大梦想家

影片片名是Saving Mr.Banks，但是貌似所有对于这部电影的简述都是说这是迪士尼1964年经典电影《欢乐满人间》如何制作出来的纪录片。

然而，但凡看了这部电影的人都知道，这部电影最重要的还是关于作者的故事，关于如何拯救班克斯先生的故事。

华特 迪士尼，还有创作这部电影的工作人员，都只是一个“旁观者”。

好久没有看一部电影的时候止不住自己的眼泪了，明明是看完欢快愉悦的欢乐满人间后想看看到底这部电影是怎么拍出来的时候，没想到自己看到的真相（或许依然是被粉饰过的）如此揪心。

全片双线交织，Mrs. Travers的童年一直闪回，在她与迪士尼交涉的那段期间，在这部以她自己生活为原型的作品改编成电影期间，她能一直回想的就是自己与父亲生活的点点滴滴。

电影给了我们这样一个故事，坏脾气、酗酒的父亲在女儿心中是一个伟大的梦想家，但光有梦想是不够的，年幼的Hellen却一直坚信着父亲的信念，然而父亲最后潦倒到吐血身亡，只留下她自己孤零零的想着父亲给她的一切。

电影同时也暗示了我们，随风而来的玛丽阿姨其实是爸爸口中“恐怒姐”埃莉阿姨，是她拿着一把鹦鹉头的伞突然出现在门前，是她从小小的旅行袋里掏出各种各样新奇的事物，是她让她们重新生活起来。

迪士尼原本以为这个仙女是来拯救孩子们的，后来才明白，Marry Popins 不是来拯救孩子们的，而是来拯救班克斯先生的。

在小女孩的眼里，埃莉阿姨就是来拯救自己的父亲的，就如在电影中说的一样：Marry Popins和他们一样是普通人，Marry Popins是来教孩子们面对黑暗的。

因为最终，Mrs. Travers的父亲还是死去了，埃莉阿姨还是没有拯救他。

Marry Popins把这些写进自己的书里，把父亲的形象美化，把Marry Popins的描述写得普通的不能再普通。

然而自己的作品将改编为电影时，这一切都有所变化了。

把版权买下的是迪士尼，是华特 迪士尼，是他为了自己女儿的小心愿而做出的决定。

而我们都知道，迪士尼是光明的，迪士尼是温馨的，迪士尼是想象，迪士尼是不可能给我们展现一个普普通通的仙女，迪士尼是不可能给我们拍一部没有韵律感的电影。

但是Marry Popins却恰好反感这一切，她反感动画，她反感Musical，她反感班克斯一家豪华的别墅，反感被刻画为女权运动者的班克斯夫人，反感过度严苛的班克斯先生，反感如此美丽大方的Marry Popins。

因此，我们可以看到她一次又一次的和他们争论，争论，又争论，但是最后却妥协了。

欢乐满人间里有大段大段的歌舞，有长段的动画，班克斯一家有豪华的房子，班克斯夫人依然是一名女权运动者。

因为本片对于事实或许并没有真实地呈现，所以我们不得而知真相，所以我也不想过多去问到底为什么。

但是整部电影吸引我的，是Mrs. Travers，她孤身一人生活，没有亲朋好友，她任性，她有着一种令人感伤的孤独感，但是她依然写出了让全世界孩子和大人们都喜欢的书。

为什么？

因为她继承了父亲的梦想，她自己想要把这些大大空空的白日梦带给人们去享受。

为什么 又不同意改编为电影呢？

因为电影是真人的，电影是具象的，她不想让这些走入真实中，因为自己经历过痛苦。

很高兴的是，汤普森阿姨把这个角色完美的呈现在我的面前，让我一下就接受了这个设定，眉宇之间，举手投足，每一个画面都是自己对这个角色无比的喜爱。

这个唠唠叨叨，奇奇怪怪的英国阿姨就这样留在了我的心里。

很遗憾的是，Mrs. Travers最终没有对欢乐满人间的成片表示满意（尽管我个人是非常喜欢这部电影的),或许这是由于迪士尼太过自我化，又或许是Mrs. Travers太过偏执（听录音带想象一下当时的情景）。

但我认为还是这个故事的本身，不是说不适合拍电影，是无论拍成什么样，或许Mrs. Travers都会不满意，因为我们还相信童话，而她却更愿意接受现实。

迪士尼终究也没能拯救班克斯先生，也没能得到后面几本书的授权，但是有一部好电影，有这么几本好书，已经足够了。

不得不说，音乐真的在打动人心方面太强大了，第一次泪目是制作人员更改结局后新加的Let's Go Fly a Kite响起，Mrs. Travers也不由自主的哼唱起来，第二次泪崩（真的忍不住）和Mrs. Travers一起哭着看了首映，最后画面一切Chim Chim Cher-ee（East Wind），Mrs. Travers为她的父亲流泪，为她的电影流泪（因为真的很讨厌动画啊……），我为她流泪《从随风而来的玛丽阿姨》，到《欢乐满人间》，拯救班克斯先生在书里，在电影里，成功了ps：借用一篇影评里的话，”或许我们帮着迪士尼一起背叛了Mrs. Travers“，但是我依然选择喜爱这部电影

Is ‘Saving Mr. Banks’ too hard on ‘Mary Poppins’ creator?DEC. 28, 2013 12 AM PTBYREBECCA KEEGANhttps://www.latimes.com/entertainment/movies/la-xpm-2013-dec-28-la-et-mn-disney-mary-poppins-saving-mr-banks-travers-20131228-story.htmlIn the winter of 1933, in a thatched cottage in Sussex, England, a complicated woman named Pamela “P.L.” Travers began to write “Mary Poppins,” the first in a series of novels that would inspire the beloved 1964 Walt Disney movie and supply generations of children with a magical fantasy nanny.The reality of Travers’ own turbulent childhood — and her reluctance as an adult to relinquish control over her characters to Walt Disney — are the subject of the movie “Saving Mr. Banks,” which has just gone into wide release. Directed by John Lee Hancock, “Saving Mr. Banks” follows Travers (Emma Thompson) as she travels to the Disney lot in Burbank for two weeks in 1961, tangling with and tormenting the studio chief (Tom Hanks). The L.A. visit inspires Travers to recall her childhood in Australia, in particular her father, a charismatic drunk played by Colin Farrell.Some critics have complained that “Saving Mr. Banks,” which Disney itself produced and distributed, is too hard on Travers and too easy on the company’s founder. Travers is cold, critical and strange — arbitrarily objecting, for instance, to having the color red in the movie and dismissing Disney’s “silly cartoons.” “Uncle Walt,” by contrast, is jovial and encouraging, with few flaws to speak of save for a bad smoker’s cough.ADVERTISEMENTVIDEO: ‘Saving Mr. Banks’: Watch cast, crew discuss the filmAlmost all of what appears in “Saving Mr. Banks” is true. Travers really did hector and frustrate the people at Disney, a fact substantiated by 39 hours of audio recordings of the author’s sessions with “Mary Poppins” screenwriter Don DaGradi, who is played here by Bradley Whitford, and songwriter brothers Richard Sherman (Jason Schwartzman) and Robert Sherman (B.J. Novak).But the makers of “Saving Mr. Banks” admit they took some liberties with Travers’ often tragic life story — they say they actually added a spoonful of sugarYour gift makes a difference in the lives of working dogs, handlers and those affected by disasters here and around the world.“[Travers] was an incredibly difficult person and actually much more difficult than she’s portrayed in the film,” said Kelly Marcel, who shares screenplay credit on the movie with Sue Smith. “But the more I found out about her childhood, the more I felt for her. A lot of children’s authors create these characters from places of tragedy and darkness. I felt it was a beautiful story even though she was an absolute pain.”Australian producer Ian Collie, who made a documentary about Travers in 2002, hatched the idea for a biopic about her, eventually involving independent producers in Britain, a path to the screen that was initially free of Disney input.“This was a script completely developed outside of Disney,” Hancock said. “It would have been difficult for this script to happen inside the studio walls.”Smith, an Australian writer, penned the first draft of the screenplay, which focused on Travers’ strange single-motherhood tale; in real life, the creator of one of fiction’s most beloved caregivers had promised to adopt twin boys, and at the last minute decided to raise only one, never telling him about his brother. (Travers’ son, Camillus, died in 2011, having eventually met his twin brother as an adult in a bar.)When Marcel came onto the project, she decided to leave out Camillus and split the script instead into a dual narrative, with one thread focused on Travers’ childhood, the other on two weeks of her decades-long feud with Disney. She also introduced a fictional character, an optimistic driver played by Paul Giamatti, with whom Travers finally shares a human moment.“I felt we didn’t have a bridge to her feelings,” Marcel said. “We need someone to like her.”Marcel’s script earned a spot on the Black List, a list of hot, unproduced screenplays circulating in Hollywood, which attracted the attention of executives at Disney — in reality the only studio that could have made a movie so laden with Disney intellectual property.“Once Disney bought the script, my big fear was, they’re going to try and sanitize Walt,” Marcel said. “There are going to be so many rules and stipulations, they’re going to say he can’t smoke, he can’t drink. And then they didn’t.”Instead Marcel got access to Disney’s vast archive, including the 39 hours of tapes, which Travers had demanded be made, and to Richard Sherman, who consulted on the movie.Sherman recalls Travers as frustrating and unkind. “The first thing [Travers] said to us was, ‘This is not going to be a musical,’ ” Sherman said, remembering the weeks he spent with Travers in 1961. “[“Saving Mr. Banks”] feels so real to me, it knots my stomach.”Marcel said one change the studio asked her to make to the movie, which is rated PG-13, was to remove a swear word. Disney is also not shown smoking but does stub out a cigarette in one scene.Disney — the man and his creations — have been the subject of interest in multiple media lately, including a critical opera by Philip Glass called “The Perfect American” and a dark independent movie shot surreptitiously at Disney World, “Escape From Tomorrow.”According to Hanks, the fact that “Saving Mr. Banks” is really about Travers, and only spent a narrow time frame on Disney, absolved it of having to deal with some of the more unsavory parts of Disney’s history, such as his role in Hollywood labor issues in the 1940s and his relationships with some well-known anti-Semites.“It was very prescribed what the screenplay was going to be,” Hanks said. “Everybody asks about the strike and the anti-Semitism. But by 1961 it was far enough in the past. He was at the studio and he was — I don’t want to say that he was beloved, but Walt was beloved.”Reviews for the film have mainly been more positive than negative, and Thompson has earned Golden Globe and Screen Actors Guild nominations for her performance. But some critics have objected to what they consider a pro-Walt slant in a movie coming from the man’s own studio. LA Weekly’s Amy Nicholson wrote, “There’s something sour in a movie that roots against a woman who asserted her artistic control.”Marcel said she’s surprised by the critique. “I think I’m incredibly sympathetic toward [Travers] in this film,” Marcel said. “I don’t understand those reviews, but she’s a tricky character.”Disney never invited Travers to the “Mary Poppins” premiere, but she came anyway, afterward telling Disney they had “lots of work to do” to ready the film for release (Disney dismissed her). Privately she told friends she found the film too saccharine.“Kelly Marcel’s script poses a great what if,” Hancock said. “We know Travers didn’t care for the [“Mary Poppins”] movie. We know she wasn’t invited to the premiere. We know she didn’t care for the animation. We do know she cried at the premiere and nobody knows why. Kelly took that as an opportunity for a what if: What if these two weeks were a cathartic experience?”Travers spent her later years writing other novels, poetry and nonfiction (none as commercially successful as “Mary Poppins”) and pursuing an interest in various spiritual ideas, including the teachings of the mystic George Gurdjieff and Zen mysticism, before dying in London in 1996.Valerie Lawson, author of the Travers biography “Mary Poppins, She Wrote,” who has seen “Saving Mr. Banks,” defends its portrait of a difficult woman.“Travers was prickly, but she had good reason to be unhappy as she went through many private struggles and, in many ways, was a woman who could rely only on herself,” Lawson said. “She tried to keep her private life very private so it would have been very confronting for her to see, or even think of herself as a film character. Then again, if she was alive, I can’t see how the film could have been made at all.”--I heard that P.L. Travers ruined the lives of two boys. Is that true?https://www.historyvshollywood.com/reelfaces/saving-mr-banks.phpThough it was not shown in the film, author P.L. Travers did not weave similar magical tales when it came to her personal life. In 1940, she became aware of a destitute family that she knew in Ireland who were looking for someone to adopt their infant identical twins. The children had been born to an irresponsible father and an inept mother, and were in the care of their grandparents who were having trouble coping with the responsibility of raising four children. They arranged for a family friend from London, Pamela Lyndon Travers, to adopt both of the infant twins, at least that was their understanding. Travers was approaching her 40th birthday and had given up hope on finding a lasting relationship that might produce biological children. She was attracted to the literary lineage of the twins.

Trying to choose between two identical twins, P.L. Travers selected her adopted son Camillus based on advice from her astrologer. She refuseTrying to choose between two identical twins, P.L. Travers selected her adopted son Camillus based on advice from her astrologer. She refused to take them both.The twins were the grandchildren of Joseph Hone, an Irish writer and the biographer of poet W.B. Yeats, Travers's idol whom she knew personally. Upon her arrival in Ireland, Travers chose to adopt only Camillus Hone, but not his twin brother Anthony, subsequently splitting up the pair. She based which one to choose on the advice of her astrologer, who had advised her to select the first-born boy. While Camillus Hone (pictured at right with Travers in the 1940s) was whisk off to a life of wealth and privilege in London, his brother Anthony was left to be cared for by neglectful relatives. "Pamela Travers saw herself as Mary Poppins and thought she could play Poppins with poor little Camillus," says the boys' oldest brother, Joseph Hone. "I don't think Travers was fit to bring up children." Appalled by her new son crying at night, at one point Travers considered sending the infant to a babies home in Tunbridge Wells. She eventually got along better with the child, but still shipped him off to boarding school while she continued to focus on her career. -Telegraph.co.ukThe twins reunited at age seventeen when Tony showed up unannounced on P.L. Travers's doorstep to meet his brother Camillus. Travers had previously told Camillus that he was her own and that his father had died of an accident in the colonies where he was a wealthy sugar magnate. The two brothers had little in common other than a fondness for alcohol and would only see each other occasionally in the years that followed. Camillus eventually developed a drinking problem and spent six months in prison after being arrested for driving drunk without a license. His twin brother Anthony would also develop an alcohol problem, which would cost him his family and his career in public relations. Prior to Anthony's death, his ex-wife Frances would tend to his basic needs as she listened to him "moaning" about his brother's good fortune. -DailyMail.co.ukIronically, Camillus's widow, also named Frances, says that he had been left "disappointed and sad" after being made aware that he had been plucked from his natural family. "He would have liked to belong to them because they were artistic and interesting, and as he grew up he didn't have any brothers, sisters or aunts and uncles, or a Daddy — only her." -DailyMail.co.uk

1.实际上P.L. Travers对"Let's Go Fly a Kite"并没有向电影中描述的那样热衷，据Richard M. Sherman描述，她更喜欢"Feed the Birds"。

2.Tom Hanks与他扮演的Walt Disney，实际上有着远房表亲的关系。

3.真正的P.L. Travers与Walt Disney团队的工作会议录音长达39个小时。

编剧Kelly Marcel和主演Tom Hanks，Emma Thompson 都认真的听过了录音。

Emma Thompson形容听录音的经历就像，“用热叉子戳耳朵一样”。

4.编剧Kelly Marcel称，影片最大的一个虚构处就是Walt Disney去拜访P.L. Travers在伦敦家。

实际上他们只是通了电话而已。

但她也坚称，所有Disney 告诉 Travers 关于他父亲的事都是真实存在的。

5.Walt Disney一直以来在公众前都隐藏他吸烟的习惯，特别是在儿童面前。

因为他认为这会损害他和他的工作室居家友好的形象。

Tom Hanks为了准确演绎角色，曾要求真实展现Disney吸烟，然而仍然被迪士尼方面以合家欢电影里不应该出现吸烟镜头而拒绝。

因此我们在影片中只能看到Disney掐灭烟头的动作，而没有具体的吸烟动作。

Tom Hanks说 Robert B. Sherman告诉他，“Walt每天要抽两包烟，你总是知道他什么时候来了，因为总是会先听到他的咳嗽。

”Walt Disney在1966年因肺癌病逝。

5.影片在"Feed the Birds"这首歌上笔墨很多是基于事实的。

这是Walt Disney最喜欢的一首歌。

据Sherman兄弟透露，Walt Disney总是在他心情低落的时候让他们给他演唱这首歌。

而且他只是叫他们到办公室，然后说一句，"Play it"，Sherman兄弟就知道他要听这首歌了。

Richard M. Sherman说Walt Disney喜欢这首歌是因为这首歌的完美的总结了为什么他把创造迪士尼公司放在人生最重要位置的原因。

6.在1977年的一次访问中，P.L. Travers谈到这部电影，她说“我看过它一次或两次，我也在学着接受它。

对他们自己来说这是一部迷人的好电影，但我不认为和我的书很像。

”7.Robert M. Sherman的腿的确是曾经中过枪。

他是在二战期间在欧洲战场受的伤。

他所在的部队帮助解放了纳粹臭名昭著的达豪集中营。

8.P.L. Travers在《欢乐满人间》制作期间一直不希望由Dick Van Dyke出演Bert一角。

而Dick Van Dyke本人也表示过，尽管《欢乐满人间》是他出演过的最好的电影，但他也觉得自己并不适合Bert的角色，由 Jim Dale 或 Ron Moody 出演更合适。

Travers曾建议过出演该角的演员包括Richard Burton, Alec Guinness, Richard Harris, Rex Harrison, Ron Moody, Laurence Olivier, Peter O'Toole和 Peter Sellers，她认为他们能保持书中的英伦属性。

另外Travers 和 Walt Disney 都认可的出演Bert的演员Stanley Holloway，却拒绝了该角色，并出演了奥黛丽·赫本主演的《窈窕淑女》，而该片也成为《欢乐满人间》在1964年上映时候的主要竞争对手。

9.P.L. Travers认为Walt Disney对她"Mary Poppins"系列小说的改变粗俗且无礼，且终生也没有释怀。

在1994年，也就是《欢乐满人间》上映已经30年后。

舞台剧出品人Cameron Mackintosh，找到P.L. Travers想要将她的作品改编成音乐剧，她以之前这部电影让她极不愉快为由，拒绝一切作品改编。

经过几次会晤，终于松口，但当Mackintosh想要用之前电影中的插曲的时候，她又表现出了极度反感。

最后经过多次劝说，终于同意，但定下了个极其严格的规定。

即，不许有任何美国人参与该片的任何环节的制作，特别是歌曲的原作者 Robert B. Sherman 和 Richard M. Sherman 。

Mackintosh遵从着Travers的每一个规定，着手改编，几年里没有借助迪士尼的任何帮助。

直到Travers在1996年病逝，迪士尼公司才被允许介入该项目，和Mackintosh共同制作。

10.在Walt Disney的办公室可以看到一张被标记过的佛罗里达地图，所标记的地点就是当地的迪士尼乐园。

这个乐园在1971年开放，Walt Disney病逝的5年之后。

11.为了准备自己的角色，Tom Hanks几次造访位于旧金山Presidio的迪士尼博物馆，并接触了一些 Walt Disney的亲属，包括他的女儿Diane Disney Miller。

12.虽然P.L. Travers不怎么喜欢Sherman兄弟的作品，但当女主角Julie Andrews写信告诉她，制片人要删去歌曲"Stay Awake"的时候她依然很震惊和失望。

（"Stay Awake"是本片歌曲中是Julie Andrews很喜欢的一首，也是P.L. Travers极少数喜欢的歌曲之一。

)她马上出面要求制片人保留这首歌。

13,.根据2004年出品的《欢乐满人间40周年纪念DVD》中描述，迪士尼最早想要购买Mary Poppins的版权是在1938年，当时 P.L. Travers的态度极其冷淡，她厌恶好莱坞将书改编成电影的处理方式，并且不相信影像可以正确表达书中的意义。

另一个她抵触的原因是，当时迪士尼还没有出品过真人出演的电影。

自此而后的20年，迪士尼可以说是周期性的联络她，希望同意卖出版权。

最终在1961年她终于同意，但要求剧本必须经她认可。

筹备电影，编写剧本和歌曲，用了2年时间。

P.L. Travers否定了大量改编成电影所必须的必要元素。

甚至表示与其用Sherman兄弟的原创音乐，不如用爱德华七世时代的音乐更符合书中设定，并且拒绝用动画表现黑板中的世界。

迪士尼没有完全听从她的意见，利用合同条款压制了她。

因此之后Travers拒绝了迪士尼所有改编她其他作品的请求，不管Walt Disney多么努力的想要争取。

14.迪士尼CEO Robert A. Iger 亲自打电话请求Tom Hanks出演Walt Disney。

15.影片中，Disney告诉Sherman，他知道不想让别人控制自己创造的角色是什么感觉，并提到一个纽约制片想要买米老鼠。

事实上 Walt Disney 和他的创作伙伴 Ub Iwerks 起初创造了一个叫 "Oswald the Lucky Rabbit"的兔子角色，后来被环球买去，交给了别的作家再创作。

此后，Disney发誓不再失去自己创造角色的控制权，而后他和Iwerks又创造了一只老鼠角色，定名为Mortimer，但他的夫人Mrs. Lillian Disney说服了他，在最后发布的最后一刻，将名字改为了Mickey。

16.制作团队对于Tom Hanks扮演Walt Disney的形象设计非常投入心力，狠抓每一个细节，甚至精确到测量了他胡子的长度。

17.电影拍摄时Tom Hanks 55岁，比1961年的 Walt Disney 年轻5岁。

18.Meryl Streep 曾被考虑主演该片。

19.Emma Thompson曾经写过并主演了一系列类似Mary Poppins角色的电影，《魔法保姆麦克菲》系列。

"Don't leave me.""Never."从影院出来正是小岛的黄昏，搬来东岸一个月后，你已经习惯了这样的周末。

电影最动人之处莫过于让观众透过银幕看见自己。

你依然记得曾有的第一个梦想，成为一名作家。

后来它和被你写满毫无逻辑的小说的牛皮本一起呆在箱子最底层，再也没见光。

可是Achi说过，“第一个梦想是不该被遗忘的”，那么你设想过的最大幸福一定像影片最后一样——有无数人看着你的故事，他们与你相似却又迥然不同，你和他们一起落泪，为曾经有过的自己。

Achi只能手足无措地看着你流泪， 她真不会安慰人。

可是你知道她知道。

Achi知道你在怀念什么、心疼什么、惧怕什么。

你也有过一个Mr.Banks，他也给过他的"Helen"好多童话，他也是A man in the cage穷尽一生struggling，他也有着让人无法忍受的缺点并不停伤害自己最爱的人。

What matters the most, 你像Helen爱Mr.Banks一样爱他。

你从KI课上学到To be is to be perceived。

既然如此，你是否也可以convince自己：只要你想到他，想到无数个没有尽头的夏天，他就又一次站在你眼前。

Death ends a life, not a relationship. 你再也无法拯救你的Mr.Banks，但你会原谅自己。

Coz you r your only savior.夜深了，还会想起那个小女孩吗？

轻轻垒起一个家的梦想，柔弱却不脆弱。

她又开始歌唱，你轻声和着：Winds in the east，Mist coming in.Like something is brewingabout to begin.Can't put my fingeron what lies in store, But I fear what's to happenall happened before. What's to happen, all happened before.

我看完这部电影后觉得梦想其实是一个对未来的向往，无论现在是多么的悲观，但是梦这件事情是和现在没有关系的，梦或许发生在另外一个世界，但是在未来梦或许就会变成现实。

说到这里，我想到了圣经上的故事，就是耶和华神老托梦给别人，让别人做梦，然后做的梦要不然就是将来要发生的事情，要不然就是正在发生的事情。

或许梦想和做梦不是一件事，但是他们的性质是一样的，无论身处何方，你只要乐观，你在哪里都可以做好梦。

无论你身处何方，你如果自己很悲观，那么你做的很可能是噩梦。

或许吧，梦想就是自己的未来托给自己的一个永恒的梦。

大梦想家（Saving Mr. Banks）---看到这部电影完全是个意外，但是影片结束时我不得不说，我太tm喜欢这部电影了。

电影是以双时间线跨时空交错叙事，讲的是Walt Disney为了完成对自己女儿的承诺，花了整整二十年时间说服自己最喜欢的女作家Mrs. Travers将小说《欢乐满人间》搬上电影屏幕的故事。

影片的视觉效果特别出色，一直是高饱和的温暖色调，好几处画面美得叫人浮想联翩。

可是这样的镜头下描绘的却是一个无比悲伤动人的故事，我是从头到尾哭着看完，到后半段早已泣不成声。。

艾玛·汤普森的表演几近完美，在Mrs. Travers不断闪回出现的回忆里，我们渐渐读懂了她的固执，严苛，独断和难以相处，看到她后面一点点的放下、释然、与世界和解，更重要的是与自己和解，相信每一位观众内心都深深为她感到欣喜。

而好莱坞选择Tom Hanks来演迪士尼先生也是再合适不过，一位是深受全世界小朋友爱戴的，一位是全世界成年人都喜欢的。

影片中编剧三人组（有时是四人组，迪士尼先生也时不时会加入进来）和女作家合作的戏份是全片最有趣的部分，几人总是小心翼翼的编写剧本以尽量贴近原著，可无论怎样都无法让老太太满意，在几位编剧出场时，我惊呼这不是“Office”里的Ryan嘛，简直像是闲逛时突然撞到多年未见的老熟人一般亲切😂另外，片中女作家的司机拉尔夫无疑也是电影中一处非常暖心的人物设置，戏份不多，但足够出彩影片的英文名称是《Saving Mr. Banks》，中文译名却是《大梦想家》，可究竟谁才是大梦想家呢？

In a word，如果满分是五颗星的话，我给这部电影六颗星！

去年看到汤姆汉克斯在《拯救班克斯先生》里扮演沃特·迪斯尼，我就非常觊觎本片。

看了一点小介绍，发现本片是讲的关于拍摄《欢乐满人间》背后的人情世故。

所以，我默默觉得要看懂《拯救班克斯先生》首先得先补课《欢乐满人间》。

一口气先后看完《欢乐满人间》和《拯救班克斯先生》，证明我的决策是十分正确的。

蓓蓓的电影世界：http://blog.sina.com.cn/bblovesmovies音乐首先，要看懂《拯救班克斯先生》，必须先看完《欢乐满人间》。

这样，当《拯救班克斯先生》里响起那些《欢乐满人间》里悦动的歌曲时，你才会有共鸣。

《欢乐满人间》里几段配曲是相当朗朗上口和印象深刻的，音乐是本片一大亮点。

一般的歌曲都是先有曲后有词，所以唱起来各种和谐。

但是对于音乐剧里的歌曲来说，音乐是为了剧情发展，传达语言的一种方式，所以是曲将就词，往往都很平庸。

但是本片里的几段曲子真的很赞，就像《拯救班克斯先生》里沃特·迪斯尼听到编曲者在试唱曲子时，他说了一句：it can work.yes,《欢乐满人间》里的歌曲都很经典，就像《雨中曲》的《sing in the rain》一样，是好莱坞歌舞黄金时代的力作。

卡通《欢乐满人间》里一段真人与卡通结合的桥段确实让我小有吃惊，在那个年代算是制作得非常非常的精良，卡通人物形象的立体鲜活，包括真人演员和动画形象之间的眼神交流都毫无违和感。

后来看了《拯救班克斯先生》才知道本片由迪士尼出品，就怪不得要用卡通人物，还画地这么好。

不过也是看了《拯救班克斯先生》才知道小说原作者特拉弗斯是非常反感影片采用卡通的。

不过，我觉得这段卡通与真人的结合也算是《欢乐满人间》的一大亮片，摆脱了当年好莱坞歌舞片里平庸传统的唱唱跳跳形式，现在看也让人眼前一亮。

父亲当我看到《拯救班克斯先生》这个影名时，我就纳闷了，为何叫拯救班克斯先生？

班克斯先生是谁？

为何是拯救他？

后来在观影过程中才发现，班克斯先生就是《欢乐满人间》里这个魔法保姆去到的这个家庭里的父亲。

这才让我重新得以审视《欢乐满人间》这部影片。

就像《拯救班克斯先生》一个桥段演绎的那样：当小说原作者特拉弗斯失望地对迪士尼工作人员说：你真以为Mary Poppins（魔法保姆）是来拯救这个家里的孩子们的吗？

这时候，我和剧中的人才一起意识到，《欢乐满人间》里那个家庭真正得到拯救的，需要被拯救的不是两个淘气得换掉N个保姆的孩子，而是这两个孩子的父亲——班克斯先生。

也是这个时候，我才发现，我才真正看懂了《欢乐满人间》。

一个童年对父亲有着深沉的爱却换来失望的女儿把所有美好的夙愿都寄托在了她自己创造的人物——Mary Poppins以及她走进的这个班克斯家庭的故事里。

所以，她才会如此尖酸，挑剔刻薄的在迪士尼改编的电影剧本里挑刺。

《拯救班克斯先生》讲的就是沃特·迪士尼如何打开小说原作者特拉弗斯的心扉，如何让Mary Poppins走进荧幕，如何让《欢乐满人间》成为电影史上伟大电影之一的过程。

在观影的过程中，我简直哭死了！

因为扮演小说原作者特拉弗斯的女演员艾玛·汤普森把可怜之人必有可恨之处的性格矛盾演绎得栩栩如生，催人泪下。

再加上，《拯救班克斯先生》本片也很有“心机”的找来艾玛·汤普森扮演小说原作者特拉弗斯，因为艾玛·汤普森年轻的时候也在翻拍的影片里演过Mary Poppins这个角色。

所以，她熟悉角色，熟悉故事，这一次更是参与到真实的背后故事中。

这些都让人觉得很暖心。

再加上，对于一个从小就对迪士尼有着深爱的我来说，当看到《拯救班克斯先生》里出现，迪士尼乐园熟悉的火车，旋转木马时，我也是激动昏了。

真的跟我在HK 迪士尼乐园的构造是一样的，一样的。

《欢乐满人间》看似欢欢乐乐，原来背后有着这么不为人知的原作者的心酸童年。

所以，对于过去，我们要试着去原谅，放下包袱，才能获得真正的解脱和快乐。

所有人都喜欢波平，喜欢特拉弗斯，但人们不应该喜欢迪士尼。

这是此时或彼时的正确口径。

所以人们恨本片把迪士尼美化成慷慨救世的慈善家，把特拉弗斯塑造成不招人待见的失败者，更是把特拉弗斯父亲塑造为成事不足的纯屌丝，把父亲为她营造的童年幻境说成一个屌丝为掩饰生活失败进行的拙劣嘴炮。

整部电影都在拯救特拉弗斯，由所有文明人助她打开心结。

特拉弗斯因为跟自己拧巴所以生活失败，因为父亲是屌丝所以她拧巴，父亲是一切问题的根源。

然而因为拧巴所以创造玛丽波平，又因为波平也拧巴所以人人爱。

特拉弗斯也许不指望人人爱，但她想写一个故事在里面拯救屌丝爸爸，或者梦想家爸爸。

爸爸救不回来于是特拉弗斯继续拧巴，拧巴到财物危机，也许同样拧巴到众叛亲离，直到美国大善人们伸手救她。

你可以不相信特拉弗斯其人如此，于是艾玛演得越逼真越招人恨。

但真实的特拉弗斯毕竟创造了波平，创造了她认为一个嘴臭者招人待见的臆想世界。

而在现实中，一帮拥趸一起喜爱她创造的威权领袖。

别奇怪，波平姨妈所影响的绵长时代，年轻人从希特勒到胡志明崇拜了个遍。

至少这样改编是合理的，不然一个没被自由主义屌丝爹坑害的小姑娘怎么会顺理成章成长为维权领袖式主角的缔造者。

所有人都喜爱波平？

然而不是所有人，毕竟不是所有年轻人都吃希特勒那一套。

真没有人打算给颐指气使的波平鼻梁上来一拳吗。

我猜是有的，奈何波平法力高强。

那么真没有人打算给他拉弗斯的鼻梁上来一拳吗，反正剧中人都忍了，特拉弗斯只有臭嘴，没有法力。

电影剧情只是轻轻打了一拳，打在她的财务状况上，把她打成保不住房产的穷棍。

这可能是最普通的一拳，或者最不认真的一拳。

但它发生在最好的时代。

现实里的特拉弗斯可能并不那么招人讨厌，但至少她没活成罗琳。

她不会因为与某个团体有一丁点微小的观念差异而遭受其汹涌的口诛笔伐。

现在的名人，惹不起这个拳那个拳，你只能加入它们，它们才是威权。

不打断你鼻梁不是因为你有法力，而是不打你的人比较文明。

不管电影还是现实中，特拉弗斯肯定有千万种理由不喜欢《欢乐满人间》。

毕竟它显得太聒噪。

而且，电影里伯特打算教波平做人？

那她能受得了吗。

「Winds in the east, mist coming in, like something is brewing, about to begin. Can't put my finger, on what lies in store, but I feel what's to happen all happened before.」「The rain bring life. → So does the sun.」「This world, it's just an illusion, Ginty old girl. As long as we hold that thought dear, they can't break us. They can't make us endure their reality. Bleak and bloody as it is. Money. Money, money. Don't you buy into it, Ginty. It'll bite you on the bottom.」「Serves me right. Money, money, money. It bit me on the butt.」「Disappointments are to the soul what the thunderstorm is to the air.」「♫Let's go fly a kite. Up to the highest height. Let's go fly a kite. And send it soaring. Up through the atmosphere. Up where the air is clear. Oh, let's go fly a kite.♫He... he fixes the kite. Oh, I love it.」「You expected me to disappoint you, and so you made sure I did. Well, I think life disappoints you, Mrs. Travers. I think it's done that a lot, and I think Mary Poppins is the only person in your life who hasn't.」「I'm tired of remembering it that way. Aren't you tired too, Mrs. Travers? Now we all have our sad tales, but don't you want to finish the story? Let it all go and have a life that isn't dictated by the past? It's not the children she comes to save. It's their father. It's your father.」「Forgiveness Mrs. Travers. It's what I learned from your books.↓I don't have to forgive my father. He was a wonderful man.↓No, no. You need to forgive Helen Goff. Life is a harsh sentence to lay down for yourself.」「George Banks and all he stands for will be saved. Now, maybe not in life, but in imagination. Because that's what we storytellers do. We restore order with imagination. We instill hope again and again and again.」「Aren't you going to pour it for us?↓You're perfectly capable of pouring it yourself.↓She's quite the worst maid I've ever had.（So why do you keep her?）I don't know. She reminds me of me.」「This is your night. None of this would be possible without you.」「Don't leave me. → Never. I promise. I will never leave you.」「Winds in the east, mist coming in, like something is brewing, about to begin. Can't put my finger, on what lies in store, but I feel what's to happen all happened before.」

我真的很喜欢看mean的角色，尤其当扮演者是我的艾玛汤神！

神经质的碎碎念，好像就是我对她最深的印象。

美国nice系的待人接物，也不知真假，就是让你很难say no——在她面前却全数崩塌，可是没有人停下来听她说一句“茶能为灵魂镇痛”。

这也不是第一次看到她演作家，在Stranger than Fiction里，她可以操控生死。

然而这次又不同，她噙泪在窗前，她放不下的是“我又要let him down了”。

一开始你还想，为什么爸爸如此温柔，眼睛里都是宠溺；而妈妈满脸负能量，苦大仇深。

是啊，幼女记忆中留下的就是完美的爸爸，对孩子的爱没有一分是假的。

母女相拥在夜光粼粼的河水里，It's time to go home，赴死的勇气抵不上活下去的勇气万一。

此情此景教会人的往往不是“生活艰难还是要继续”，而是“与她相比，我的苦难不值一提”。

她看到堆成山的迪士尼IP，恨不得要让它们全部消失。

而我，竟然好像莫名能共情，想在她往衣橱里塞玩偶的时候，帮她推一把。

是的，我从来没有去过迪士尼，我好像拒绝成为一个女孩子。

大概是因为从小就发现，表现出男孩气的样子更让父母喜欢。

他们喜欢我大大咧咧，说起别家叫孩子“宝宝囡囡”的时候满脸鄙夷，从小被教育要识得看山水的我心里默默：我要表现成一个男孩，父母才会欢喜。

这么多年，我早就已经分不清楚我是不是想做一个女孩，我自己都为自己的男孩气感到自豪，甚至对娘炮的妹子们有种“我们合不来”的预设。

我离汤神演出的写诗小Helen差了十万八千里，但渴求父母认同的心情就分毫不差，稳稳重叠。

可惜最后世人所知的Mary Poppins也不是她记忆中的样子，大坏蛋小胡子用卖报童年骗回一个签名。

她哭了，应该不是因为感动，是因为，原谅了年幼的自己吧。

我倒是喜欢这样——真正的那个来自遥远记忆深处的The Banks' 只属于她一个人，没有谁可以夺走，也没有谁配做这个故事的观众。

于片尾彩蛋听到现实中当年录音带的声音，那样斩钉截铁，那样不容人置喙，强势的ownership，感动到我自己也噙泪。

只能是谢谢汤神，将这样一个细腻敏感用刻薄保护自己的女人，带到人们面前。

全然不相干的标题。

标题献给Ralph！

（Frida真是无处不在