Between 1936 and 1966, "The Negro Motorist Green Book" allowed travelling African-American citizens to find lodging, restaurants, and other business where they could be served during a time of great oppression and racial tensions.
One of those citizens was Dr. Don Shirley, a highly-trained and skilled pianist who was looking for a chauffeur for a concert tour (for the "Don Shirley Trio") of the Deep South during the early 1960s. What he got was a brash Italian-American bouncer, with a sixth-grade education, by the name of Tony Vallelonga (a.k.a. Tony Lip), recently fired from his bodyguard position at the Copacabana and desperate for work to support his wife and family.
Winner of the People's Choice Award at the 2018 Toronto International Film Festival, you wouldn't believe the Green Book was directed by Peter Farrelly (one-half of the gross-out comedy duo, the Farrelly Brothers, the minds of Dumb & Dumber, Kingpin, and There's Something About Mary). Although, the road trip concept (complete with KFC, a famous moment from the trailers) makes an interesting connection. But the film isn't scrappy or stupid, as you might think.
For one thing, the film (despite some harsh and unnecessary language at times) features two of the year's best performances from Viggo Mortensen (who gained 45 lbs to play Tony) and Mahershala Ali (as Dr. Shirley), both well-regarded and fully-committed, and with an on-screen chemistry that is thoroughly genuine and believable. Ditto for the very-underappreciated Linda Cardellini (as Tony's wife, Delores), and for the film's authentic and believable view of the Italian community, from the way they talk to the way they eat.
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| Viggo Mortenson and Mahershala Ali |
Even more intriguing is the way Green Book focuses not so much on mere racial tensions and stereotypes of the era (and even so today), but on personal complexities and views regarding status and culture. Consider Tony's knowledge of popular music by such artists as Aretha Franklin, Chubby Checker, and Little Richard, and Shirley's lack of interest in it. Or the way that Shirley rages how his choice of occupation and lifestyle makes him "not accepted" in various communities, black or white. ("If I'm not black enough, and if I'm not white enough, and if I'm not man enough, then what am I?!?")
Another powerful scene shows Tony and Shirley seeing black slaves working in the fields, illustrating a strong contrast in class, status and opportunity. Or consider the various heads of establishment they encounter on some of their stops, including how said heads allow Shirley to perform but not mingle or feast (or even use the bathroom) like everyone else.
Nevertheless, it is, in a way, inspiring the way Tony is impacted by his travels, how he impacts his wife through the letters he writes to her, and how he's impacted by the man he shares those travels with. A man who speaks with a certain level of wisdom, contrary to Tony's more physical approach to circumstances. "You never win with violence," Shirley tells us. "You only win when you maintain your dignity." More importantly, Shirley's decision to go on this tour--knowing full well what he's in for--stands as a benchmark in determination and change in an aforementioned time of great oppression and opposition. As one of his fellow band members states, "Genius is not enough. It takes courage to change people's hearts." Indeed.
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