In Marielle Heller’s film, Tom Hanks moves past imitation to find Mister Rogers’ nurturing soul. Read our review of ‘A Beautiful Day in the Neighborhood’
Esquiretakes place. Like Junod, Lloyd accepts the Rogers assignment thinking he just might penetrate the Rogers bubble of bland. He’s not planning a hatchet job exactly, but it might be a kick to uncover a few flaws in this avatar of benevolent virtue, who was also a Presbyterian minister.
Instead, Lloyd uncovers his own feet of clay. Despite a loving, supportive wife in Andrea and an infant son, the workaholic Lloyd has major daddy issues. His father, Jerry , is so boorish, needling, and neglectful that Lloyd starts a fistfight with the old man at a family wedding. Cheers to the talented Rhys, the Welsh actor who won a well-deserved Emmy for playing an undercover Russian spy infor bringing nuance and implosive intensity to a role that could have easily slid into cliché.
Lloyd shows up bruised in Pittsburgh, where Mister Rogers lives and tapes his TV show, and instantly recognizes that this hardass journalist from the Big Apple needs some TLC. And that’s the movie — the slow wearing down of a reporter’s cynicism through the inherent decency of, yes, a hokey kid-show guy. You can see the reconciliation coming between Lloyd and his dad from outer space.
The entrance and the song are a huge risk. It’s naive to think that because Hanks and Rogers are both nice guys, there’s no acting required. But Hanks, who captures the man’s precise diction and soothing intonation, quickly moves past imitation to find the nurturing soul that Mister Rogers opens to the world; not just to children, but to skeptics like Lloyd. And also, perhaps, to an audience of nonbelievers.
Fred is far more successful than Lloyd is at getting answers. The reporter watches Fred at work. He briefly spends time with Fred’s wife, Joanne , and listens to them on the piano. The couple’s two sons are mentioned but nowhere in sight as Fred talks about the challenges of parenthood. And nothing about Fred’s manner changes from what he projects before the camera. What you see is what you get. Even when Fred asks for retakes of a sequence, his tone is firm, never flinty.
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