry Tree Lane (1982)
Mary Poppins and the House Next Door (1988)
Characters
Mary Poppins
Mr. Banks
Mrs. Banks
The Banks children
Bert
Miss Lark
Admiral Boom
The servants
Adaptations
Mary Poppins (1964 film)
soundtrack
Mary Poppins, Goodbye (1983 musical miniseries)
Mary Poppins (2004 musical)
Saving Mr. Banks (2013 related film)
Mary Poppins Returns (2018 film)
Songs
"Sister Suffragette"
"The Life I Lead"
"The Perfect Nanny"
"A Spoonful of Sugar"
"Jolly Holiday"
"Supercalifragilisticexpialidocious"
"Stay Awake"
"I Love to Laugh"
"Feed the Birds"
"Fidelity Fiduciary Bank"
"Chim Chim Cher-ee"
"Step in Time"
"A Man Has Dreams"
"Let's Go Fly a Kite"
Category (all pages)
[show]
v
t
e
Films directed by John Lee Hancock
Hard Time Romance (1991)
The Rookie (2002)
The Alamo (2004)
The Blind Side (2009)
Saving Mr. Banks (2013)
The Founder (2016)
The Highwaymen (2018)
[show]
v
t
e
The Sherman Brothers
Richard M. Sherman
Robert B. Sherman
Motion pictures
The Parent Trap (1961)
The Absent-Minded Professor (1961)
Greyfriars Bobby (1961)
Bon Voyage! (1962)
A Symposium on Popular Songs (1962)
In Search of the Castaways (1962)
Big Red (1962)
Moon Pilot (1962)
Summer Magic (1963)
The Sword in the Stone (1963)
The Misadventures of Merlin Jones (1964)
The Moon-Spinners (1964)
Mary Poppins (1964)
Those Calloways (1965)
The Monkey's Uncle (1965)
That Darn Cat! (1965)
Winnie the Pooh and the Honey Tree (1966)
Follow Me Boys (1966)
The Happiest Millionaire (1967)
The Jungle Book (1967)
The Adventures of Bullwhip Griffin (1967)
The One and Only, Genuine, Original Family Band (1968)
Chitty Chitty Bang Bang (1968)
Winnie the Pooh and the Blustery Day (1968)
The Aristocats (1970)
Goldilocks (1971)
Bedknobs and Broomsticks (1971)
Snoopy, Come Home (1972)
Charlotte's Web (1973)
Tom Sawyer (1973)
Huckleberry Finn (1974)
Winnie the Pooh and Tigger Too (1974)
The Slipper and the Rose (1976)
The Many Adventures of Winnie the Pooh (1977)
The Magic of Lassie (1978)
Magic Journeys (1982)
Winnie the Pooh and a Day for Eeyore (1983)
Little Nemo: Adventures in Slumberland (1992)
The Mighty Kong (1998)
Seasons of Giving (1999)
The Tigger Movie (2000)
Stage musicals
and musical revues
Victory Canteen (1971)
Over Here! (1974)
Dawgs (1983)
The Slipper and the Rose (1984)
Busker Alley (1994)
Chitty Chitty Bang Bang (2002)
On the Record (2004)
Mary Poppins (2004)
Merry-Go-Round workshop (2007)
A Spoonful of Sherman (2014)
Theme park
attractions
Golden Horseshoe Revue (1955)
King Arthur Carrousel (1955)
Walt Disney's Enchanted Tiki Room (1963)
It's a Small World (1966)
Adventure Thru Inner Space (1967)
Walt Disney's Carousel of Progress (1967)
Main Street Electrical Parade (1972)
America Sings (1974)
America on Parade (1975)
CommuniCore (1982)
Imagination! (1982)
Magic Journeys (1982)
The World Showcase March (1982)
Japan (Epcot) (1982)
Journey into Imagination (1983)
Meet the World (1983)
Innoventions (1998)
Rocket Rods (1998)
The Many Adventures of Winnie the Pooh (1999)
Disneyland Forever (2015)
Books
Walt's Time: from before to beyond (1998)
Moose: Chapters From My Life (2013)
Related
The Boys: The Sherman Brothers' Story (2009)
Saving Mr. Banks (2013)
The Jungle Book (2016)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Saving_Mr._Banks&oldid=840068452"
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Public utility
From Wikipedia, the free encyclopedia
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"Utilities" redirects here. For other uses, see Utility (disambiguation).
The examples and perspective in this article deal primarily with the United States, United Kingdom, and Ireland and do not represent a worldwide view of the subject. You may improve this article, discuss the issue on the talk page, or create a new article, as appropriate. (April 2016) (Learn how and when to remove this template message)
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A public utility (usually just utility) is an organization that maintains the infrastructure for a public service (often also providing a service using that infrastructure). Public utilities are subject to forms of public control and regulation ranging from local community-based groups to statewide government monopolies.
The term utilities can also refer to the set of services provided by these organizations consumed by the public: electricity, natural gas, water, sewage, telephone, and transportation. Broadband internet services (both fixed-line and mobile) are increasingly being included within the definition.[1][2][3][4]
Contents
[hide]
1 United States
1.1 Public utilities commissions
2 United Kingdom and Ireland
3 References
4 External links
United States[edit]
In the United States, public utilities are often natural monopolies because the infrastructure required to produce and deliver a product such as electricity or water is very expensive to build and maintain.
This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2017) (Learn how and when to remove this template message)
As a result, they are often government monopolies, or if privately owned, the sectors are specially regulated by a public utilities commission.[1][2] The first public utility in the United States was a grist mill on Mother Brook in Dedham, Massachusetts.[5]
Developments in technology have eroded some of the natural monopoly aspects of traditional public utilities. For instance, electricity generation, electricity retailing, telecommunication, some types of public transit and postal services have become competitive in some countries and the trend towards liberalization, deregulation and privatization of public utilities is growing. However, the infrastructure used to distribute most utility products and services has remained largely monopolistic.[citation needed]
Public utilities can be privately owned or publicly owned. Publicly owned utilities include cooperative and municipal utilities. Municipal utilities may actually include territories outside of city limits or may not even serve the entire city. Cooperative utilities are owned by the customers they serve. They are usually found in rural areas. Publicly owned utilities are non-profit.[citation needed] Private utilities, also called investor-owned utilities, are owned by investors,[6][7][8] and operate for profit, often referred to as a rate of return.
Public utilities provide services at the consumer level, be it residential, commercial, or industrial consumer. In turn, utilities and very large consumers buy and sell electricity at the wholesale level through a network of RTOs and ISOs within one of three grids, the eastern grid, Texas, which is a single ISO, and the western grid.[citation needed]
Public utilities commissions[edit]
A public utilities commission is a governmental agency in a particular jurisdiction that regulates the commercial activities related to associated electric, natural gas, telecommunications, water, railroad, rail transit, and/or passenger transportation companies. For example, the California Public Utilities Commission (or CPUC) [3] and the Public Utility Commission of Texas regulate the utility companies in California and Texas, respectively, on behalf of their citizens and ratepayers (customers). These public utility commissions (PUCs) are typically composed of commissioners, who are appointed by their respective governors, and dedicated staff that implement and enforce rules and regulations, approve or deny rate increases, and monitor/report on relevant activities. Over the years, various changes have dramatically re-shaped the mission and focus of many public utility commissions. Their focus has typically shifted from the up-front regulation of rates and services to the oversight of competitive marketplaces and enforcement of regulatory compliance.[9]
United Kingdom and Ireland[edit]
In the United Kingdom and Ireland, the state, private firms, and charities ran the traditional public utilities. For instance, the Sanitary Districts were established in England and Wales in 1875 and in Ireland in 1878.
The term can refer to the set of services provided by various organizations that are used in everyday life by the public, such as: electricity generation, electricity retailing, electricity supplies, natural gas supplies, water supplies, Sewage works, sewage systems and broadband internet services.[10] They are regulated by Ofgem, Ofwat and Ofcom. Disabled community transport services may occasionally be included within the definition. They were mostly privatised in the UK during the 1980s.
References[edit]
^ Jump up to: a b "Public utility - Definition". Merriam-Webster Dictionary. Retrieved 2011-10-11.
^ Jump up to: a b "public utility definition". Investorwords.com. Retrieved 2011-10-11.
^ Jump up to: a b "California Public Utilities Commission". Cpuc.ca.gov. 2007-03-23. Retrieved 2011-10-11.
Jump up ^ https://www.nytimes.com/2015/02/27/technology/net-neutrality-fcc-vote-internet-utility.html
Jump up ^ "Where Growth Centers". The Salina Evening Journal. Salina, Kansas. November 6, 1922. p. 13. Retrieved March 17, 2015 – via Newspapers.com.
Jump up ^ Energy Dictionary
Jump up ^ Investor Owned Electric Utilities
Jump up ^ Investor-Owned Utilities: Asleep at the Switch or Above the Law?
Jump up ^ "Public Utilities Commission of Texas". Public Utilities Commission of Texas. Retrieved 17 February 2017.
Jump up ^ "Utilities Websites". Uk250.co.uk. Retrieved 2011-10-11.
External links[edit]
Look up utility in Wiktionary, the free dictionary.
World Bank report on Water, Electricity and Utility subsidies
Latest News in Utilities and Information Technology
Latest in UK business utility news
[hide]
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NDL: 00566127
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