{"id":3927,"date":"2016-03-20T10:21:14","date_gmt":"2016-03-20T04:51:14","guid":{"rendered":"http:\/\/13.201.39.237\/?p=3927"},"modified":"2026-07-17T20:49:42","modified_gmt":"2026-07-17T15:19:42","slug":"mary-poppins-returns-review-a-whimsical-critique-of-the-big-bad-adult-world","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=3927","title":{"rendered":"Mary Poppins Returns Review: A Whimsical Critique of the Big Bad Adult World"},"content":{"rendered":"\n

M<\/span>uch like its titular character, Rob Marshall\u2019s <\/p>Mary Poppins Returns<\/span><\/i> \u2013 the sequel to the 1964 film, <\/span>Mary Poppins<\/span><\/i> \u2013 comes as a delightful surprise. At a time when multiplexes are flooded with hand-me-down <\/span>refurbished<\/span><\/a> tales that rarely live up to their predecessors, it\u2019s only natural to be concerned about an homage to a universally beloved film. But have no fear: Emily Blunt (reprising Julie Andrews\u2019 turn as Poppins) holds her own as a frolicsome iteration of the world\u2019s most famous nanny. <\/span>\n\nMary Poppins Returns <\/span><\/i>comes with a few updates. Michael Banks (Ben Whishaw) is no longer a Victorian child; he\u2019s a widower with three kids and a foreclosure looming over his house. The kicker? The bankers threatening him are from Fidelity Fiduciary Bank, where his stone-hearted father used to work, and where Michael himself is a part-time teller. His affectionate sister Jane (Emily Mortimer) is now a labour <\/span>activist<\/span><\/a>, rallying post-Depression London workers to demand equal rights \u2013 a nod to her mother\u2019s Suffragette protests. She also drops everything to help rescue her childhood home.<\/span>\n\nEnter Mary Poppins, floating in on her umbrella to save the day. Even when the thin premise of <\/span>Mary Poppins Returns<\/span><\/i> overstays its runtime, aided by forgettable musical numbers that are a far cry from the evergreen <\/span>earworms<\/span><\/a> we know and love, its charm rarely flags. <\/span>\n\nIf the chief villain of this Mary Poppins universe is once again the big bad adult world, then the cutthroat bankers are its henchmen, and the dancing lamplighters its underdog heroes. When Michael and Jane realise that their father has left them <\/span>valuable<\/span><\/a> shares in Fiduciary Financial, the bank\u2019s president, William Wilkins (Colin Firth) is gracious and accommodating \u2013 until they leave. Like the <\/span>Wall Street<\/span><\/a> giants who decimated the global economy in 2008, Wilkins tries to maximise profits by preying on homeowners left vulnerable after the Great Depression by using the facade of a powerful bank. He\u2019s exactly what we imagine when we think of an upstanding authority figure, and that\u2019s what makes him even more dangerous: Michael feels so at ease with Wilkins, that he doesn\u2019t believe his own children when they try to expose him as a fraud. <\/span>\n\n\"\"\n

\n

Mary Poppins dancing with a troupe of heroic lamplighters.<\/p>\n

Image credit: Walt Disney Co.<\/p>\n<\/figcaption>\n<\/figure>\n\nOf course, <\/span>Mary Poppins<\/span><\/i> put up its own benign brand of resistance against social conventions. The 1964 film painted bankers as the worst kind of grown-ups, who care only for money and see no value in the simpler joys that Mary advocates: <\/span>flying kites<\/span><\/a>, imagination, and relationships. And where the modern Mary has lamplighter Jack (Lin-Manuel Miranda) by her side, Andrews\u2019 Mary had charming chimney-sweep, Bert (Dick Van Dyke), who was as honourable and kind as he was low in social status. It\u2019s easy to forget how the equitable friendship between a genteel Victorian nanny, her wealthy charges, and the local chimney-sweep \u2013 the equivalent of a <\/span>sanitation<\/span><\/a> worker in India \u2013 was quietly revolutionary in the magical world of Mary Poppins.<\/span>\n\nMary Poppins Returns<\/span><\/i> has even more pronounced undertones of radicalism, bringing it closer to the original 1934 <\/span>series<\/span><\/a> by PL Travers, a non-conformist reporter-turned-author, who famously hated the Disneyfication of her books. The sequel is still replete with animated characters and happy endings, but its staunch critique of capitalism, as well as its empowered heroines, mark a return to the values of Travers.<\/span>\n\n\"\"\n

\n

Mary Poppins and Jack at the Royal Doulton Music Hall<\/p>\n

Image credit: Walt Disney Co.<\/p>\n<\/figcaption>\n<\/figure>\n\nFar from the prim and proper Mary Poppins we know, Blunt\u2019s version throws off her distinctly upper-class mannerisms to put on a Cockney-tinged vaudeville show with Jack, skirting the line between propriety and indecency \u2013 in the spirit of performance, but also of equality between the two. Underneath the vintage trappings, there\u2019s a dash of Depression-era women\u2019s liberation in both Mary and Jane, as they take charge of the family\u2019s predicament like and continue the <\/span>feminist<\/span><\/a> legacy of Mrs Banks. Even Kate, Michael\u2019s deceased wife, plays a role despite never being seen: she, like most women, used to handle the household finances, and her passing has left him helpless.<\/span>\n

Mary Poppins Returns has even more pronounced undertones of radicalism, bringing it closer to the original 1934 series by PL Travers, a non-conformist reporter-turned-author, who famously hated the Disneyfication of her books.<\/blockquote>\nBut ultimately, it is the lamplighters, led by Jack and Mary, who leap forward to save the Banks home and stick it to Wilkins. It\u2019s an illustration of the power that collective action can have, even against an <\/span>institution<\/span><\/a> whose job is to crush the working class under its heel. And yet, there is no trace of ra-ra radicalism in the Poppins utopia. There is no need, because every \u201cgood guy\u201d readily accepts that deeply entrenched barriers of class, money, and status, are secondary to individual humanity. In a movie where people have bottomless bags and a bathtub with a direct route to the seaside, that might be the most <\/span>impossible<\/span><\/a> thing of all.<\/span>\n","protected":false},"excerpt":{"rendered":"

If the chief villain of Mary Poppins Returns is the big bad adult world, then the cutthroat bankers are its henchmen, and the dancing lamplighters its underdog heroes. The film illustrates the impact that collective action can have, even in the face of powerful institutions.<\/p>\n","protected":false},"author":208,"featured_media":3931,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[82],"tags":[7257,3596,7258,1537,1003,6126,6978,4841,710,7259,7260,7261,1867,7262,7263,3856,7264,7265,5118,7266],"class_list":["post-3927","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-culture","tag-2008-recession","tag-banks","tag-broadway","tag-capitalism","tag-children","tag-classics","tag-disney","tag-emily-blunt","tag-feminism","tag-great-depression","tag-julie-andrews","tag-julie-walters","tag-kids","tag-mary-poppins","tag-mary-poppins-returns","tag-meryl-streep","tag-musical","tag-pl-travers","tag-wall-street","tag-west-end"],"yoast_head":"\nMary Poppins Returns Review: A Whimsical Critique of the Big Bad Adult World<\/title>\n<meta name=\"description\" content=\"If the chief villain of Mary Poppins Returns is the big bad adult world, then the cutthroat bankers are its henchmen, and the dancing lamplighters its underdog heroes. 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