via @lunch_enjoyer
Unfortunately, much of the coverage of Better Man on social media was populated by negative reactions to the film’s box-office performance. After all, no one knows who Robbie Williams is over here, which presumably contributed to its $20.2 million box office gross off of a $110 million budget (and that doesn’t even include the marketing budget). On top of that, the premise was almost too wild for its own good, with people quickly dismissing the film as, “that movie where he’s an ape.”
Though Better Man did manage to earn a well-deserved nomination for Best Visual Effects, it was otherwise entirely overlooked throughout awards season. However, as a self-proclaimed movie buff who saw practically every awards contender last year, I firmly believe that Better Man was the best movie musical and biopic of 2024 because it had something those more traditional, awards-friendly films ultimately lacked: A unique point of view about its real-life subject coupled with inventively directed musical numbers.
The Musical Numbers of Better Man
I personally did not know the 2000 pop banger “Rock DJ,” but its musical number in Better Man is unforgettable. The sequence takes place during a pivotal moment in Williams’s career when his boy band began to gain widespread attention among the teenage girl crowd. For a nearly four-minute unbroken take, the camera follows Williams dancing in the streets and in and out of venues with his bandmates and fans. The camerawork and effects match perfectly with the choreography in what is ultimately a thrilling movie musical moment.
It’s one of many in the film, proving that Michael Gracey truly understands how to direct a musical number on screen using all the elements of cinematic language (color, editing, and sound design) to his advantage. Sure, Cynthia Erivo knocks “Defying Gravity” out of the park in Wicked, and Zoe Saldaña is magnetic dancing on tables in Emilia Pérez. Still, some of the directorial flourishes in those films simply do not cohere as successfully as they do here.
Much fuss has been made online about the color grading and cinematography in Wicked. Even in showstopping moments like Elphaba taking flight in “Defying Gravity,” the visual aesthetic can occasionally distract and even obscure the great vocal and acting performance at the center of the frame. Jon M. Chu is not using all that cinema can do to highlight his star in her character’s most important and emotional moment.
Meanwhile, Jacques Audiard takes big swings with numerous songs in Emilia Pérez to varying degrees of success. While his visual flourishes are always, at the very least, interesting, many folks online criticized the songs themselves from the compositions to the vocal performances of some of the main cast.
Better Man does not have this problem. The songs are catchy and memorable—folks in the U.S. might not know Robbie Williams, but they likely know his song “Angels.” More importantly, however, no two musical numbers look the same in this film, yet they are directed with the same commitment and energy as that one-take “Rock DJ” sequence.
The Surprising Profundity Behind the Monkey
The musical biopic has become as formulaic and predictable as the traditional romantic comedy. Nine times out of ten, these movies follow their protagonists’ difficult childhood, journey to stardom, and struggles at the top. There are always cheesy moments in which the main character has the idea for their most famous song or when a record executive complains that no one will ever listen to this garbage.
While the Bob Dylan biopic leans into these tropes, Better Man avoids them, and yes, it’s because of the monkey. Through this albeit sensationalized premise, Williams uncovers a new way to reflect on his own story and a refreshing avenue to discuss the alienation that accompanies fame. The monkey is more than a gimmick; it’s a statement. Sure, it’s over-the-top and it can be heavy-handed at times, but I will always prefer a heavy-handed big swing to a by-the-books approach.
This is not to say that the movie musicals and biopics that earned numerous Oscar nominations this year were unworthy, but this is to say that Better Man deserved… Well, better. Films with poor box-office performances get recognized by the Academy all the time, and if Emilia Pérez can have its flaws mostly forgiven by awards bodies because of its boldness, why can’t Better Man be afforded that same luxury? At least, Better Man stans can cling to the fact that it will always have that visual effects nomination. It’s therefore forever a part of Academy history. Hopefully, that means that more folks will check out this singular film down the road, which offers me some solace. As Williams himself once sang, “Through it all, [that] offers me protection.”