Respond to these rapid questions in our Green Book quiz and we will tell you which Green Book character you are. Play it now.
Of course, it’s all about the formula. Two men, one white and one black, from diametrically opposed backgrounds and with diametrically opposed personalities find themselves thrown together under unusual circumstances. In the process, they discover that they are not so dissimilar after all, and that they can actually benefit from one another’s experiences.
“Green Book” accomplishes all of this and more: Additionally, it takes place while the two men are driving across the American South in 1962, resulting in a story that contains multiple formulas all at the same time. Coming to theaters at the height of awards season and the holidays, it’s the mismatched-buddy road trip movie with a message about race relations, just in time to make us all feel a little better about ourselves—or at the very least to give us a brief glimmer of hope during this period of political and ideological division. As an added bonus, it also happens to be based on a true story, which is a rare combination.
The film is over two hours long, but damned if it doesn’t run smoothly for nearly the entire duration. “Green Book” is the kind of old-fashioned filmmaking that big studios simply don’t produce anymore, according to Variety. When it comes to deeply emotional and complex issues, it’s glossy and zippy, gliding along the surface while dipping down into them just enough to give us a taste of some actual substance.
And the film’s enjoyment is almost entirely due to the outstanding performances of Viggo Mortensen and Mahershala Ali, who both star in the film as well. Both actors bring precision and pathos to their respective roles. They each discover nuance within their familiar types on their own, and they have a spirited chemistry with one another as a result. Despite the fact that you can predict exactly how specific moments between them will play out by the end of the film, they are a delight to watch from beginning to conclusion.
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You might be surprised to learn that the director and co-writer of this conventional piece of classy, inspirational filmmaking is Peter Farrelly, who has been a longtime standard bearer of lowbrow comedy alongside his brother, Bobby, for quite some time. It’s a rare opportunity for him to direct on his own, and it may appear to be a departure from his previous work. However, the Farrellys’ sadly underappreciated bowling comedy “Kingpin” contains many of the same types of themes as the Farrellys’ “Odd Couple on a Road Trip,” as well as the possibility of unexpected friendship between two strangers. Underneath the gross-out gags and bodily fluids that have been the brothers’ bread and butter for decades, there is frequently an underlying sweetness—as well as a desire to be decent to others—that can be discovered. And that is unquestionably at the heart of the film “Green Book.”
Nearly 30 years after “Driving Miss Daisy” won a handful of Academy Awards, including best picture, “Green Book” depicts a white man serving as a chauffeur—as well as valet, muscle, and all-around problem solver—to a black man in a racially charged setting. While the film does not entirely avoid icky white savior moments, there are several instances in which Ali’s character saves Mortensen from a similar fate.) The title is derived from a travel guide listing restaurants and motels that black people were permitted to frequent in the segregated South during the 1950s and 1960s.
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It is once again in this film that Mortensen’s ability to disappear into the role of Tony Vallelonga—or “Tony Lip,” as he is better known among his fellow Italian-Americans in New York—that he demonstrates his chameleon-like abilities. In collaboration with Farrelly and Brian Hayes Currie, Tony’s son Nick co-wrote the vivid and affectionate script for the film. With a big appetite for life as well as an even bigger loyalty to his wife (the lovely Linda Cardellini) and two young sons, Tony is content to remain in the same section of the Bronx where he’s lived all of his adult life. A cigarette dangles from his mouth at all times, and he speaks in a slurred form of the English language. Working as a bouncer at the Copacabana nightclub and occasionally gambling for extra money, he manages to stay just far enough away from the mob to avoid being in any serious danger. For example, he’d rather pawn his watch to make ends meet before Christmas than do a job for some fellas for easy money in an early moment that demonstrates his sense of right and wrong.
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Eventually, however, he is presented with the opportunity to obtain employment that would enable him to provide real financial stability for his family, even if it meant being separated from his family for a couple of months. In order to take part in a concert tour of cities across the Eastern Seaboard and the South, Ali’s Dr. Don Shirley, a world-class pianist, requires a driver to accompany him on the road. He will perform in concert halls and private homes throughout the region. Shirley—or “Doc,” as Tony refers to him—is everything Tony is not: well-educated, sophisticated, articulate, and conscientious about his work. In addition to black. The fact that Tony has some antiquated and misinformed ideas about African-Americans, as well as more than a tinge of racism against them, is demonstrated by his initial reaction to a couple of plumbers working in his home. All of that, it appears, is about to change.
Ali not only brings elegance to the role, but she also brings a touching vulnerability to it. At first glance, he appears to be condescending and persnickety in his ornately appointed apartment above Carnegie Hall, where he is decked out in robes and jewels and literally sits on a throne above Tony to interview him for the job. But as the film progresses, we learn that he is anything but. The road trip, on the other hand, reveals Doc’s shadings and complexity as it progresses, as well as hints at the inner torment that has driven him to construct a refined outer shell.
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The most enjoyable aspect of “Green Book” is watching Tony and Doc interact with one another as they travel from town to town, exchanging small talk, getting to know one another, and getting on each other’s nerves. Among other things, their differing perspectives on fried chicken and Little Richard, for example, defy conventional stereotypes. Quite often, their budding friendship unfolds exactly as you anticipate it to, which is comforting. As soon as Tony’s wife requests that he write her letters from the road, and he declines out of embarrassment, you know it’s only a matter of time before Doc is assisting him in crafting eloquent, romantic letters to send to her.
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But there are some surprises in the details with which some of the scenes are executed in other scenes. In particular, this is true of Ali’s powerful piano performances (which were accomplished with the assistance of a body double, despite Ali’s graceful demeanor, which is convincing). They convey the transformation that is taking place between the two men as well as, if not better than, their dialogue, particularly during the final show of the trip, where many of the film’s ideas about race and identity are brought to a satisfying conclusion in a joyful and satisfying manner. Even though you’ve been on this journey countless times before, you might find yourself getting a little emotional near the end.
For more personality quizzes check this: Pet Sematary Quiz.
