Better Man tells the story of Robbie Williams, from growing up in the working-class area of Stoke-on-Trent, to finding success as one fifth of boyband Take That, to a hugely successful international solo career.
It doesn’t shy away from heavy topics. Williams battles with mental health are front and centre. Alcohol and drug challenges aren’t glossed over. Parental absenteeism is at the forefront, and is doesn’t cut out the part about Williams being an exceptionally bad boyfriend.
…and he’s depicted as a monkey through the entire film.
There’s seems to have been a stream of biopics of musicians in recent years. The massive success of Bohemian Rhapsody which told the story of Queen and charismatic frontman Freddie Mercury spurred on similar projects.
The lives of Whitney Houston, Amy Winehouse, Aretha Franklin, Elvis, Bob Marley, and even Milli Vanilli, have all been the subject of recent films. Rocketman, the story of Elton John, brought in a more magical realism element to the story telling, something which Better Man fully embraces, and it’s a much more interesting story because of it.
The lives of musicians have always been ripe pickings for films. From The Rose, which was inspired by the life of Janis Joplin, to The Doors, La Bamba, Sid and Nancy, Walk the Line, Ray, What’s Love Got to Do with It, Coal Miner’s Daughter, and Behind the Candelabra – there’s a long history. But not every musician has a story worthy of telling. The Gary Barlow story is probably not destined for the screen.
While Robbie Williams appears on stage as the consummate entertainer, inside he’s filled with self-doubt, worry and internal voices bringing him down. To illustrate this – he’s depicted a monkey.
Over 20 years ago Williams sung Me and My Monkey, recounting his battles with substance abuse describing his monkey as himself on cocaine. It’s a metaphor for himself that he’s used for decades. As a visual tool to bring mental health and drug challenges to the fore it’s a blunt storytelling tool – yet it’s incredibly effective.
The story follows Williams from bring a young lad hanging out with his Mum and Dad and Nan, wondering if he’s good enough to be a somebody or destined for the life of a nobody. Through is Dad, who sings in cabaret and Working Men’s Clubs, he develops a love of Frank Sinatra, Dean Martin and Sammy Davis Jr.
His life is shattered when his father leaves the family to focus on his singing career, taking on the stage name of Peter Conway. He struggles through school and dreams of a bigger life. At sixteen joins hundreds of others aspiring singers and dancers as he auditions to be part of a boyband.
Under the guidance of manager Nigel Martin-Smith Take That spend their time playing gay clubs and making appearances at shopping centres, until they suddenly explode.
The depiction of Gary Barlow, Mark Owen, Howard Donald and Jason Orange is fanstastic, and the scene where their success is visualised as a massive dance number on London’s Regent Street is one of the film’s highlights.
Suddenly cast into the role of teen heartthrob and international fame, Williams’ life becomes a rollercoaster of sex, drugs and rock ‘n’ roll, but underneath it all is the ongoing challenges of self-doubt, mental health, and the relationship with his dad.
After being kicked out of the band where Gary Barlow wrote most of the songs, Williams begins to find his own voice with the help of creative partner Guy Chambers. Their song writing scenes are hilarious.
Robbie William’s solo career goes from strength to strength, he’s in a relationship with All Saints singer Nicole Appleton, and his dad is back in his life. But his mental health challenges grow, everywhere he goes he sees himself and he’s not a fan of himself.
Monkeys wearing Williams’ best-known looks appear throughout calling him out and putting him down. He might be performing to a record-breaking crowd of adoring fans in a concert, but Williams just sees the negative voices in his head as reflections. It’s not subtle, but a creative depiction of intrusive thoughts and crippling anxiety.
The effects on this film are impressive, there are moments when you look at the simian character on screen and the shape of the face, or twinkle in the eyes shines through – it’s Robbie Williams.
Actor Jonno Davies deserves a lot of praise for his performance, but it’s one shrouded in technology and post-production trickery. Alison Steadman is charming as William’s grandmother Betty, and Steve Pemberton embodies Peter Conway.
There’ a healthy cast of Australian actors in the film because it was shot here. Damon Herriman is Nigel Martin-Smith, Kate Mulvany also appears, and Nicole Appleton is played by former Home & Away actor Raechelle Banno.
The film might be a little on the long side, but its engaging and incredibly creative. It’ll leave you singing Robbie Williams hits and viewing the singer in a whole new light.
Writer and director Michael Gracey previously created the hugely successful The Greatest Showman and this is his second film. He also directed the 2021 documentary Pink: All I Know So Far.
Better Man is in cinemas from Boxing Day.
