Whether you loved him or hated him as part of Take That or on his own accord as a brash soloist, Robbie Williams, particularly in the 1990s, was a figure you couldn’t escape. Similar to the cultural impact of Geri Halliwell exiting the Spice Girls or Zayn Malik bidding adieu to One Direction, Williams’ exit out of Take That was monumental and, much like those aforementioned performers, the pressure on his career to succeed as his own persona was equally as mighty.
Navigating the charts and the publicity scene with a cheek that probably would’ve gotten him cancelled nowadays, Williams’ personality was as polarising as his music, but within the realms of Michael Gracey‘s ambitious biopic Better Man, his greatest hits have been tailored so that even the most unfamiliar listener will enjoy the charged pop sound that drive Gracey’s script forward; the story written in collaboration with Oliver Cole and Simon Gleeson.
Narrated by Williams, Better Man is a lively on-screen explosion that covers his youth, his troubling days as a glorified back-up performer in Take That, and his rise and fall as a soloist, all the while his struggles with addiction cripple any good faith he manages to earn. Gracey, who directed The Greatest Showman, brings a similar level of excitement and romanticism to Williams’ life and talent, with the majority of the musical numbers proving dazzling productions in their own right that often dwarf the dramatic narrative; you may be hard pressed to find a sequence more rousing than the rendition of “Rock DJ” here.
Whilst it’s not a surprise that Williams’ life would be told in such a theatrical, entertaining manner, it’s the big swing of how Gracey and Williams choose to depict this life that stands as Better Man‘s most divisive, yet admittedly exciting aspect. Williams himself has stated that he views this entertainer lifestyle as akin to a performing monkey, so, in a simian form that comes courtesy of the magic folks at the WETA Workshop, the singer is depicted as just that.
With Williams’ singing vocals – he even re-recorded many of his older hits, such as the aforementioned “Rock DJ” and “She’s the One” – and motion capture from British actor Jonno Davies, the unconventionality of telling his story through this aspect is the kind of swing that audiences will either embrace or reject. And with the movie hedging its bet on such, such an audacity, admirable as it is, will hopefully pay off with those that appreciate his music and humour enough to come along for the ride.
Despite this narrative choice, Davies gives his all to the performance, with every hint of emotion shining through the ape visuals, and Williams has similarly laid himself bare as a subject, with his many infidelities, the heft of his addiction and his ultimate self-loathing being featured across the film’s 134 minutes; performing monkey he may be, but he’s also refreshingly honest in letting such a tale be unafraid to show him at his ugliest.
In typical Robbie Williams fashion though, as much as he says and does things we don’t agree with, his undeniable charm continually wins over – even when he’s up there on screen as a literal singing monkey in a suit. Gracey has honed a true energy to proceedings here, which proves enough for Better Man‘s wild storytelling choice to be enfolded by audiences willing to surrender to such chutzpa, which, really, we shouldn’t be surprised at, given Williams’ whole career has been built off his glamour and gall.
THREE AND A HALF STARS (OUT OF FIVE)
Better Man is screening in Australian theatres from Boxing Day, December 26th, 2024.
Better Man was originally reviewed as part of this year’s Toronto International Film Festival coverage.
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