The first trailer has been release for John Lee Hancock‘s Saving Mr. Banks. The first trailer has been release for John Lee Hancock’s Saving Mr. Banks. The film focuses on Walt Disney’s (Tom Hanks) 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. In some ways, it’s pure Oscar-bait and easily digestible as well as a little on the sappy side, but it also looks quite charming. Hanks and Thompson look like they have great chemistry, and I got a big laugh when they come across the problem of trying to sell Travers on “supercalifragilousexpialadocious”.
Hit the jump to check out the trailer. The film also stars Colin Farrell, Paul Giamatti, Jason Schwartzman, Bradley Whitford, Annie Rose Buckley, Ruth Wilson, B.J. Novak, Rachel Griffiths, and Kathy Baker. Saving Mr. Banks opens in limited release on December 13th before going wide December 20th.
Click over to AOL Moviefone to see the trailer in HD.
Here’s the official 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.