There is a binary and polarising outlook on biopics. You either love spending a weekend casually viewing the next one that happens to be playing on the TV, or you groan as you rapidly flick past it. This is especially true for those centered around musicians, with many people of the opinion that each one feels like a reiteration of the last. Michael Gracey’s Better Man is the latest data point in this conjecture, but is it an anomaly?
This time around, we are introduced to Robbie Williams, a British singer-songwriter who was a fifth of the 90s hit boy band Take That before breaking off to pursue a successful solo career. Better Man follows his childhood, his rise to stardom, and all the hardships that come with the transition into fame at a young age.
On the surface, this feels like a tale as old as time. Films like Rocketman (2019), Elvis (2022), and Bohemian Rhapsody (2018) all explore these themes for musicians arguably more well-known and famous than Williams. Yet, this film feels like a breath of fresh air because of how autobiographical it is. Williams is played (for the most part) by himself, which is rare as far as biopics go. This encompassed with his marmite (that’s you’ll either love or hate for the non-Brits) tongue-in-cheek narration makes it feel all the more authentic.
Now let’s address the elephant in the room — or rather the chimpanzee. Williams is depicted as a CGI chimpanzee throughout the entire film, causing many to raise their eyebrows and laugh off its legitimacy. I, too, was part of this crowd, but after witnessing this spectacle, I could not have been more wrong.
This visual characterization amplifies Robbie’s feelings of alienation and not belonging. There is a lot to be said about the choice of a chimp, too: a constantly watched dancing circus animal trained to scream “Let me entertain you” (pun intended). To top it off, the personification of Williams’ inner demons were also chimps of different stages of his life. Without any of this, we would lose everything that gives this film its charm, and I stand by the fact that this film would not have worked otherwise.
This is not the only reason people are deterred from even giving it a chance. Audiences (particularly Americans) say that they don’t know or care about Williams. I find that there is some merit to this argument. When we watch biopics about people we know and love, it evokes nostalgia. Considering that his stardom was much larger in Europe, most audiences are not going to feel this. For me on the other hand, hearing iconic songs from my childhood such as “Candy,” “Angels,” and “Rock DJ” made me feel invigorated.
In particular, the “Rock DJ” musical number was one of the most exciting I had seen in a while. Everything about the flawless choreography and the intentional blocking during this one-shot sequence performed on the renowned Regents Street in London was thoroughly entertaining from start to finish. I did not want it to end. The Greatest Showman (2017) director Gracey proves once again that he still has it as far as directing musicals go. I would even go as far as to say Better Man was the most technically accomplished musical of 2024.
However, I do believe there can be enjoyment found in watching biopics of people you do not know. How is it any different from watching a film about fictional characters? People watch films to learn, explore, and find catharsis from other perspectives regardless of whether they know the person it might be about. What matters most is that the film is compelling.
Where this film succeeds at being compelling is through the contrasting relationships we see develop on screen: From the mutual love and respect shared between Williams and his nan, to the estranged father attempting to re-enter his fame-ridden life, to the outright toxic dynamics with his ex-bandmates.
Williams does not shy away from depicting himself as incredibly imperfect, which cannot be said by most musical biopics. Although it’s clear from the start that the performances were there to power a narrative rather than stand out themselves.
While I don’t think this film is for everyone and is by no means perfect, the unique charisma exuded by Williams makes it all worthwhile.
Review Courtesy of Nandita Joshi
Feature Image Courtesy of Paramount Pictures