'Better Man' TIFF review: Robbie Williams’ musical biopic goes bananas

Courtesy of Paramount Pictures/TIFF

The first thought that crossed my mind after watching "Better Man" was: ‘How is Paramount going to market this thing?’

It’s a valid question considering the subject matter and its unconventional presentation, which marks a refreshing departure from the recent trend of dull musical biopics. Director Michael Gracey (“The Greatest Showman”) deserves significant praise for persuading a major studio to back this bizarre vision. The film chronicles the rise and fall of boy band heartthrob Robbie Williams, who, if you’re like me and haven’t spent much time outside the US, might not be very influential. However, that makes the experience of "Better Man" all the more intriguing.

There is an aspect of the film that I don’t think requires a spoiler warning since it’s central to the story: throughout the movie, from his first appearance as an 8-year-old to adulthood, Williams is portrayed as a CGI monkey. Yes, you read that correctly—a monkey. Imagine if Caesar from the “Planet of the Apes” movies starred in his own musical biopic, and you’d have “Better Man.” This concept stems from private conversations where Williams told Gracey that he feels like a monkey on stage for the audience's amusement.

If you’re a fan of Williams and have followed his career, you probably know he grew up in a small working-class town before joining Take That and becoming a local icon. The film isn’t a documentary, so don’t expect rigorous journalism or fact-checking (there’s even a Netflix film that contradicts several points in this movie). However, biopics have often taken creative liberties before.

This leaves us with a familiar rise-to-fame story. An optimistic and talented singer learns the ropes of stardom, becomes disillusioned with his current situation, and goes solo. Along the way, he becomes romantically involved with someone, in this case, All Saints’ frontwoman Nicole Appleton (Raechelle Banno), who eventually leaves him. He then falls into a downward spiral of trauma and addiction. There’s also a brief feud with the rock band Oasis, who are experiencing a pop cultural resurgence with a new tour announcement for next year.

As Williams’ star rises, so does his downfall. At one point during "Better Man," it becomes a question of whether he will falter before or after headlining his first major gig at the prestigious Knebworth venue, with around 120,000 fans in attendance. His issues and the demons he faces are compounded by his strained relationship with his father, Peter (Steve Pemberton), who abandoned him at a young age to pursue his own musical ambitions, only to return when he needed money or when Robbie became a superstar.

The most poignant aspect of the screenplay, co-written by Gracey, Oliver Cole, and Simon Gleeson, is this strained father-son relationship. They manage to balance this with a series of show-stopping musical numbers. Essentially a jukebox musical, Gracey brings theatrical flair, turning Williams’ 2000 hit “Rock DJ” into a dazzling showcase of visual effects, choreography, and production design.

It’s these musical numbers that, despite the predictable story beats, keep "Better Man" from becoming a completely self-indulgent vanity project. While it’s Williams’ story to tell, how much you enjoy it will depend on whether you connect with the film's tone or you’re just a massive fan.

Grade: B-

BETTER MAN played at the Toronto Film Festival. Paramount Pictures will release the film in theaters later this year.