A Beautiful Day in the Neighborhood
Turn on the TV, scroll through the radio dial, or browse a few Internet pages and it doesn’t take long to see that the world is a pretty angry and divisive place right now. People are often mean and spiteful for no good reason, and there is little good news to be heard. Look no further than the partisan pettiness of Tuesday night’s State of the Union Address. And I think that’s one of the reasons why A Beautiful Day in the Neighborhood is just so refreshing.
It’s hard to imagine anyone besides Tom Hanks portraying Fred Rogers and recreating his landmark television show. With little more than a wig, some larger eyebrows, a change of wardrobe, and a slower speaking manner, Hanks perfectly channels the essence and spirit of Mister Rogers. Deservedly, Hanks is up for another Academy Award, this time in the Actor in a
Supporting Role category.
Like Rogers, Hanks is genuinely likable and trustworthy, and he has chosen a slate of roles throughout his career that have made him beloved. I also have to think the wheels to cast Tom Hanks as Rogers might have started turning a few years ago when Hanks removed his blazer and donned a sweater during his opening monologue on his ninth hosting gig on Saturday Night Live and launched into his “America’s Dad” skit.
However, this is not really a movie about Mr. Rogers per se, but rather the relationship that builds between Rogers and
cynical Esquire journalist Lloyd Vogel (Matthew Rhys) after Vogel is tasked with writing a 400-word puff piece on Rogers. Vogel has a penchant for being ruthless with his subjects, to the point where his wife, Andrea (Susan Kelechi Watson, whom many will recognize as Beth Pearson from This Is Us) says, “Lloyd, please don’t ruin my childhood” when he tells her about his assignment.
Interestingly, although much of this movie is based on actual events, central character Lloyd Vogel doesn’t exist. The actual writer is Tom Junod who did write a piece for Esquire titled “Can You Say . . . ’Hero’?” back in 1998. While Junod has praised the film, he asked the writers to change his name and those of his family due to the way some of the family relationships are portrayed.
Fortunately for us—and Andrea—Lloyd discovers that Mister Rogers is exactly as he seems. There are no hidden demons, no buried secrets, and no ulterior motives. Rogers is just a genuinely kind, nice, and decent human being who spent every day striving to make himself and the world a better place, but especially for children. In an era where other children’s programming was entertaining kids by having people smash pies into their faces, Rogers treated children as real people, taking on real subjects like death, prejudice, and divorce, and helping kids to navigate through the complex world they were growing up in.
His message to parents was to love your children for who they are, not for what they will be, and not to forget your own childhood.
The movie tracks Vogel’s emotional journey as he struggles with a damaged relationship with his father, Jerry (Chris Cooper). We watch as the closer Vogel gets to Mister Rogers, he grows and learns the value of letting go of anger and truly offering forgiveness.
If you know nothing about Fred Rogers, I invite you to watch this video of him testifying before a Senate subcommittee back in 1969. Rogers was there to defend the federal funding for Public Broadcasting, and in the course of his six minutes of
talking, he completely disarms and wins over the subcommittee chairman, Senator John Pastore. You will learn everything you need to know about Rogers’ calm, soothing nature and passion for his work in this short exchange.
The film has an interesting visual style, being presented almost as an episode of Mister Rogers’
Neighborhood. It opens with Rogers’ classic walk into the playhouse, removing his blazer and loafers and donning the famous red sweater and blue sneakers. He then introduces his new friend, Lloyd, and the story begins.
Scenes “in the neighborhood” were filmed in Pittsburgh at WQED, home of the original set, and director Marielle Heller went to lengths to get those visuals to appear authentic, even using the same model cameras as the original production. There are many cut shots styled as the neighborhood of “Make-Believe” with small-scale models as used in the original series, and even an educational video as was common from the original series showing how a magazine gets made. These scenes are all presented in a 4:3 aspect ratio, with greatly reduced resolution making them look soft and dated and accurate to the original.
Spending time with Mister Rogers must have been an intense, emotionally draining experience, with him giving laser focus to whoever he was speaking with. You get a sense of this when Hanks breaks the third-wall, turning to the camera and staring for long seconds as he invites us to remember those people who loved us into being who we are.
While the film’s master format is listed as being taken from a 4K digital, it also shows that it is from a 1080p/24 source format. Watching the movie, I was never struck by the sharpness or detail of the visuals. Images often looked a bit soft even in closeups, never attaining that ultra pore-revealing detail many current films exhibit. If not for the fact that both my projector
and processor were indicating they were receiving a 4K HDR image, I would have thought I was watching a Blu-ray.
While blacks aren’t truly deep, they are clean and noise-free, with images free of any banding. And while there isn’t much here that truly benefits from the higher dynamic range, it does help with low-lit interior scenes and adds depth and dimension.
Sonically, the Dolby Atmos track certainly isn’t going to push the dynamics of your theater system. There are some nice atmospheric effects in some of the exterior scenes in New York as well as aboard the subway, and some reverb in large spaces such as a speech at a wedding early on, or the spaciousness of the soundstage of Rogers’ set.
Music is given plenty of room to breathe across the front channels and up into the front height speakers, giving it a better sense of space and width.
Neighborhood is a predominately dialogue-driven film, and fortunately the Atmos track does a wonderful job of keeping dialogue clear and understandable.
There are a lot of movies that will look and sound better in your theater than A Beautiful Day in the Neighborhood, but there aren’t many that will leave you feeling better. The film released digitally this past Tuesday at the Kaleidescape Store, and will be available on 4K Blu-ray February 18. As a terrific companion to this film, I also suggest the fantastic documentary Won’t You Be My Neighbor?, also available from the Kaleidescape Store.
Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as Residential Systems and Sound & Vision. Follow him on Twitter at
@SciaccaTweets and at johnsciacca.com.