First Look at Tom Hanks as Walt Disney in SAVING MR. BANKS

     November 6, 2012

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If you caught Tom Hanks doing any of the press rounds for Cloud Atlas, you may have noticed his oh-so-regal mustache.  The atypical facial hair was for a high profile role that Hanks is currently filming: that of Walt Disney in the real-life drama Saving Mr. Banks.  The story centers on Disney’s twenty-year pursuit of the film rights to author P.L. Travers’ (Emma Thompson) novel Mary Poppins and the rocky relationship that formed between the two.  Our first images of Hanks and Thompson in character have surfaced today, as the production filmed a few scenes on the grounds of Disneyland.

Hit the jump to take a look at the images.  Directed by John Lee Hancock (The Blind Side), the film also stars Colin Farrell, Ruth Wilson, Rachel Griffiths, Bradley Whitford, Paul Giamatti, and Jason SchwartzmanSaving Mr. Banks opens on December 20th, 2013.

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Here’s the synopsis for Saving Mr. Banks:

When Travers travels from London to Hollywood in 1961 to finally discuss Disney’s desire to bring her beloved character to the motion picture screen (a quest he began in the 1940s as a promise to his two daughters), Disney meets a prim, uncompromising sexagenarian not only suspect of the impresario’s concept for the film, but a woman struggling with her own past.  During her stay in California, Travers’ reflects back on her childhood in 1906 Australia, a trying time for her family which not only molded her aspirations to write, but one that also inspired the characters in her 1934 book.

None more so than the one person whom she loved and admired more than any other—her caring father, Travers Goff, a tormented banker who, before his untimely death that same year, instills the youngster with both affection and enlightenment (and would be the muse for the story’s patriarch, Mr. Banks, the sole character that the famous nanny comes to aide).  While reluctant to grant Disney the film rights, Travers comes to realize that the acclaimed Hollywood storyteller has his own motives for wanting to make the film—which, like the author, hints at the relationship he shared with his own father in the early 20th Century Midwest.

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