Movies about talking apes are like busses, you wait ages for one and then you get two, or at least that's how the saying appears to go. Of course the gulf between Kingdom of the Planet of the Apes and Better Man could not be bigger. After all Kingdom is a blockbuster epic about human nature and the fight for survival and Better Man is about monkey Robbie Williams getting a hand-shandy and doing lots of cocaine.
Michael “The Greatest Showman” Gracey brings his general disregard for historical accuracy and ability to stage a good musical number to the story of Robbie Williams from little kid (although in the film an ape) in Stoke-on-Trent to the stages of Knebworth. Williams himself narrates and voices himself and as is clear from everything is portrayed as a chimp. The film never actually addresses why he's a chimp, and without an explanation it appears like he's doing it just to avoid from the formula of the film.
The greatest debt this film owes is to Rocketman, the fantastic Elton John biopic. Here we have a sort-of truth, Williams telling you his version in his cheeky, foul-mouthed way, calling himself an “annoying twat” and dropping the C bomb as often as he can. The film reflects the subject, it's loud, occasionally obnoxious, a little annoying and at moments incredibly soulful.
Taking the ape out of it the film follows the usual rags-to-riches story – Robbie wants fame, there's an absent dad, a supportive nan, sex, drugs, “evil” managers, falling out with mates, failed romances and reconciliation. It plays it pretty safe in narrative turns but when the musical sequences come, that's when the film works. A one-shot dance routine through a London street to Rock D.J. is a show-stopper or when the film turns into an apocalyptic fight against many Robbies to Let Me Entertain You.
Steve Pemberton does his best in the one dimensional role as the would-be famous dad who was never really there, while Kate Mulvany plays supportive mum. Really, if the film has a beating heart it's from Alison Steadman as Robbie's loving nan Betty. Steadman has always been great and here gets to show the warmth and love we come to expect. It's her concerned looks, or disguised disappointment that really show the love that would propel Robbie.
Occasionally the apes effects don't look entirely realistic, sometimes it looks a little ropey but for the most part you buy into the ape at the core and see it for a real character. How much of this is true is up for debate but as an exploration of the fame machine, and of hubris it works quite well. It's, at it's core, a fable about the fickle nature of fame and it's corruptive nature given a boost by seeing an ape sing and dance. Robbie is an infuriating man, and the film follows that suit, but there's no denying the kid has talent.
Better Man is in cinemas from 26 December
