There is an X account from 2014 with a collection of Robbie William’s “face on things that rhyme with his name”, and between images of “Robbie Whale-iams”, “Robbie Drill-iams”, and “Robbie Third Wheel-iams”, maybe you’ll find it easy to see that he’s the one.
The new Robbie Williams biopic Better Man comes in an era that frequently begs a certain question. Like… do we really need another musician’s biopic? If you’re anything like me, still always in the beeline to watch one, chances are you’ve learnt to find the light in many a self-indulgent, sensationalised, and somehow still painfully mediocre film. Films like Elton John’s biopic Rocketman have been firm exceptions and, while Better Man is not quite as platinum, it does, perhaps, earn itself the status of a decent gold record.
Directed by Michael Gracey (The Greatest Showman), the film dangles a Robbie Williams banana in front of you and it is a pretty tempting grab for many reasons, starting with the film’s narrative device which sees Robbie portrayed as a monkey throughout the trials and tribulations of talent and fame and so many daddy issues.
This is Robbie in his own mind’s eye, and it carries both the contrasting airs of admiration and degradation present throughout his life – allowing you to feel the exhilarating freedom of not taking one’s self too seriously (part of the secret to Robbie’s success), but also the battering depression of a life perpetually clouded with intense self-doubt. These, after all, are the two most prevalent sides of any dance monkey.
Performed by Jonno Davies, the monkey does a marvellous job at humanising Robbie Williams’ larger-than-life presence, going from his effervescent teen years with Take That, into a more gritty, tired adult solo pop star.
Davies’ performance almost draws on an understanding that we sometimes feel more understood by animals than humans. Director Gracey’s chops as a former animator and VFX artist are a major plus here, with a masterful rendering of the monkey that feels emotive, real, and natural, in emulating the superstar’s mannerisms.
Davies is joined by the likes of Raechelle Banno (who plays Nicole Appleton of the iconic Brit girl group All Saints), Alison Steadman (Betty/Robbie’s grandmother), Kate Mulvany (Robbie’s mother), Steve Pemberton (Robbie’s dad). Much of the film’s performance is stolen by Pemberton, who carries the tragic relationship that Robbie shares with his father, leaving me wanting to punch him out of Robbie’s existence and then coddle him like a broken giant baby.
Banno as Nicole Appleton is simply spectacular and is perhaps done dirty by some of the film’s narrative choices – particularly the fact that her presence was utilised in a very significant way for just exposition, moving plot points and addressing character moments for Williams. Williams had been floating through an abyss of drug-addled highs and bad news, and Nicole had likely faded into the background, but it’s this treatment that drove the film a little too far into self-indulgent territory. Banno’s outstanding performance in the film’s number She’s the One made it among the best in the film.
This is reflective of one of the film’s more prominent drawbacks. It falls to occasional exposition-based dialogue, throwaway scenes (including a club handie that didn’t serve much of a narrative purpose), and a slight lack of discipline in staying true to a storytelling structure centred around Williams’ point of view. And while the film used its musical numbers well to move plot, the pacing of the rest of the film was not quite as harmonious, leaving for a redemption arc that felt rushed and not quite as healing or euphoric as it could have been.
That said, Better Man is still a banger that pulls through as a refreshing take on the biopic genre. Fans of musicals and musical film will find glee in the brilliant choreography of performances, intricately crafted set pieces, and creative cinematography that delights the brain and conveys the chaos of Williams’ life.
The reimagining of Williams’ iconic hits is incredible, with gut-wrenching renditions of Angels and Come Undone being two of the film’s many memorable recreations. There’s also a performance of Rock DJ by Williams together with the rest of Take That and it transports you right back into the boyband era.
The portrayals of Take That, Gary Barlow, the Gallagher brothers, and Robbie’s most iconic appearances — including his record-breaking Knebworth performance — guarantee that the magic of nostalgia hits home.
Embrace your inner monkey (or monkeys) and try giving Better Man a watch.